When the Australian Mystery Writers’ Society invited me to their crime-writing festival aboard the Ghan, the famous train between Darwin and Adelaide, I was hoping for some inspiration for my second book. Fiction, this time: I needed a break from real people killing each other. Obviously, that didn’t pan out.
The program is a who’s who of crime writing royalty:
the debut writer (me!)
the forensic science writer
the blockbuster writer
the legal thriller writer
the literary writer
the psychological suspense writer
…
When the Australian Mystery Writers’ Society invited me to their crime-writing festival aboard the Ghan, the famous train between Darwin and Adelaide, I was hoping for some inspiration for my second book. Fiction, this time: I needed a break from real people killing each other. Obviously, that didn’t pan out.
The program is a who’s who of crime writing royalty:
the debut writer (me!)
the forensic science writer
the blockbuster writer
the legal thriller writer
the literary writer
the psychological suspense writer
But when one of us is murdered, the remaining authors quickly turn into five detectives. Together, we should know how to solve a crime.
Of course, we should also know how to commit one.
How can you find a killer when all the suspects know how to get away with murder?
Another fun little romp through 4th-wall-breaking narration as we make our way through another murder mystery. Knocked this one down just a little due to Ernest having such a weirdly hard time listening to his girlfriend and muddling things up.
I'm not going to pretend that I didn't wonder if the dreaded "second book syndrome" would appear with Benjamin Stevenson's EVERYONE ON THIS TRAIN IS A SUSPECT.