New DEEP SIX Review From the Midwest Book Review

DS 300X458-72

Ex-professional baseball player Jake Longly adamantly refuses to work for his father, wanting no part of Ray’s PI world. He prefers to hang out at his beachfront bar and chase bikinis along the sugary beaches of Gulf Shores, Alabama. But Ray could be persuasive, so Jake finds himself staking out the home of wealthy Barbara Plummer, a suspected adulteress. The mission seems simple enough―hang around, take a few pictures, sip a little bourbon. Except Barbara gets herself murdered right under Jake’s nose.

When Jake launches into an investigation of his target’s homicide, he quickly runs afoul of Ukrainian mobster Victor Borkov. Aided by his new girlfriend Nicole Jemison and Tommy “Pancake” Jeffers, his behemoth employee with crazy computer skills, Jake tries to peel away the layers of the crime. The deeper the intrepid trio delves, the more murders start to pile up, leading them to Borkov’s massive yacht — where they just might be deep-sixed.

In “Deep Six”, author D. P. Lyle has once again written a consistently compelling novel that will riveting his reader’s total attention from beginning to end. This is the stuff from which block-buster movies are made! While unreservedly recommended for community library Mystery/Thriller Fiction collections, it should be noted for personal reading list that “Deep Six” is also available in a Kindle edition ($9.99).


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Posted by on September 13, 2016 in Writing


Crime and Science Radio: Crime Scenes, Criminalistics, and the Cutting Edge

Crime and Science Radio: Crime Scenes, Criminalistics, and the Cutting Edge in Los Angeles: An Interview with Former LASD Criminalist Professor Donald Johnson of California State University, Los Angeles

BIO: Professor Donald James Johnson is an expert on criminalistics, with emphasis on crime scene investigation and reconstruction (homicides and sexual assaults), and forensic biology. His research interests include the application of new technologies to the field of criminalistics. He was formerly a senior criminalist at the Los Angeles County Sheriff’s Department, where he was involved in the scientific investigation of violent crimes.

NOTE: This show was recorded live at the MWA-LA Chapter meeting in Los Angels, CA


Link will go live Saturday 9-10-16 at 10 a.m. Pacific


California Forensic Science Institute:

School of Criminal Justice and Criminalistics at CSULA:

CSULA Masters in Criminalistics

Los Angeles County Sheriff’s Department Scientific Services video:

Los Angeles County Sheriff’s Department:

American Academy of Forensic Sciences


The Dread Line—A New Novel From Edgar Winner Bruce DeSilva

dread line

In “The Dread Line,” the fifth novel in Bruce DeSilva’s Edgar Award-winning series of crime novels, Liam Mulligan is piecing a new life together after getting fired from his investigative reporting newspaper job.  He’s getting some part-time work with his friend McCracken’s detective agency, picking up beer money by freelancing for a local news website, and looking after his semi-retired mobster-friend’s bookmaking business.

But Mulligan still manages to find trouble. He’s feuding with a cat that keeps leaving its kills on his porch. He’s obsessed with a baffling jewelry heist. And he’s enraged that someone in town is torturing animals. All this keeps distracting him from a big case that needs his attention. The New England Patriots, shaken by murder charges against their superstar tight end, have hired Mulligan and McCracken to investigate the background of a college athlete they are thinking of drafting. At first, the job seems routine, but as soon as they start asking questions, they get push-back. The player, it seems, has something to hide – and someone is willing to kill to make sure it remains secret.

Release date is 9-6-16 and the book can be purchased here:


DeSilva 1

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Posted by on September 5, 2016 in Writing


Katherine Ramsland: What if Jack the Ripper Lived with You?

It seems that after many disturbing crimes, the family, friends, or neighbors, in shock at what happened, often say: “But he seemed so nice. So normal. We had no idea.”

Happens all the time.

My friend Katherine Ramsland addresses this in an excellent new blog post in Shadow Boxing on the Psychology Today site.




What if Jack the Ripper Lived with You? by Dr, Katherine Ramsland

An early Ripper tale depicts the role of denial in reframing the obvious.

I’ve long known about an early fictional story based on the murders attributed to Jack the Ripper, but only recently read it. The Lodger, by Marie Belloc Lowndes, was published as a short story in January 1911 in McClure’s magazine. Later, she lengthened it into a novella that focused on the female landlady. Alfred Hitchcock changed it somewhat to turn it into a film.

Reportedly, Lowndes was inspired by an anecdote she heard at a dinner party about an elderly couple who were certain that Jack the Ripper had lodged with them around the time of the murders late in 1888. During the Ripper spree, Lowndes had been a young aspiring writer. Although she was in Paris, not London, at the time, she followed the sensational news coverage. Years later, she used the unique context to write a story that drew out gender and class issues in London society. She also shows a keen eye for subtle psychological twists.

The plot is basic: The Buntings, an aging couple with financial problems, are overjoyed when a single man arrives and decides to rent several rooms. Without this stroke of good luck, they would have starved. The lodger, Mr. Sleuth, is an odd duck, but Mrs. Bunting can overlook this as long as he pays and doesn’t cause trouble. Her accommodating attitude foreshadows more dramatic allowances to come.

Mrs. Bunting attends to Sleuth, while her husband spends his time reading newspapers, especially when stories pop up about “The Avenger,” a Ripperesque killer of alcoholic women. Mr. Bunting has a friend on the police force, so he gets behind-the-scenes details. This also gives the author a chance to describe Scotland Yard’s Black Museum, founded in 1875.

Criminological museums popped up in several large cities during the late nineteenth century. Objects and pictures were exhibited to showcase theories about crime and its perpetrators. Into these museums went weapons, poisons, blood samples, fingerprints, hangman’s nooses, morgue photos, crime reconstructions, handwriting samples, police memorabilia, and even human remains.

Mrs. Bunting despises her husband’s obsession with the unsolved Avenger murders, but she begins to suspect that their lodger might be the guy. This is where the story’s genius lies. The more she discovers, the more she covers for him. She even ventures out to a coroner’s inquest – something only vulgar people did – to discover what the police actually know. (Great period detail!)

Mrs. Bunting knows the lodger has a satchel but she cannot find it when she cleans his rooms. She spots red liquid seeping from a locked cabinet, but accepts his hasty and implausible explanation. She begins to act in uncharacteristic ways, including lying to her husband. Each time she discovers something that implicates Mr. Sleuth as a killer, she tones it down.

In part, she needs to feel safe in her own home, and in part, she needs the money. If he’s arrested, she faces poverty.

In this tale you get some early criminal profiling (a “mission killer”), and even a glimpse of Madame Tussaud’s famous wax museum. But most interesting is the way Lowndes so subtly shows how anyone might accommodate the behavior of someone later unmasked as a serial killer.

I hear this question all the time. People just cannot believe that in the home of a serial killer there might be innocent parties. But it happens. Even if certain items or behaviors should seem sinister, denial is a powerful mechanism – especially when a personal investment in seeing things in a more flattering light is strong.

The best expression I’ve seen is in Lionel Dahmer’s memoir about his son, Jeffrey. When Jeff lived in his grandmother’s basement, she complained to Lionel twice about disgusting odors. Jeff had an innocent explanation: he experimented with chemicals on chicken parts from a grocery store. Lionel found a nasty-smelling liquid near the garbage cans that he thought was ordinary meat juice. Why would he have concluded that it was human blood?

“I allowed myself to believe Jeff,” Lionel mused in A Father’s Story, “to accept all his answers regardless of how implausible they might seem…. More than anything, I allowed myself to believe that there was a line in Jeff, a line he wouldn’t cross…  My life became an exercise in avoidance and denial.”

He accepted a stolen mannequin as a “prank”, a .357 Magnum as a “target pistol,” a charge of child molestation as an “accident,” and the request for a freezer as a responsible attempt to be economical. Who would have thought it was for dismembered body parts?

The Lodger sheds no light on the Ripper’s identity, but it does portray what can happen when bias and need infect our perception and beliefs.

Visit the original post:

And check out Katherine’s recent interview on Crime and Science Radio:




Southern Authors Expo at the Huntsville/Madison County Public Library

It you are in the Huntsville, AL area on Saturday, September 10th drop by the Southern Authors Expo at the Huntsville/Madison County Public Library.

I’ll be speaking at 2 p.m.: “Storytelling: A Uniquely Human Endeavor”



Local Authors Shine at Southern Authors Expo

Submitted by lmcphail on August 1, 2016

Come to the Downtown Huntsville Library on Saturday, Sept. 10 from 10 a.m. to 4 p.m. for the Southern Authors Expo. The library will be filled to the gills that day with local and regional authors ready to share their works with you. Huntsville is already home to a few notable authors…maybe you’ll meet the next Homer Hickam or Ilsa Bick!

The Southern Authors Expo offers the opportunity to connect authors and readers and for aspiring authors to meet others like themselves. The Expo also includes a writers room where writers can receive critiques and help with their first chapters, a readers room where authors will read from their texts in fifteen minute increments, and speakers on the hour every hour from 10 a.m. to 3 p.m.

Aspiring writers are encouraged to bring in ten pages and receive notes and critiques from editors.

Hot Box and Sugar Belle Bakery food trucks will be available for lunch in the parking lot from 11 a.m. to 2 p.m.

The Southern Authors Expo is free to attend and open to the public. Authors will have copies of their books for purchase. Support our homegrown talent at the Expo!



10 a.m.         Ann B. Ross
11 a.m.         Les Johnson
12 p.m.         Michael Guillebeau
1 p.m.           Christy Jordan
2 p.m.           D. P. Lyle
3 p.m.           Melanie Dickerson

2nd Floor Events Room:

10 a.m.         Alex White
11 a.m.         Robert Bailey
12 p.m.         Pamela Hearon
1 p.m.           Sarah Henson
2 p.m.           Ann-Marie Martin
3 p.m.           Ramona Hyman

Readers Nook

10:00: Cathy Knowles
10:20: Toya Poplar
10:40: Amanda Orneck
11:00: Susan Spalding
11:20: Sasha Reynold-Neu
11:40: Daco Auffenorde
12:00: Margaret Vann
12:20: Mack Vann
12:40: Bert Carson
13:00: Joel Cobbs
13:20: Jamie Marchant
13:40: Cathryn Buse
14:00: Christina Carson
14:20: Frank Chase Jr
14:40: Ethan Fossett
15:00: Lana Austin
15:20: Hilda Lee
15:40: Debbie Esslinger

Registered Authors

Ashford, Joyce Ann
Auffenorde, Daco
Austin, Lana
Bailey, Robert
Baldwin, Mary
Barnes and Noble
Blessyn, Yura
Buse, Cathryn
Callison, Maria
Carnegie Writers
Carson, Christina & Bert
Cavanaugh, Mary Pulles
Chase, Frank Jr.
Chess, Kristina
Cobbs, Joel
Cole, Annie
Davis, Charles
Dickerson, Melanie
Distler, Dixie
Duncan, Victoria
Esslinger, Deborah
Fossett, Ethan
Gardner, Bonnie
Garrett, Shirley
Gilbert, Virginia
Goldstein, Deborah
Guillebeau, Micheal
Hearon, Pamela
Hensley, Ray
Henson, Sarah
Higginbotham, K.M.
Hilton, Eloisa
Hilton, Eloisa
Hyman, Ramona
Jacks, Lauralee
Jeter, John Sims
Johnson, Arloo
Johnson, Les
Jordan, Christy
Kerr, Kimberly
Kingsley, Stacy
Knowles, Catherine
Larson, Susan
Lee, Hilda
Lewis, Marlena
Ligon, Philip
Lyle, D.P.
Lynch, Lear
Lynne, Pepper
Mann, Angela
Marchant, Jamie
Martin, Ann-Marie
McPhail, Susan
Moon, Virgil C
Orneck, Amanda
Peel, Jennifer
Pociask, Anna
Poplar, Toya
Reynolds-Neu, Sasha
Rotstein, Robert
Satterwhite, Rob
Simpson, Micheal
Soden, Nina
Spalding, Susan
Sparkman, Pamela
Suddeth, Vickie
Thaler, Lynn
Trigg, Patsy
Vann, Mack
Vann, Margaret
Vaughn, Otha H Jr.
Vowell, Judd
White, Alex
Wills, Glenn
Zorbino, Shannon

Library Website:

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Posted by on August 29, 2016 in Uncategorized


Guest Blogger: Anne Trager: Alchemy 101—Can You Make Your Own Gold?

Alchemy 101—Can You Make Your Own Gold?

Anne Trager, translator
The Lafayette Sword by Eric Giacometti and Jacques Ravenne

Can you actually make your own gold? I uncovered the truth recently while working on a fun thriller by Eric Giacometti and Jacques Ravenne called The Lafayette Sword. The plot has gold fever, Freemasonry, murders, and the quest for a stolen, priceless sword. It also has alchemy. It’s fiction, but to write it, the authors did a lot of research, and to translate it, so did I.

What exactly is alchemy?

Alchemy dates back four millennia, spans three continents (China, India and Europe), and includes a lot of symbolic mumbo-jumbo. But in short, it was part science, part magic.

Medieval European alchemy set out to make a substance called the philosopher’s stone—it was not actually a stone, but similar to wax in consistency. It was supposed to transform base metals into gold. Perfect for the greedy and power hungry, you may think. In fact, alchemy was more than a quest for a money-machine. It was also a symbolic journey of self-realization and the precursor to chemistry.

Magnum Opus

At the time, people thought everything was made up of fire, air, water and earth. If a common metal like lead was made of these elements, then gold was too. Thus, in theory, one could be transformed into the other.

The alchemical world view also included the idea of progression or maturation. Gold was considered the most mature metal because it had a perfect balance of these four elements. In some traditions, it also symbolized the most advanced stage in a person’s spiritual refinement. The transmutation of lead into gold was like the transmutation of the physical body into a higher energy—that is, becoming immortal.

The key was in the philosopher’s stone, which not only transformed metals, but also had healing powers, and was an essential ingredient in the elixir of life.

So, the alchemical Great Work, or Magnum Opus, was the process of working with the prima materia to create the philosopher’s stone. It ultimately led to gold, a perfect body and soul, and enlightenment—an enticing promise.


Not so fast. As an article in Scientific American states,

“Alchemists have often been dismissed as pseudoscientific charlatans but in many ways they paved the way for modern chemistry and medicine. The alchemists of the 16th and 17th centuries developed new experimental techniques, medicines and other chemical concoctions, such as pigments. And many of them ‘were amazingly good experimentalists,’ says Lawrence Principe, a chemist and science historian at Johns Hopkins University. ‘Any modern professor of chemistry today would be more than happy to hire some of these guys as lab techs.’ The alchemists counted among their number Irish-born scientist Robert Boyle, credited as one of the founders of modern chemistry; pioneering Swiss-born physician Paracelsus; and English physicist Isaac Newton.”

Isaac Newton, who was a Freemason and practiced alchemy throughout his life, even played an important role in the gold market. In 1696, he was appointed to the Royal Mint. At the time coin counterfeiting was rampant. He managed to recall all the coins in circulation, manufacture and issue new secure coinage and introduce the gold standard. Go Isaac!

Perhaps the most famous alchemist of all times was Nicolas Flamel, who figures in The Lafayette Sword, as readers follow his quest for the philosopher’s stone. The legend around him grew during the seventeenth century, when alchemy was all the rage, and continues to this day. He’s quoted in Victor Hugo’s Hunchback of Notre Dame, he figures in Harry Potter and the Philosopher’s Stone, he’s mentioned in The Da Vinci Code. (Now, that’s an odd combination of titles to have in one sentence.)

Yes, you can

Today alchemy is actually possible. We have the technology, and it’s been done. Nobel laureate Glenn Seaborg tranmuted tiny quantities of bismuth into gold in 1980. What you need, again according to Scientific American is: “a particle accelerator, a vast supply of energy and an extremely low expectation of how much gold you will end up with.” The current consensus is that it would cost way too much (a quadrillion dollars per ounce) to be worth it.

Find out more

¥ For an in-depth examination of gold from antiquity to modern times, read Peter Bernstein’s The Power of Gold: The History of an Obsession.

¥ The World Gold Council,, provides information about current prices, mining, supply and demand and research.

¥ For more about gold market manipulation, and the inspiration for the worldwide gold conspiracy in The Lafayette Sword: Gold Anti-trust Action Committee

¥ On the science of turning lead into gold:

¥ More on Newton: Newton and the Counterfeiter by Thomas Levenson

¥ More on alchemy:

Gold. Obsession. Secrets.


Eric Giacometti and Jacques Ravenne rank at the top of France’s best-selling thriller writers list. They owe their international renown to their series about the Freemason Inspector Antoine Marcas, which made its U.S. debut last year with Shadow Ritual. Now, The Lafayette Sword is available in English.

Following the murder of a Freemason brother, Antoine Marcas uncovers unsettling truths about gold and its power to fascinate and corrupt. A priceless sword is stolen and deaths ensue setting the Freemason detective on a case of Masons turned bad. A clue points to mysteries and conspiracy about elusive pure gold, launching a frantic, deadly race between two symbolic places—the Statue of Liberty and the Eiffel Tower. A captivating plot weaves alchemy and the Middle Ages into a modern-day thriller.

Web page:

Praise for the series

•“Vivid characters, evocative international settings, and a history darker than midnight. I highly recommend!” —Douglas Preston, #1 bestselling coauthor of the famed Pendergast series of novel

•“A race against the clock.” —Le Figaro

•“A superbly esoteric blend of history and adventure.” —Glenn Cooper, internationally bestselling thriller writer

•“Giacometti and Ravenne’s series kickoff has abundant visceral appeal.” —Kirkus Reviews

•“Brilliantly plotted and well researched.” —Le Parisien

The authors


Eric Giacometti studied biochemistry and genetics in Toulouse, France, before going into journalism. Then, at the height of his career as an investigative reporter, Eric Giacometti was contaminated by the thriller virus. His life took on another dimension: journalist by day, writer by night. In 2013, he left his full-time reporting job with a French daily newspaper to work freelance and write. He teaches journalism and writing.

Jacques Ravenne is a high-level French Freemason. He is also a literary critic, known for his work on the writers Paul Valéry, Yves Bonnefoy, Gérard de Nerval and Stéphane Mallarmé. In addition to his academic work, he was also a local elected official for a number of years, and contributes regularly to Freemason publications. He discovered the Marquis de Sade’s château in 1985, beginning a

long fascination with the man, which has resulted in an anthology of his correspondence and a novel based on Sade’s life.

Book Info:

Anne Trager
Le French Book
French books you’ll love in English!


Anne Trager is the founder of Le French Book, a publisher dedicated to hand-picking, translating and publishing top crime fiction from Europe. Their recent release The Lafayette Sword is by Eric Giacometti and Jacques Ravenne, who rank at the top of France’s best-selling thriller writers list. They owe their international renown (over 2 million copies sold) to their series about the Freemason Inspector Antoine Marcas, which made its U.S. debut last year with Shadow Ritual. Now, The Lafayette Sword is available in English. Following the murder of a Freemason brother, Antoine Marcas uncovers unsettling truths about gold and its power to fascinate and corrupt in a captivating plot that weaves alchemy and the Middle Ages in to a modern-day thriller. Find out more here. Or read an extended sneak preview here.


Guest Blogger: Bruce DeSilva: How I Made the Transition From Journalist to Crime Novelist

DeSilva 1


A lot of people think that daily journalism must be a great training ground for novelists. I tell them that, for the most part, it is not.

As someone who worked as a news reporter and editor for forty years before writing crime novels, I was never comfortable with the bad writing habits and journalistic traditions that make most news writing unnecessarily turgid and tedious. In fact, I spent my career at The Providence Journal, The Hartford Courant and The Associated Press rebelling against those traditions and the editors who enforce them.

I wanted to write about real flesh-and-blood characters, but most news stories are populated by stick figures identified by little more than name, age and job title. I wanted to set my stories in real places, but most news stories use street addresses in lieu of a sense of place. I wanted to write yarns with beginnings, middles and ends, but most news stories are “articles” that insert information in order of its importance and then dribble pitifully to an end.

But the biggest fault I find with most news reports is that they are written in “journalese,” a standard journalistic voice that is stiffly formal, humorless, devoid of personality, and filled with bizarre sentence structures found nowhere else in English.

The best way to understand journalism’s voice problem is to take a fine piece of writing that we are all familiar with and imagine what it would look like if a journalist had written it.

Consider the first sentence of the King James version of the Bible: “In the beginning, God created the Heaven and the Earth.”

Nice sentence. It’s simple, clear, and tells a big story in very few words.  But if the typical journalist had written it, it would have come out something like this:

“In a series of surprise moves intended to bring all of creation into existence out of what leading scientists call the ‘singularity,’ before  energy, matter or even time existed, God yesterday said ‘Let there be light,’ according to reliable sources close to the project.”

If a journalist had written the Bible, I doubt anyone would have read it.

Voice, after all, is critical to the written word. It’s the reason we have favorite writers. It’s not what a writer has to say but how he or she says it that brings readers back story after story or book after book. It works the same way in books as it does in life. Suppose you are at a party where someone is telling a story. It’s not the story that makes people crowd around to listen. It’s the storyteller. If someone else were talking, nobody would pay attention.

The best writers know that readers don’t read with their eyes. They really read with their ears. They hear the writer talking to them from the page, and what that voice sounds like is critical. The late great Robert B. Parker once told me that the main reason readers loved his Spenser and Jesse Stone novels is the same reason they love certain songs. They like the way they sound.

One of the reasons some fine journalists leave the profession to become novelists is that they want to be free to write well; and some, such as Michael Connelly and Ace Atkins, succeed spectacularly. But many former journalists who aspire to write novels tell me that they struggle because they find the transition from “journalese” to good writing difficult.

Me? I can’t begin to write a novel until I fashion a paragraph that gets the voice just right. Everything flows from that.

When I began The Dread Line, the new novel in my Edgar Award-winning series featuring a former investigative reporter in Providence, R.I., the paragraph that did the trick was this:

“He was a serial killer, but I didn’t hold that against him. It was just his nature. The way he killed irked me some. His victims were all missing their heads. But what I couldn’t abide was his habit of using my porch as a dump site.”

The killer turns out to be a feral tomcat that was leaving its daily kills on Mulligan’s porch, but that paragraph had the voice and the hard-boiled mood, that I was seeking. With that, I was off and running.

As a journalist, I was one of the lucky ones. Unlike many reporters burdened with editors who rigidly enforce harmful journalism traditions, I was blessed with a number of bosses who encouraged me to be a storyteller—and even to teach my colleagues how to do it.

And unlike most journalists, I spent much of my career writing and editing local, national, and international investigative stories, developing skills that I could pass on to the hero of my hard-boiled crime novels.

During my four decades in the news business, I also came to know hundreds of cops and FBI agents, lawyers and judges, mobsters and corrupt politicians, con artists and drug dealers, hitmen and gangbangers, prostitutes and snitches—experiences I draw on to create characters and plots.

But the main lesson I carried with me when I retired from The Associated Press seven years ago to write crime novels was this:  Writing is a job. You do it every say, whether you feel like it or not. You do not wait for inspiration. You do not dither hoping that your muse will turn up. You put your butt in your desk chair every day and write.

Bruce DeSilva grew up in a parochial Massachusetts mill town where metaphors and alliteration were always in short supply. Nevertheless, his crime fiction has won the Edgar and Macavity Awards; been listed as a finalist for the Shamus, Anthony, and Barry Awards; and been published in ten foreign languages. His short stories have appeared in Akashic Press’s noir anthologies, and his book reviews for The Associated Press appear in hundreds of publications. Previously, he was a journalist for 40 years, writing and editing stories that won nearly every journalism prize including the Pulitzer. His fifth novel, The Dread Line, has just been published in hardcover and e-book editions by Forge and can be ordered here:


dread line


Posted by on August 22, 2016 in Uncategorized

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