Today, Hartford Books Examiner raises a glass to New York Times bestselling author Erica Spindler.
Raised in Rockford, Illinois, Spindler initially aspired to artistic greatness, earning a BFA from Delta State University and an MFA from the University of New Orleans in visual arts. But fate would intervene, and a newfound love of romance novels (which she discovered while sick in bed on a June day in 1982) would inspire her to try her hand at writing. After publishing several titles in that genre, Spindler turned her attention to suspense with the release of Forbidden Fruit in 1996. She has written twelve books since then (and twenty-nine altogether)—including Bone Cold, which won the Daphne du Maurier Award for excellence, and Dead Run, which received a Kiss of Death Award. A Romance Writers of America Honor Roll member, she lives just outside of New Orleans, Louisiana.
Her latest effort, Blood Vines, was released this month from St. Martin’s Press and is receiving rave reviews from both readers and reviewers. Fellow author Alex Kava praised the book as “Intoxicating suspense blended with subtle hints of obsession, intense family secrets, a touch of murder and richly textured with Sonoma wine country history…a sleepless one-night read."
From the publisher:
A sinister, hooded figure…
When Alexandra Clarkson starts having terrifying visions filled with blood and ceremonial images, she tries to find a rational explanation – maybe her mind is playing tricks on her, resurrecting creepy tableaux from her research on religious ceremonies and sects. But when Alex’s mother, Patsy, commits suicide without leaving behind any information, Alex is left wondering: could she be haunted by something from the childhood she doesn’t remember?
Naked, writhing bodies…
Detective Daniel Reed was the last person to speak to Patsy. What he reveals to Alex is shocking. Twenty-five years earlier, Patsy was married to Harlan Sommer, one of Sonoma County’s most prominent vintners, when their infant son disappeared without a trace. The loss destroyed the Sommers’ marriage, causing Patsy to leave and take Alex with her.
A dead child…
Called on to investigate the identity of a baby’s remains unearthed in a Sonoma vineyard, Reed had picked up a trail that led him to Patsy in San Francisco. Now Reed and Alex both wonder if the cold bones could be her baby brother Dylan, and Alex decides to accompany Reed back to Sonoma for the investigation. No sooner does she arrive, however, than she is drawn deep into the search for a twisted killer…
Now, Erica Spindler untangles the mysteries surrounding her newest page-turner...
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1) The term "the same but different" is often used when referring to what readers (and publishers) want from a book. How is BLOOD VINES similar to your other titles? How does it differ? Is it a struggle to keep things fresh after so many books?
It’s interesting that you asked me that question because BLOOD VINES incorporates characteristics of some of my early suspense novels--secrets and betrayals, subterfuge and gothic family dynamics-- with the crime scene investigation and procedure of my later books. I’m really happy with the resulting story and fingers are crossed my readers will be, too.
Sometimes it is a struggle to keep things fresh. The most important thing I can do is to come up with a solid idea and characters that really call to me. (I call this the Dark Gift stage of the process.) Once that happens, keeping it fresh is easy.
2) BLOOD VINES is set in the wine region of Sonoma County. What kind of research do you do to capture the essence of your books' settings? Were you tempted to mix business with pleasure for this one?
The ‘business’ of writing BLOOD VINES actually came from a vacation my husband and I took one February. I just fell in love with the area- the lifestyle, the wine culture, the rolling hills of dormant vines reminded me of cemeteries, the gnarly old vines like bent, twisted crosses. It was during a visit to one of the boutique wineries, that I knew I had to set my next book there. I was talking to the winemaker who, when I explained what I did for a living, told me there were plenty of ways to kill someone in the winemaking process.
As soon as I was back home, I began brainstorming story ideas. Once I had the bones in place and had finished the book I had been working on, I returned to Sonoma. I did a Sheriff Ride-along (looking for the best places to dump bodies!), spent a day training as a winemaker, toured Sonoma’s Sheriff and Coroner facilities (morgue included), and worked with a realtor, who showed me neighborhoods and properties. The best research? Visited lots of area wineries which, needless to say, didn’t seem like work at all.
3) You began your career writing romance novels. What inspired you to make the transition to suspense? Do you find that mixing elements from both genres expands your reader base?
The writing transition was organic: In 1996 I came up with a story (FORBIDDEN FRUIT) in which the hero was a NOPD homicide detective and there was a serial killer subplot. I had so much fun writing those parts of the story--it felt so right--that when I began plotting my next novel, I decided to focus more on the suspense. Then with the next novel, I pushed the suspense even more. And on and on. My publisher came willingly along for the ride--a fact I really appreciate. And one, I believe, a lot of my readers did too.
Mixing genre elements can be tricky: booksellers don’t know where to shelve you, publishers don’t know how to market you--which includes cover art--all of which confuses the readers. I think it worked pretty well for me because my metamorphosis was so gradual. But even so, I wouldn’t recommend purposely combining elements as a way to build readership. It honestly might have the opposite effect.
4) You have written both stand-alone novels and ones that feature recurring characters. Do you have a preference? (If so, why?) Also, do you know that you will be revisiting certain characters at the outset or is that a decision that comes later?
I enjoy doing both. (It’s another way I keep things fresh!) My stand alone novels offer new settings and characters to explore. My recurring characters are like a nice visit home.
Before I had finished COPYCAT, I knew that I wanted to bring Detectives MC Riggio and Kitt Lundgren back in another story. It was similar with Stacy Killian, though with her it felt like less of a choice because her character came on so strongly she nearly took over SEE JANE DIE, the first novel she appears in. I literally told her to “Back off!” and promised her her own book, KILLER TAKES ALL.
The most unexpected revisit of characters was in LAST KNOWN VICTIM. KILLER TAKES ALL had just landed in bookstores when Katrina hit New Orleans and the Gulf Coast. Suddenly, the story felt wrong; New Orleans had been changed forever. I realized I had to bring back Stacy, Spencer and the entire Malone clan - and pick them all up after the storm. How did they fare during the storm? How about after? How did the disaster affect their lives and relationships? It also gave me a chance to expel some of my “Katrina demons” through my writing.
5) You have a background in visual arts, which I would assume might cause you to be more invested in your book covers than other writers. How much say do you have in that aspect of your books? How important do you think cover art is to a book's success?
I do consider cover art important- it’s the first impression readers are given of the story. It needs to pop, but also accurately represent the story. In a lot of cases, it’s the reason a reader even picks up a book to take a closer look. Though my publisher wants me to be happy with the cover and does take my opinion and comments into consideration, they are most definitely the one driving that bus.
6) What are you currently reading? Also, if you had to recommend one book (other than your own) to readers, which would it be and why?
Right now I’m reading Charlaine Harris’ Southern Vampire series. I’m not a big vampire fan, but got hooked on HBO’s True Blood, and wanted to compare the two.
I’d recommend an old favorite: Ghost Story by Peter Straub. It’s brilliant and terrifying.
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A toast of gratitude to Erica Spindler for sharing her time and talent and to Evelyn Marshall, for her gracious assistance in making this interview possible.
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