The Dead Girl in 2A
Page 30
Some things get easier the more you write: setting the scene, establishing the flow, driving the pace. The part that doesn’t get easier is the most enjoyable aspect of writing for me: figuring out what the hell the story is all about. I don’t outline, so I tend to write a series of events that I find interesting without a whole lot of idea as to where the story is going. About halfway through a novel, I’ll start to take a look at the book’s trajectory and make some decisions about direction, but even those decisions are subject to change as I continue on. It’s not uncommon that a major plot point occurs to me 75 percent in, and that realization often changes much of what I’ve already written.
The Dead Girl in 2A is very much a book that, in the process of its creation, had several threads I needed to tie together but wasn’t sure how. In that regard, it was probably the most difficult book I’ve written to date. But I loved finding new ways to evolve the plot, close open loops, and (hopefully) keep the reader guessing. Every story line is a problem to be solved, and I love solving problems.
Did you do any research to bring this novel to life?
I did. I researched locations, covert government programs, the effects of scopolamine on the human brain, memory loss, among other things. Definitely more research than normal for me, and I have to say it was a lot of fun. I just wouldn’t want anyone looking at my internet cache.
What does your writing process look like? Do you always write in the same place at the same time every day?
I write in the mornings and/or evenings. It’s important for me to be consistent in location and time when I write, because writing is a job and it should be treated that way. If I wrote only when I “felt the muse,” I’d never get anything done. I need to sit down and type regardless of my mood, and that’s most easily achieved with a firm schedule. In the mornings, it’s a coffee shop; in the evenings, it’s in a leather chair at home, or perhaps sipping a margarita in a bar.
If you could have lunch with any writer, dead or alive, who would you choose, and what would you talk with him or her about?
I’d dine with the late Douglas Adams (The Hitchhiker’s Guide to the Galaxy). I don’t know what I’d ask him specifically, but I imagine he has some hysterical stories to tell. I’d just sit back and listen.
What is the best piece of writing advice you have ever received? How about the worst?
It’s a cliché, but the best advice is put your ass in the chair and write. Seriously, it doesn’t get any simpler than that, but somehow the actual act of writing is the biggest obstacle for aspiring writers. Everyone has an idea, but it’s hard work writing the idea out. Like anything else, it takes practice and repetition. If you write every day, you will eventually write a book. It might suck, but, hey, you wrote a book! The more you write, the better you will become at it.
I think the worst advice (at least for me) is to read as much as possible within your own genre. I say read what you like to read, and write what you like to write. Maybe those two realms intersect; maybe they don’t. I love to read memoirs, historical nonfiction, literary fiction, short stories, essays, a bit of horror, and, of course, thrillers. I find that writers who read obsessively within a genre in order to “crack the code” are the least likely to come up with an original story.
Acknowledgments
Jessica, this book is dedicated to you. I cannot express how truly grateful I am for your love, support, and guidance. We are on a wonderful journey together.
To Pam Ahearn, my longtime agent, thank you for navigating this book (and all my others) along the road to publication, and for all the wisdom you’ve imparted along the way. To Anna Michels, sleepless editor extraordinaire, a special thanks for putting this book on shelves and keeping me grounded through all the edits. You truly made this a better story. And, of course, to the entire Sourcebooks/Poisoned Pen team, I am in continuous awe at your capabilities, creativity, and enthusiasm. Thank you.
Mom, thanks for your feedback and editorial finesse. Ili and Sawyer, you continue to make me proud, crack me up, and freak me out… What more could a dad want? Henry, I love watching you become your own storyteller. Sole, I value our friendship over all the years. Of course, a huge thank-you to my Old Possum critique-group friends: Dirk, Linda, Sean, Abe, and Sam. You always see the first (and roughest) version of anything I write, and God bless your savage honesty.
I’m always grateful for permission to use lyrics from my favorite band, James, so thank you, Tim Booth and the rest of the gang. It’s been too long since I’ve caught one of your shows, so I need to make that a priority.
Dad, I think you would have liked this one.
To all readers, thank you for picking up (or downloading) this book. None of this works without you.
Carter Wilson
Erie, Colorado
February 2019
About the Author
Elke Hope Photography
USA Today and #1 Denver Post bestselling author Carter Wilson has written six psychological thrillers as well as numerous short stories. He is a two-time winner of the Colorado Book Award, and his critically acclaimed novels have received multiple starred reviews from Publishers Weekly, Booklist, and Library Journal. Carter lives in Erie, Colorado, in a Victorian house that is spooky but isn’t haunted…yet.
To check Carter’s appearance calendar, subscribe to his irreverent monthly newsletter, or to inquire about his availability for speaking events, book clubs, or media requests, please visit carterwilson.com.
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