Why did you choose to write murder mysteries instead of thrillers, romances, historical fiction or some other genre?

If I were tempted by any other genre it would probably be historical fiction, as I am fascinated by the period detail and manner in which characters are influenced by events and circumstances. I love to read fantasy, but don’t think I possess the talent for world-building that top-notch fantasy requires. And while I enjoy reading a well written romance, I think I would find the restrictions of the genre too limited – you know the hero and heroine will get together in the end, no matter what else happens. Although one expects a resolution of the crime in a mystery, that resolution can come in surprisingly different ways.

Is writing a craft or a passion for you?

Both. The research and plotting is very much left-brained, a very logical process, and one that I think can be learned. The actual writing, the flow of words, description, dialogue—all of these are right-brained. That’s where the passion comes in. When writing is going well, it’s like being plugged into a cosmic socket. There’s no other experience that compares with it.

What motivates you to write?

Many things. I have an insatiable curiosity about people. I wonder what makes them tick, what their lives are like. Although I was certainly no child prodigy in the manner of JK Rowling, I can remember looking in lighted windows at night as a child and making up stories about the unknown inhabitants. Then there’s Britain itself, an endless source of inspiration for me. There are always places I want to inhabit in my imagination.

And then there are the words themselves, the addictive process of putting words on paper (or screen, as the case may be) of language unfolding.

Oh, and it does pay the bills!

Who has fostered your career and encouraged you?

My late uncle, the Texas writer and historian A.C. Greene, always encouraged my writing efforts, even my adolescent attempts at poetry, and he was extremely proud of my success as a writer.

And the late Warren Norwood, my friend and first real writing teacher, who taught me the business, honed my craft, and even more importantly, helped me believe that my writing had potential.

How much time do you spend researching each novel before you begin writing it? And how much time do you spend in Britain doing background research for each book?

I usually go to Britain at least twice during the course of a book. I’ve chosen the setting when I make the first trip, so I use that time to survey the area, take photos and notes, acquire research materials (I usually buy so many books I have to ship them home) and generally get the feel for the book. Once home, I spend several months researching, plotting and outlining. Then, when I’ve actually made a good start on writing, I need to make another visit. This time I’m checking details I know I will need in the now-outlined plot and absorbing a bit more atmosphere.

When you begin writing each book, do you know what the characters, or at least the two main characters, are going to do in the plot? Does the finished book differ from the original plot?

As far as the continuing characters are concerned, I have a story arc in mind that spans a couple of books, so I usually know a book or two in advance what will happen in their lives, but there are always surprises. When I started the series, for instance, I didn’t know that Gemma and Duncan would become romantically involved, although I think the possibility had begun to dawn on me by the end of the first book, and certainly by the end of the second book. I also didn’t know that Kincaid had a son by his first wife, and that has been one of the most interesting developments of the series.
As far as the characters in each specific book, I usually know what I intend them to do from the very beginning. That said, some have developed in unexpected ways, so that by the end of the book I've found it necessary to change the plot to accommodate those changes. And some of my minor characters have been known to run away with things, which is always great fun.

Where do you get the names for your characters?

I often watch the credits on British television shows and movies. I never borrow a name in its entirety, however, but mix and match different first and last names. Sometimes I really struggle to name a character, changing the name several times in the course of book until it feels right; sometimes they seem to name themselves without any effort on my part.

Are the characters in your books patterned after people you know, people you have met or are they constructed entirely in your imagination?

A little of all of the above. Some from my imagination, others from people I have met or read about, or jobs and settings that friends and acquaintances have talked about. Sometimes it's like sitting in the airport and creating a short biographical sketch of the people who are walking by.

Many of your books are available as audio recordings. How do you choose the reader?

I don’t personally choose the reader, but Michael Deehy’s narration on the new BBC Sound Library recordings is wonderful! He does an amazing job of creating all the different and distinct characters, and he does Duncan and Gemma very well, too.

Your books are well known for their accurate descriptions of British police procedure. How did you learn so much about that subject?

I have several British police friends who are kind enough to answer my questions. Also, my husband is a former police officer, and a friend in my writer’s group is a police officer, so they are always happy to correct me! Actual crime scene and investigative procedure doesn’t vary all that much from one country to another.

How many languages have your books been translated into?

The Kincaid/James series has been published in Japan, France, Germany, Italy, Greece, Romania, Norway, the Netherlands, the Czech Republic and the United Kingdom, in addition to the United States. Soon to be published in Spain.

What is the order in which the books have been published?

Water Like a Stone, 2007

In a Dark House, 2004

Now May You Weep, 2003

And Justice There is None, 2002

A Finer End, 2001

Kissed a Sad Goodbye, 1999

Dreaming of the Bones, 1997

Mourn Not Your Dead, 1996

Leave the Grave Green, 1995

All Shall Be Well, 1994

Share in Death, 1993

Do you have a favorite book among those you have written? If so, what makes it your favorite?

That’s a very tough question. Many of my readers choose Dreaming of the Bones, but I don’t think it’s my favorite, possibly because it was so emotionally difficult to write. Of course, I always have a special fondness for the book I’ve just finished, but if pressed I might lean towards Kissed a Sad Goodbye and And Justice There is None. But then, I just finished listening to the audio versions of Now May You Weep and In a Dark House, and of course there’s the book in progress…

With a series of 11 books, how do you keep all the facts, events and characters straight?

I have what I call my Gemma and Duncan bible. It includes a description of each character, their life history, family members and other helpful information. Otherwise I would lose track!

How long does it take to you write a book?

Generally speaking, it takes me between thirteen months and fifteen months to write a book. I would love the luxury of taking two or three years on a book because of the research time, a couple of trips to England and the writing process. Unfortunately – or fortunately – my books are now almost twice the length they were in the beginning, but still must be written in the same amount of time, or less.

Do you write whenever you feel like it or do you adhere to a schedule?

For me, writing a book is like training for a marathon. In the early stages I spend more time reading, plotting and researching, so that an hour or two a day of actual writing is a good day. As the book gains momentum, I write longer and longer hours, until near the end I might write as much as twelve or fourteen hours a day.

Where do you write?

I now have a wonderful office in what was my daughter’s bedroom when she was at home. It’s the first time in my writing career that I’ve had a space to myself, with a large table/desk that will hold all my research material, and I guard it jealously. I use it exclusively for writing; no mail, no email, no bills, no other work-related tasks. But I still often find I need to get out of the house, away from the phone and other commitments. I like to take my notebook or laptop to a coffeehouse – usually my local Starbuck’s. There’s something about that background level of activity that’s stimulating.

Do you use a computer or write by hand or both?

Both, although I’m actually finding myself writing more in longhand than I did in the beginning, rather than less. I particularly like to write in my notebook in bed at night, as that’s when I get the most ideas. Then the next day I can expand those rough notes on the computer.

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