Bad Girl - Crouch Blake (бесплатные книги полный формат .TXT) 📗
HW: Do you strive for realism in your writing, or do you try more to entertain?
BC: First and foremost, I want to entertain. I want the reader to close the book thinking, “that was a helluva story.” Beyond that, I do strive for realism. I want the reader to identify with my characters’ emotions, whether it’s fear, sadness, or happiness. The places I write about, from the Yukon to the Outer Banks to the Colorado mountains are rendered accurately, and that’s very important to me, because I want the reader to have the benefit of visiting these beautiful places in my books.
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: ReadingDesert 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?
