Bad Girl Page 4

  HW: Why a sequel for your second book? Affection for the characters?

  BC: It was actually my editor’s idea. I was perfectly happy walking away from the first book. But once she mentioned it during the editing of Desert Places, I really started to think about where the story could go, wondered how Andy might have changed after seven years in hiding, and I got excited about doing it. And I’m very glad I did, because I would’ve missed those characters. Even my psychopaths are family in some strange, twisted way.

  HW: Of all the reviews and comments about your books, what was the strangest? The meanest? The nicest? The most perceptive?

  BC: The strangest: This was a comment about me and the reviewer wrote something to the effect that I was either a super-talented writer with an immense imagination or one sick puppy. I think that’s open to debate. The meanest: From those [expletive deleted] at Kirkus. Now, keep in mind, this is my first taste of reviews and the reviewer absolutely savaged my book. It was so mean it was funny... although I didn’t see the humor for some time. The review ended, “Sadly, a sequel is in the works.” The nicest: That’s hard to choose from. I particularly loved the review for Locked Doors that appeared in the Winston-Salem Journal. The reviewer wrote, and this is my favorite quote thus far, “If you don’t think you’ll enjoy seeing how Crouch makes the torture and disembowelment of innocent women, children and even lax store employees into a thing of poetic beauty, maybe you should go watch Sponge Bob.” The most perceptive: The reviews that recognize that I’m trying to make a serious exploration of the human psyche, the nature of evil, and man’s depravity are the ones that please me the most.

  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: B
oth 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?

  BC: It was hard at first, but once I got into the flow of both narratives, it wasn’t such a big deal to go back and forth, which is the way I wrote it. It sounds silly, but I wrote the present in one font, the past in another, and for some reason, changing fonts helped me to get back into whatever section I was working on. This cast of characters, which I knew was going to be big going in, was intimidating starting out. I spent a month on character studies, really getting to know each main character and their back-story before I dove into the book, and I think (I hope) that made all the difference.

  HW: Has having children changed the way you look at your writing? Your subject matter? Do you ever pause and think, I guess my kids won’t be able to read that until they’re older?

  BC: Abandon was the first thing I wrote after my son was born, and being a father for the first time and that new relationship and life-altering love couldn’t help but find its way into this work. Parent-child relationships definitely constitute a significant aspect of Abandon. And yeah, there’s no way my kids will be able to read my first two books until they’re at least seven or eight (kidding).

  HW: Who is your first reader?

  BC: My wife.

  HW: What’s your favorite procrastination technique to avoid writing?

  BC: Playing my acoustic guitar.

  HW: Now that you’re in the business, do you find as much time to read as before? Do you avoid fiction for fear of unconsciously copying someone’s stories?

  BC: I read more now than ever. You have to. I’ve never avoided fiction for fear of unconsciously copying someone else’s stories. You can’t help but be influenced by the work of others. No one is unique. As Cormac McCarthy said, “The sad truth is that books are made of other books.”

  HW: I happen to know you’ve written an essay about Jack Ketchum’s Off Season for the upcoming International Thrillers Writers project Thrillers: 100 Must Reads. Was that format difficult for you? Did the experience provide you with any special insights into your own writings, or into thrillers in general?

  BC: It was the hardest thing I’d written all year. I felt like I was in college again working on a term paper. That being said, it was a great joy to delve into the life and work of Jack Ketchum. I had great editors on that project. (HW: Full disclosure time: the editors for that worthy project are the esteemed David Morrell and yours truly. End of plug.)

  HW: Tell us a little about future projects. You have a short story slated to appear in the ITW anthology, Thrillers 2?

  BC: Yep, it’s called “Remaking” and also happens to be set in a beautiful Colorado town called Ouray. It’s premised on a question: What would you do if you were in a coffee shop, saw a man sitting with a young boy, and suspected the boy wasn’t supposed to be with him, that maybe he’d been kidnapped. I’m over the moon and humbled to be included in such a stellar collection of writers. Joe Konrath and I have just released a free short story as an eBook with the help of our publishers. It’s kind of groundbreaking, both in how Joe and I collaborated, and how our publishers came together to make it available everywhere. It’s called “Serial”, and is probably the most twisted thing either of us have ever written. The Abandon audiobook will have a short story that I read called “On the Good, Red Road,” and finally Jen Jordan’s new anthology, Uncage Me, publishes in July, and I have a story in that one called “*69.”

  HW: Are you working on a new novel at the moment?

  BC: I am.

  HW: Where are you in that process?

  BC: About a hundred pages in.

  HW: Can you talk a little about the new book, or would that jinx things?

  BC: I’m pretty sure I would deeply regret talking about it at this point. I find if I talk too much about works-in-progress, it takes the wind out of my sails.

  HW: Any book recommendations?

  BC: Joe Konrath just published a novel under the name Jack Kilborn. It’s called Afraid, and I think it’s one of the best pieces of horror fiction to come out in recent memory.

  HW: Work uniform?

  BC: A white tee-shirt and pajama bottoms with snowflakes on them. I know, it’s awful.

  HW: Misconceptions about people who graduated from UNC?

  BC: That if by some rip in the space-time continuum, Al-Qaeda managed to get a Division I college basketball team together, and if that team somehow made it to the NCAA tournament, and then survived March Madness, and, now here’s a real stretch, were facing Duke in the championship game on Monday night, that UNC fans would put aside their petty rivalry and root for Duke over the terrorists.

  DESERT PLACES

  Published in January 2004 by Thomas Dunne Books

  DESCRIPTION: Andrew Z. Thomas is a successful writer of suspense thrillers, living the dream at his lake house in the piedmont of North Carolina. One afternoon in late spring, he receives a bizarre letter that eventually threatens his career, his sanity, and the lives of everyone he loves. A murderer is designing his future, and for the life of him, Andrew can’t get away.

  Harrowing...terrific...a whacked out combination of Stephen King and Cormac McCarthy.

  PAT CONROY

  [C]arried by rich, image-filled prose. Crouch will handcuff you, blindfold you, throw you in the trunk of a car, and drag you kicking and screaming through a story so intense, so emotionally packed, that you will walk away stunned.

  WINSTON-SALEM JOURNAL

  Excerpt from Desert Places…

  On a lovely May evening, I sat on my deck, watching the sun descend upon LakeNorman. So far, it had been a perfect day. I’d risen at 5:00 a.m. as I always do, put on a pot of French roast, and prepared my usual breakfast of scrambled eggs and a bowl of fresh pineapple. By six o’clock, I was writing, and I didn’t stop until noon. I fried two white crappies I’d caught the night before, and the moment I sat down for lunch, my agent called. Cynthia fields my messages when I’m close to finishing a book, and she had several for me, the only one of real importance being that the movie deal for my latest novel, Blue Murder, had closed. It was good news of course, but two other movies had been made from my books, so I was used to it by now.

  I worked in my study for the remainder of the afternoon and quit at 6:30. My final edits of the new as yet untitled manuscript would be finished tomorrow. I was tired, but my new thriller, The Scorcher, would be on bookshelves within the week. I savored the exhaustion that followed a full day of work. My hands sore from typing, eyes dry and strained, I shut down the computer and rolled back from the desk in my swivel chair.

  I went outside and walked up the long gravel drive toward the mailbox. It was the first time I’d been out all day, and the sharp sunlight burned my eyes as it squeezed through the tall rows of loblollies that bordered both sides of the drive. It was so quiet here. Fifteen miles south, Charlotte was still gridlocked in rush-hour traffic, and I was grateful not to be a part of that madness. As the tiny rocks crunched beneath my feet, I pictured my best friend, Walter Lancing, fuming in his Cadillac. He’d be cursingthe drone of horns and the profusion of taillights as he inched away from his suite in uptown Charlotte, leaving the quarterly nature magazine Hiker to return home to his wife and children. Not me, I thought, the solitary one.

  For once, my mailbox wasn’t overflowing. Two envelopes lay inside, one a bill, the other blank except for my address typed on the outside. Fan mail.

  Back inside, I mixed myself a Jack Daniel’s and Sun-Drop and took my mail and a book on criminal pathology out onto the deck. Sett
ling into a rocking chair, I set everything but my drink on a small glass table and gazed down to the water. My backyard is narrow, and the woods flourish a quarter mile on either side, keeping my home of ten years in isolation from my closest neighbors. Spring had not come this year until mid-April, so the last of the pink and white dogwood blossoms still specked the variably green interior of the surrounding forest. Bright grass ran down to a weathered gray pier at the water’s edge, where an ancient weeping willow sagged over the bank, the tips of its branches dabbling in the surface of the water.

  The lake is more than a mile wide where it touches my property, making houses on the opposite shore visible only in winter, when the blanket of leaves has been stripped from the trees. So now, in the thick of spring, branches thriving with baby greens and yellows, the lake was mine alone, and I felt like the only living soul for miles around.

  I put my glass down half-empty and opened the first envelope. As expected, I found a bill from the phone company, and I scrutinized the lengthy list of calls. When I’d finished, I set it down and lifted the lighter envelope. There was no stamp, which I thought strange, and upon slicing it open, I extracted a single piece of white paper and unfolded it. In the center of the page, one paragraph had been typed in black ink: