Thicker Than Blood - The Complete Andrew Z. Thomas Trilogy (81 page)

HW: The villain in
Locked Doors
seems almost a force of nature, cunning, instinctively brilliant when it comes to creating mayhem. Do you worry that readers might write him off as unrealistic? 

BC: I decided to approach Luther Kite a little differently than my bad guy, Orson Thomas, in
Desert Places
. In the first book, I tried to humanize Orson, to gin up sympathy by explaining what happened in his childhood to turn him into this monster. With Luther et al., I made a conscious decision not to delve into any of that, and for this reason I think he comes off as almost mythic, larger than life, maybe with even a tinge of the supernatural. I don’t worry that readers will find him unrealistic, because I didn’t try to make him like your typical realistic humdrum villain. What I want is for readers to fear him. 

HW: What’s the most important thing a book has to do to keep YOUR attention? 

BC: It’s actually very simple... a great story told through great writing. I don’t care if it’s western, horror, thriller, historical, romance, or literary. I just want to know that I’m in the hands of someone who knows what they’re doing. 

HW: Who are your literary heroes?

BC: I grew up on southern writers -- Walker Percy, Pat Conroy -- the fantasy of C.S. Lewis and J.R.R. Tolkien. In college I discovered Thomas Harris, Dennis
Lehane
, James Lee Burke, Caleb Carr, and my favorite writer,
Cormac
McCarthy. McCarthy just blows me away. His prose is so rich. He is unlike anyone else out there today. His 1985 novel,
Blood Meridian
, in my opinion, is the greatest horror novel ever written. 

HW: What makes
Blood Meridian
“the greatest horror novel ever written?” 

BC: The writing is mind blowing. The violence (which occurs frequently and in vivid detail) rises to the level of poetry in McCarthy’s hands. And the story is fascinating. It’s based on historical fact and follows a bloodthirsty gang through the Mexico-Texas Borderlands in the mid-1800’s, who have been hired by the Mexican government to collect as many Indian scalps as they can. I read
Blood Meridian
every year. 

HW:
Reading
Desert
Places
and
Locked Doors
, it seems that you’re drawn to the horrific. The books are filled with horrific acts, and with terrifying set pieces, as in the descent into the Kites’ basement in
Locked Doors
. Did the horror genre hold any attraction to you growing up? 

BC: I honestly didn’t read a lot of horror growing up, but I always loved the sensation of fear produced by a scary movie or a great book. Some of my first short fiction (written in middle school) could be classified as horror. In fact, there’s a short story on my website called “In Shock” that I wrote in the 8th grade. 

HW: Might there be a sequel to
Locked Doors
someday?

BC: Midway through the writing of
Locked Doors
, it occurred to me the story might be a trilogy. I may finish out the trilogy at some point. I’m starting to miss my characters (the ones that survived), and I have a feeling that I will return to the world of
Locked Doors
at some point in the future to check in on them. We’ll have to see. 

HW: Your latest novel,
Abandon
, is set in
Colorado
, where you’ve lived for the past six years. Did you intend to write a novel set in that state when you moved there, or did your surroundings inspire you to?

BC: This was definitely a case of my surroundings inspiring me. Two months after we moved from
North Carolina
to
Durango
, we had some friends come out to visit. My wife and I took them on a backpacking trip into the San
Juans
, and it was on this trip that I first saw the ruins of a mining town—
Sneffels
,
Colorado
and the Camp Bird Mine. It made a huge impression, the idea of living in these extreme conditions, particularly in winter. The claustrophobia, the desperation, the kind of people who would subject themselves to such a life fascinated me.

HW: Did you have any particular goals in mind when you embarked on this project? Did they change as you worked? Do you think you met your goals?

BC: The idea of writing a “mining town thriller” was with me for a long time, as early as the summer of 2003, before
Desert Places
was published. Initially, I thought it would all be set in the past, a straight historical. Then in ‘05, while on tour for
Locked Doors
, I had a sudden realization that this was the story I needed to write, and that it wasn’t just historical. There would be present scenes, too, and the mystery at the heart of the book would be the mass disappearance of the town. My goal was to write a book that I would want to read, and in that regard, I think I succeeded.

HW: How long did it take to prepare to write the book? How much research was involved? Do you research first, then write, or answer the questions that arise as you dive into the writing?

BC: I started outlining in the fall of ‘05, and finalized the book with my editor in the summer ‘07. There were 7 drafts, and tons of research, which occurred at all stages of the writing.

HW: Was it tough striking a balance between writing a thriller and the urge to display all your newfound knowledge? Any fascinating tidbits that didn’t go into the book that you want to share with readers?

BC: Lots of stuff got cut, and some of it was wonderful (and it still pains me to have let it go) but in the end, it was all about what advanced the story. For instance, there was an Irishman who lived in one of the
Colorado
mining towns, and the love of his life had died on their wedding night some years prior. Every night, from his cabin above town, the sound of a violin would sweep down the mountain. Mournful, beautiful music. The town got used to hearing it. One night, after the violin went silent, a single gunshot echoed from the cabin. The townsfolk went up and found him dead, with a note asking to be buried with his wife. I loved that bit, wanted to put this guy into the story, but it didn’t belong, so I had to let it go.

HW: Your first two books followed the adventures of basically the same cast of characters. Was it a relief or was it scary to move on to a whole new set of players?

BC: Both a total relief and completely terrifying. But what’s worse than the fear of doing something new and challenging is realizing one day that you’re in a rut, that you’ve essentially written the same book again and again.

HW: Your first two books could be described as pure, relentless adrenaline. In fact, those are your words. Was it difficult to work on a novel taking place in two different times, switching back and forth between the two? How about working with a larger cast? Did that present you with any particular challenges, issues, problems?

BC: It was hard at first, but once I got into the flow of both narratives, it wasn’t such a big deal to go back and forth, which is the way I wrote it. It sounds silly, but I wrote the present in one font, the past in another, and for some reason, changing fonts helped me to get back into whatever section I was working on. This cast of characters, which I knew was going to be big going in, was intimidating starting out. I spent a month on character studies, really getting to know each main character and their back-story before I dove into the book, and I think (I hope) that made all the difference.

HW: Has having children changed the way you look at your writing? Your subject matter? Do you ever pause and think, I guess my kids won’t be able to read that until they’re older?

BC:
Abandon
was the first thing I wrote after my son was born, and being a father for the first time and that new relationship and life-altering love couldn’t help but find its way into this work. Parent-child relationships definitely constitute a significant aspect of
Abandon
. And yeah, there’s no way my kids will be able to read my first two books until they’re at least seven or eight (kidding).

HW: Who is your first reader?

BC: My wife.

HW: What’s your favorite procrastination technique to avoid writing?

BC: Playing my acoustic guitar.

HW: Now that you’re in the business, do you find as much time to read as before? Do you avoid fiction for fear of unconsciously copying someone’s stories?

BC: I read more now than ever. You have to. I’ve never avoided fiction for fear of unconsciously copying someone else’s stories. You can’t help but be influenced by the work of others. No one is unique. As
Cormac
McCarthy said, “The sad truth is that books are made of other books.”

HW: I happen to know you’ve written an essay about Jack Ketchum’s Off Season for the upcoming International Thrillers Writers project
Thrillers: 100 Must Reads
. Was that format difficult for you? Did the experience provide you with any special insights into your own writings, or into thrillers in general?

BC: It was the hardest thing I’d written all year. I felt like I was in college again working on a term paper. That being said, it was a great joy to delve into the life and work of Jack Ketchum. I had great editors on that project. (HW: Full disclosure time: the editors for that worthy project are the esteemed David Morrell and yours truly. End of plug.)

HW: Tell us a little about future projects. You have a short story slated to appear in the ITW anthology,
Thrillers 2
?

BC: Yep, it’s called “Remaking” and also happens to be set in a beautiful
Colorado
town called Ouray. It’s premised on a question: What would you do if you were in a coffee shop, saw a man sitting with a young boy, and suspected the boy wasn’t supposed to be with him, that maybe he’d been kidnapped. I’m over the moon and humbled to be included in such a stellar collection of writers. Joe Konrath and I have just released a free short story as an eBook with the help of our publishers. It’s kind of groundbreaking, both in how Joe and I collaborated, and how our publishers came together to make it available everywhere. It’s called “Serial”, and is probably the most twisted thing either of us have ever written. The
Abandon
audiobook
will have a short story that I read called “On the Good, Red Road,” and finally Jen Jordan’s new anthology,
Uncage
Me
, publishes in July, and I have a story in that one called “*69.”

HW: Are you working on a new novel at the moment?

BC: I am.

HW: Where are you in that process?

BC: About a hundred pages in.

HW: Can you talk a little about the new book, or would that jinx things?

BC: I’m pretty sure I would deeply regret talking about it at this point. I find if I talk too much about works-in-progress, it takes the wind out of my sails.

HW: Any book recommendations?

BC: Joe Konrath just published a novel under the name Jack Kilborn. It’s called
Afraid
, and I think it’s one of the best pieces of horror fiction to come out in recent memory.

HW: Work uniform?