Full
disclosure: I’m not a romance novel kind of girl.
Give
me a good thriller any day of the week, and I’m a happy camper.
Fast-moving. Mysterious. Thrillers, by definition, are edge-of-your-seat stories. And I like
’em that way. Excitement and suspense drive the narrative. There are heroes, villains,
and often damsels in distress. BABY GRAND,
my debut novel, has got all of these—or at least I hope it does, since these
are the kinds of stories I love to read and have always wanted to write.
Yet,
at the same time, I like books that appeal to readers on a very human level,
ones that hinge on relationships—not the mushy kind, although my second novel
has some of that—and how we relate to one another, including themes of betrayal
and loyalty and love.
Last
year, I attended a panel at ThrillerFest titled, “Scalpel,
Please: How Do you Find the Heart of Your Story?” The panel master was D.P.
Lyle, MD, and the panelists consisted of a diverse group of thriller writers: Brandt Dodson, Vladimir Lange, Michael Palmer, Stefanie Pintoff and Jonathan
Hayes, and every one of them said that in the contest (if there were one) of
“plot” versus “character” among thrillers, “character” would win every time. Yes,
although a sense of suspense and plot are what drive a thriller, it’s the characters,
and how they interact, that are the heart of the story.
Parental
love. Sibling love. Romantic love. It can blind us. It can force us to
contemplate the impossible. It can force us to dig deep down to find out what
we are made of and what we really want. Sometimes it drives us to do the wrong
thing even though we have the best of intentions. And sometimes we will do
anything to find love, or reclaim love, or never to lose it. Love drives people—and,
by extension, characters—to do all sorts of crazy things.
In BABY GRAND, it is this quest for love
and to keep loved ones safe that I hope make its characters so identifiable, so
believable, so real. Truth be told, as
much as I’m a thriller lover, I’m not really interested in the typical “good
guys” of a crime thriller—FBI agents or police officers, or retired/former FBI
agents or police officers. If I had been able to write
BABY GRAND without a police investigation at all, I would have done
it. What really interests me are stories of ordinary people, like you and me,
who are put into extraordinary circumstances—circumstances that will either
make or break them. Will they rise to the challenge? Are they stronger than
they really appear to be? And it is their relationships, their love stories—including
a love for themselves—that will determine if they succeed or fail.
When
I think about my favorite thrillers—those of John Grisham, David Baldacci, Dan
Brown, James Patterson, et al—I’m probably most drawn to those where there’s a
central “love” story, a dominant relationship that sets the tone for the book. The
one that comes to mind immediately is Thomas Harris’ THE SILENCE OF THE LAMBS, at the center of which is the
relationship between Hannibal Lecter and Clarice Starling. It is this relationship
that makes LAMBS so compelling, how a
man so ruthless, so dark and dangerous, can have what appear to be such feelings
of tenderness and fondness and love for another. It is a theme that has influenced
BABY GRAND, for sure.
So
while I’m not the romance type, weave me a good love story, any kind of love
story, within the pages of a thriller, and you’ll find that I’m yours. Forever.
Author bio:
Dina
Santorelli is a freelance writer/editor who has written for many print and
online publications, such as Newsday,
First for Women and CNNMoney.com. She
served as the "with" writer for the nonfiction title, GOOD GIRLS DON'T GET FAT (Harlequin, 2010),
and is the current Executive Editor of Salute
and Family magazines for which she
has interviewed many celebrities, including James Gandolfini, Tim McGraw,
Angela Bassett, Mario Lopez, Gary Sinise and Kevin Bacon. You can follow Dina
on Facebook, Twitter, Goodreads and on her blog. BABY GRAND, her
first novel, is available on Amazon.
Book blurb:
In
Albany , New York , the governor’s infant
daughter disappears without a trace from her crib at the Executive Mansion . Hours later, newly
divorced and down-and-out writer Jamie Carter is abducted from the streets of Manhattan . Jamie is whisked
upstate, where she is forced by her captor, Don Bailino, an ex-war
hero/successful businessman, to care for the kidnapped child in a plot to delay
the execution of mobster Gino Cataldi – the sixth man to be put to death in six
years by hardliner Governor Phillip Grand. What prevails is a modern-day
thriller about family ties, loyalty, murder, betrayal, and love that’s told in
deftly interweaving narratives that follow the police investigation of the
missing Baby Grand, the bad guys who took her, and the woman who found the
strength to protect her.
Thank you so much for the opportunity to guest post, Tracie!!
ReplyDeleteSounds like a great read.
ReplyDeleteThanks, Kimm! I hope it is. :) Thanks for commenting!
Delete