A GUIDE TO THE NATALIE LOCKHART MYSTERY SERIES

As a little girl, Natalie's dream was to become a police officer like her father, Joey Lockhart. Now she's a rookie detective in charge of a cold case called The Missing Nine.

Her life is everything she'd ever hoped it would be. But then her boyfriend of three years dumps her, and she stumbles across the brutal stabbing murder of her sister's best friend. Her life has just flipped over.

As Natalie uses her intuitive powers and investigative skills to solve a string of bizarre murders and disappearances, she uncovers much darker forces at work behind these seemingly unrelated tragedies.

The town of Burning Lake, New York, holds a grim secret. In 1712, three innocent young women were executed as witches. Now the commercial district is full of New Age and occult boutiques selling everything from crystals to Ouija boards, and the annual Halloween celebration attracts tourists from around the world. It also attracts evil.

There’s something wicked in Burning Lake…

Don't miss this thrilling series involving black magic, forbidden love, human frailty, betrayal, and a string of horrific serial killings deep in the woods of an idyllic upstate town, where Natalie risks everything to save the ones she loves.

From “The Stuntman’s Daughter”

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"We passed the joint around, and as it got easier to inhale, I started noticing how the leaves seemed to be falling in slow-motion from the trees. I laughed with my mouth full of smoke. I got all caught up in the way my dark hair rested against my shoulder, like a photographic negative of snow blowing through an open door. My eyes fixed on my friend’s necklace, something I hadn’t noticed before—a tiny gold chain with a gold word at the base of her neck. Aires, gold lassoes for letters, riding her pulse. My thoughts felt about thumb-sized."

THE LAKE

When I was a little girl, my parents rented a lakeside cottage. The owners would be out of town for a year, and they needed someone to keep an eye on their property, so they rented it to us cheap. My sisters and I were excited about living next to a lake with tiny islands to explore.

Down the hill from our house was a small beach with a private dock. My father bought an old rowboat and patched up the holes in the hull, while painted turtles sunned themselves on the shore and king snakes curled in the grass like warm inner tubes.

That summer, I dangled my feet over the end of the wooden dock and searched the water for sunfish or bluegills. Sometimes I’d catch a glint of something bigger, an eel or a whiskery trout gliding past my toes and then disappearing into darkness. As much as I loved it there, I was secretly terrified of the cold blue depths of the lake. That summer, I read a paperback mystery about a camp counselor who was killed and dumped in a lake, and I couldn’t get it out of my head.

I refused to go swimming unless my father was watching over us. I hated that I couldn’t see the bottom. Whenever I walked barefoot into the murky water, I could feel my toes squishing through matted patches of pondweed, while slippery quillwort tangled around my ankles. Living things lurked in the slimy undergrowth—tadpoles, eels, snails, fish, hermit crabs. I dreaded stepping on something sharp and cutting my foot. Worst of all, I imagined that one of these days, a skeletal hand would reach out of the primordial ooze and pull me under.

I thought about dead bodies a lot, probably more than a little girl should. One day when I was playing on the dock, an old knotted plastic bag drifted ashore. Inside was a waterlogged napkin from a local diner, a pink barrette, a bottle of crimson nail polish, and a laminated nametag that said “Rita.” I waited around all afternoon, but nothing else washed ashore. No dead bodies, no waitresses named Rita.

I didn’t tell anyone what I’d found. Instead I hid the nametag and other stuff in a shoebox under my bed and invented a story about how Rita came to rest at the cold still bottom of the lake.

In my story, there was a jealous man—a line cook at the diner—who’d fallen in love with Rita and her crimson nails, but then one night after closing, after she rejected his advances, he flew into a rage and killed her. He got rid of the body by weighing it down with a cement block and rowing out to the middle of the lake, where he pushed her overboard. It was gruesome, and I loved it.

In my imagination, Rita sank into the cold, still bottom of the lake and remained there in her watery grave, while far above the seasons passed. In the summer, the sun blazed and the wind danced on the surface of the water, but not a single beam or ripple reached down to the depths of the lake. In the fall, lightning crashed and thunderstorms riled the choppy waves, but the bottom of the lake remained dark, inert and silent.

I wasn’t sure how my story would end.

But then, real life provided one possibility.

It was early September when a terrifyingly loud noise shook me and my sisters out of bed. We huddled together in the living room, while my mother explained, “The dam broke. That sound was the lake whooshing away. We’re lucky it happened in the middle of the night when nobody was swimming in it.” She shuddered to think about her three daughters getting sucked away.

Since we were on high ground, we were safe from the flood waters, but the people who lived below us were almost dragged away. Trees crashed into roofs and smashed through windows, and muddy water flooded basements.

Fortunately, no one was killed.

The next day, my sisters and I hurried down the hill to see what was left of the lake, but the whole thing was gone. Our little dock extended out into nothing, the drop deep into water-speckled mud, where small fish splashed around in the remaining puddles.

It was sunny out—a beautiful September day. We climbed down the wooden ladder onto the lake bottom, where the mudflats bore our weight like sandbars at the beach. Everywhere you looked, the mud was littered with trash—fishing poles, plastic buckets, flip-flops, boards with rusty nails sticking out. Dead fish floated belly-up, while a few still-living fish twitched their fins and snapped their gills, trying to wriggle into the deeper pools. Everything smelled rotten in the strong sun.

My sisters and I explored for hours. We found a wine bottle filled with mud, a diving fin, a battered capsized rowboat, a golf club, and more than a few rotten oars. I looked around for Rita’s body. My feverish imagination had convinced me she would be there, half-buried in the muck, her long silky hair turned to seaweed, her waitress uniform the color of algae, her skeletal waist tied to a cement block by a length of water-logged rope. Needless to say, I didn’t find any dead bodies that day.

For weeks afterwards, I checked the news, but there were no reports of any Rita’s being retrieved from the lake. I suppose I should’ve been relieved, but that didn’t explain the plastic bag and its contents that had floated toward me like a ghostly plea for help. I was a little girl with a big imagination, and I needed an ending for my story. So I figured the lake must’ve swallowed her up completely. It had claimed her as its own.

“I would venture to guess that Anonymous, who wrote so many poems without signing them, was often a woman.” — Virginia Woolf

LOST IN TRANSLATION

The German “The Breathtaker” is “Zahn um Zahn” which means “Tooth for Tooth.”

The Dutch “Darkness Peering” is “Onder de Huid” which means “Under the Skin.”

The French “The Breathtaker” is “Le Tueur des Tornades” which means “The Killer of Tornadoes.”

The German “Darkness Peering” is “Der Tod in Deinem Blut” which means “The Death in Your Blood.”

The Italian “The Breathtaker” is “Respiro” which means “Breath.”

The Italian “Darkness Peering” is “Tenebre” which means “Darkness.”

Another German “The Breathtaker” is “Sturmfieber” which means “Storm Fever.”

The Polish “A Breath after Drowning” is “Głód Zabijania” which means “The Hunger For Killing.”

The Spanish “A Breath after Drowning” is “El Aliento de los ahogados” which means “Breath of the Drowned”

The Italian “A Breath after Drowning” is “Un Respiro Nell’Acqua” which means “A Breath In Water.”

WHAT SCARES YOU?

I was interviewed by Agatha award-winning author Tara Lakowsky about things that scare me. Here are my answers.

Q: What are your phobias?

A: Okay, well, after getting a bad case of food poisoning, I developed a serious phobia about raw chicken. Trust me, don’t Google it. It’ll keep you up at night.

Q: Do you have any horror movie deal breakers?

A: Yes, whenever there’s a hideous, homicidal monster out there, the characters shouldn’t split up and go looking for their lost cat.

Q: Is there any fear you’ve overcome in your life? How has that changed you?

A: I used to be afraid of failure, but after countless misadventures and stumbles and pratfalls, I accept them as part of the path to success.

Q: Do you believe in ghosts?

A: Yes, and not just because I grew up in a haunted house. My brother and I used to play with a Ouija board when we were little, and I’d never do it again. It’s a long story, but… disembodied voices, footsteps in the attic, strange goings on. I’m convinced there was at least one ghost in that centuries-old farmhouse.

Q: What’s something that most people are afraid of that you are not?

A: I’m not afraid of spiders or snakes, but I have an antagonistic relationship with wasps.

Q: What scares you about the writing process?

A: That whatever method works one day may not achieve the same results the next.

Q: What’s the scariest book you’ve ever read?

A: Since you didn’t say the best book, you said the scariest, I nominate “The Amityville Horror” by Jay Anson. This big fat paperback scared the hell out of me, even though it was terribly written and full of exclamation points. What scared me so much was that the book jacket said “Based on a true story” and I believed it. The exclamation points used throughout the book made the Lutz’s statements somehow even more believable!!! I mean, come on. There were flies on the window screen!!! There was a very foul smell!!! The previous tenant, Donald DeFeo, murdered his entire family in cold blood and blamed it on a red-eyed entity. I finally threw the book across the room because I couldn’t stomach one more exclamation point, but I occasionally think about those flies and the sulfuric smell and the creepy “imaginary” friend, Jody the pig. Sheesh.

Q: Do you like Halloween? What’s your favorite part?

A: I never particularly liked Halloween, because when I was about ten years old, my mother made my Halloween costume out old clothes, then draped crepe paper streamers around my head, and it was drizzling out, and the crepe paper bled all over me, and my face turned green. However, when I came up with the Natalie Lockhart series, I decided to place it in a town like Salem, Massachusetts, where the entire town profits off Halloween, and this was enormously fun for me, because who doesn’t want to read a mystery series about a detective who investigates a string of grisly murders in an idyllic community where three innocent women were executed for being witches in 1712 and forever haunt the place via myths and legends? I ask you?

Q: What’s scarier? Attics or basements?

A: That’s a tough one. Because in the house where I grew up, there was a creepy, thin-lipped, demented “presence” up in the narrow-staired, low-ceilinged, wasp-infested attic, but there was an even more sinister, moldy, joyless presence down in the colonial damp stone-walled basement. So it’s a toss up.

Q: What is your greatest fear?

A: Being misunderstood—which is why I became a writer.

THE SMELL OF ROTTEN APPLES

Writer’s rituals have always intrigued me. Stephen King starts his day by eating a piece of cheesecake. Charles Dickens combed his hair obsessively while he wrote. Victor Hugo wrote naked, wrapped in a blanket. James Joyce wrote “Finnegan’s Wake” on pieces of cardboard, using crayons. Truman Capote considered himself a “completely horizontal author” because he couldn’t write unless he was lying down.

My favorite writer’s ritual is Friedrich von Schiller’s. He was the pop star of his time, an 18th-century German poet and the author of Ode to Joy, which Beethoven set to music in the final movement of his Ninth Symphony.

Friedrich couldn’t write unless he smelled rotten apples. He hid the fruit in his desk drawer and let it go bad.  His wife was appalled by the sweet stench permeating his office, and even his friend Goethe thought it was messed up. But Schiller claimed the aroma heightened his creativity.

I decided to conduct an experiment and see if the smell of rotten apples would be a fruitful or futile contribution to my writing process. Here’s what happened:

Monday, April 2nd:

I buy two Cortland apples and place them in a drawer of my writing desk. I’m excited to try this. It feels like resurrecting a small, odd piece of history.

Wednesday, April 4th:

I open the drawer before I start writing. The apples smell slightly sweeter.

Thursday, April 5th:

Hm. No change. Same color. I smell Graham Crackers, maybe???

Sunday, April 8th:

It’s been a week and they’re still bright red. Still not rotten. I don’t know what they put in apples these days—chemicals to increase their shelf-life, for sure.

Wednesday, April 10th:

I decide these apples are no good, and throw them out. I’m buying new ones.

Thursday, April 11th:

I buy two Macintosh apples. See how this goes.

Friday, April 12th:

A faint woodsy smell from inside the drawer.

Sunday, April 14th:

A slight discoloration. A sweet, cidery tang. Now we’re talking.

Wednesday, April 17th:

This cloying fragrance pulls me east, back to my childhood… long-lost sunsets in late August when school is just over the horizon.

Friday, April 18th:

Nectar-y grainy smell. Down by the ocean, bulrushes, seagulls. Summers on the Cape.

Wednesday, April 19th:

I see brown spots on both apples. Are they shriveling? I might be imagining the shriveling.

Thursday, April 20th:

Okay, if nostalgia has a smell, then this is it—falling leaves, Halloween pumpkins, candy corn, picking apples with my family at the local orchard.

Tuesday, April 23rd:

Tart. Vaguely distracting. Maybe not Schiller-level rot yet. I don’t think this is it—but it’s the smell of playing outdoors. Dusty hot feet. Large hazy moons. Falling asleep with the windows open.  Barn owls hooting back and forth. Crickets.

Sunday, April 28th:

I see a pattern of bruised spots over both apples now.  Should I be worried about ants?

Monday, April 29th:

Here we go. Funky now, almost like tobacco.  Barn-y. Cidery. Reminiscent of hay dust, cow manure, and siloes of fermenting grains. Totally Schiller-esque.

Friday, May 4th:

When I open the drawer, I’m hit with a disturbing puckery smell. Officially offensive. Both apples have silver-dollar-sized mushy brown spots with fissures running through them. Like leftovers you’d find in a serial killer’s fridge. Fuzzy baloney-ish, black banana-y.

Saturday, May 5th:

I don’t want to open the drawer. I really don’t.

Monday, May 7th:

I open the drawer. Rancid pulpy smell. I try to imagine what Schiller found so inspiring about this, because it makes me want to throw up. And it’s spring. I don’t want to throw up The dogwoods are blooming.

Tuesday, May 8th:

I’m done with this I’m no longer intrigued. I throw the rotten apples away.

The Verdict:

I don’t like input when I write—I need the world to disappear. I wear earplugs to block out sound. I sit in a corner with no windows or sunlight. I don’t listen to music.

The smell of rotten apples was distracting. It only inspired me to clean out my desk drawer with disinfectant wipes.

Centuries later, few remember Friedrich von Schiller for Ode to Joy, but people like me remember him as the rotten-apple guy.

Too bad, because in Ode to Joy, he wrote this:

Joy, joy moves the wheels

In the universal time machine.

Flowers it calls forth from their buds.

Suns from the Firmament,

Spheres it moves far out in Space,

Where our telescopes cannot reach.

LITTLE WITCHES

When I was thirteen years old, I read Rosemary’s Baby and became interested in witchcraft. Before Goth was even a thing, I dressed in black from head-to-toe and wore blood-red lipstick. My transformation didn’t go unnoticed at school. The popular girls called me a freak, and a boy I’d had a crush on put a thumbtack on my chair.

But that only made me more interested in witches. I read The Crucible and The House of Seven Gables and proposed a family trip to Witch City. My parents agreed.

Our station wagon was a land yacht with plenty of leg room. In the back seat, my sisters and I fought about everything. Our fights were loud. In the front seat, my parents argued about mysterious things I didn’t understand. Their fights were whispered affairs, punctuated by long stretches of silence. My mother’s lips would tighten like a seam, and her eyes would grow glassy. She was like a helium balloon blown to the bursting point. Only she never burst.

This tension fueled our family trips, along with a large thermos of coffee. We’d stop at Denny’s, and while my sisters and I used the restrooms, my father would ask the waitress to refill the thermos and my mother would sneak a cigarette. Then us three kids would race across the parking lot back to the car, jostling and bickering, while dad settled in behind the wheel and mom buckled her seat belt. She’d pour him a cup of coffee from the thermos, and their hands would touch briefly, an uneasy truce having been declared in our absence.

We drove for hours through strange cities, past boarded-up warehouses and over train tracks. I loved these ghostly, once-bright places.

My father always did the speed limit, and sometimes other drivers would pass us, shouting obscenities and leaving us in the dust. Dad slouched behind the wheel, tall and handsome with undisciplined hair—but there was something slightly manic crawling behind his eyes. Because of those eyes, he could never blend in and disappear the way other people could. My father stood out like a sore thumb.

“It’s okay to be different,” he told me once.

But I knew that wasn’t true, because I was different, and it wasn’t okay.

***

I hated junior high. The eighth grade was torture. My handful of friends and I were outsiders. We struggled to fit in. I wanted to find a place where I belonged. In my heart of hearts, I was hoping that place would be Witch City.

We arrived in Salem, Massachusetts around ten in the morning. There wasn’t a cloud in the sky. I immediately fell in love with the ancient cemeteries, the Victorian storefronts and merchants dressed up like monsters. A police car drove past with a witch riding a broomstick painted on the door. I kicked up the orange leaves with my jet-black boots, wishing I lived here with the witches.

It was early November, but Halloween appeared to be a year round event. Rubber bats dangled from the ceiling of a magic store called Hocus Pocus. They had shrunken heads and Tarot cards, witch hats and Ouija boards. I bought some wearable vampire fangs.

At the Dairy Witch ice cream shop, a female ghoul served us our cones.

I asked her, “What’s it like to live here?”

She smiled and said with a British accent, “It’s hellish.”

I knew she was joking, but I went around town wearing my vampire fangs and saying, “It’s hellish,” in a fake British accent.

***

The Witch Museum looked like a haunted castle. The ticket-taker was dressed up like Hester Prynne from Nathaniel Hawthorne’s novel, The Scarlet Letter. The main event was a reenactment of the Witch Trials that took place in 1692. We sat inside a small spooky auditorium. Dozens of wax mannequins were staged in groups all around us, each representing a significant moment in that dark time of Salem’s history. A shiver shot through me as the house lights dimmed, a spotlight shone on two little Puritan girls, and a prerecorded voice came out of a loudspeaker.

In 1691, Betty Parris and Abigail Williams claimed to be tormented by witches. One day, the girls started to bark like dogs during one of their father’s sermons, and in the weeks that followed, they convulsed and writhed on the floor, foaming at the mouth. They shrieked at their parents, allegedly tortured day and night by invisible demons who bit them, pinched them and hit them with invisible sticks. The girls blamed three villagers for their ‘affliction by witchcraft,’ three poor women who weren’t in any position to defend themselves—a Caribbean servant girl, a skinny beggar and an elderly neighbor, all of whom insisted they were innocent.

It was nearly impossible to prove you weren’t a witch.

If you confessed, you were a witch.

If you denied it, you were still a witch.

And furthermore, the Bible instructed, “Thou shalt not suffer a witch to live.”

There were rumors of blood-soaked sacrifices and sex with the Devil, of moonlit orgies, haunted black dogs and a Devil’s book signed in blood.

Based on mass hysteria, 19 innocent citizens were executed in 1692.

Fourteen were woman, and five were men.

The youngest to be accused was five, and the oldest was 80.

All were blameless and sinless.

When the museum show was over, I came outside blinking in the sunshine. The town was a murderer. The town had murdered witches. Maybe I didn’t want to live there after all.

Brittle leaves crunched underfoot as we walked through a historic graveyard where some of the judges from the witch trials were buried. There were winged skull-and-crossbones and weed-choked angels hovering above old names obscured by moss.

“It’s hellish,” I whispered.

***

Later that afternoon, we found Gallows Hill, and I stood in the spot where the witches were hanged 300 years ago. It was a small rocky promontory overlooking a Walgreen’s pharmacy. Such an ordinary place. Rays of setting sun slanted through the conifers and birches, casting dying shadows across the pine-needled ground. Bridget Bishop was the first to go. A ladder was kicked out from under her as she cried out. I imagined her neck snapping and bit back the tears.

Where the witches were buried was anybody’s guess. Puritan belief didn’t allow them to be laid to rest on consecrated ground. Some say they were tossed in a shallow pit near the site, but the official location remains unknown to this day.

Who can forgive such ugliness?

Who can forgive the murder of innocents?

I was angry and confused. “So they killed nineteen people, and then they just forgave each other?” I asked my father.

“Forgiveness is a complex choice that evolves over time,” he said.

His answer didn’t satisfy me. How could you live in a town full of unresolved grudges going back hundreds of years? How did you forgive your neighbors for killing you?

There were more sites to see—Phillips House, Witch House, the Nautical Museum. All the townspeople I met that day were friendly and kind. They patiently explained their history to us with all its nuances. “We celebrate witches now,” a woman in a colonial dress said. “And try to warn others what can happen when mob mentality takes over. Evil won in 1692, but we’ve since admitted our guilt and honored the dead. We serve as an example. It’s part of our heritage.”

Those who got swept up in the hysteria later repented and recanted.

The girls who planted the seeds of suspicion later confessed to making it all up.

Descendants of the condemned received posthumous pardons and apologies. After centuries of speculation, a team of scholars verified the site where 19 people were hanged during the witch trials as Proctor’s Ledge, an area on the lower slop of Gallows Hill. A plaque was put up, commemorating the site.

The descendants of the accused, along with the descendants of their accusers, learned to live side by side with their shared tragic history. The families of those who were wronged suffered, but so did the families of those who were just dead wrong.

I figured that this shared suffering was how healing began.

I remember wandering around downtown Salem, surprised by its rampant commercialism. One image stayed with me for a long time afterwards—a town full of good people struggling to overcome their violent past, while their livelihood depended on the exploitative present.

It was part of the inspiration for my new mystery series, beginning with “Trace of Evil.”

By the time we headed back to the car, I was dragging my feet. My stomach felt queasy from too much junk food, but there was a deeper unease that I managed to take home with me that day.

As we headed west on I-90, my sisters slept beside me in the back seat and my parents spoke softly up front about their faltering marriage. They thought I was asleep. They didn’t think I was listening, but their discussion disturbed me deeply. I was worried about us. I feared for us.

My father heaved a sigh of resignation, flipped on the radio and searched for that smoky jazz station he loved so much. My mother kept her window open a crack so that she could flick her cigarette ashes into the night. I watched her tie a flowered kerchief around her head to keep the breeze from blowing her long hair across her face. I watched as she reached for my father’s hand on the wheel, and their fingers intertwined briefly.

I was greatly comforted by this.

Maybe this is how the people of Salem forgave each other—one small gesture at a time.

WITCH CITY

When I was a little girl, my family moved into a farmhouse in rural Connecticut where, according to legend, a witch had lived 150 years earlier.  The Old Witch of Millstone Road struck fear in the hearts of the neighborhood kids who attended the one-room schoolhouse next door.  A century and a half later, my sisters and I used to play hide-and-seek in that rundown schoolhouse full of dusty desks and fading textbooks. 

She wasn’t a real witch, of course, but our house was built on the original foundation of her colonial home, which gradually fell down around her and became uninhabitable, leaving only the basement with its uneven floors and sloping stone walls held together with mortar that crumbled when you touched it.  I hated that basement—there was an unappeasable loneliness down there.

Years later, my family took a trip to Salem, Massachusetts, and I remember wandering around “Witch City,” surprised by its casual blend of chilling history and rampant commercialism.  The spot where the accused witches were executed 300 years ago was located yards away from a Walgreens pharmacy.  I imagined their screams, and then I bought a broomstick keychain.  I ate too much candy and felt sick to my stomach, but there was a deeper unease I took home with me that day.

I’ve been wanting to write about this ever since.

A few years ago, I had a vivid dream about a young woman cleaning graffiti off her sister’s gravestone.  She became Natalie Lockhart—a rookie detective in Burning Lake, New York, a place very much like Salem, full of ordinary people doing ordinary things, where good people profit from a story of staggering injustice.

Trace of Evil follows Natalie as she investigates the murder of a popular high school teacher that has eerie ties to the death of her sister, Willow, who was killed twenty years ago.  As Natalie begins fitting the pieces together, she unearths an even darker story involving an obsession with black magic deep in the woods of this idyllic suburban community… but even she cannot predict the far-reaching consequences—for the victim, for the town of Burning Lake, and for herself.

WILDFLOWERS

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I collect old photographs of forgotten people.  Each one comes with a flawed face.  I love the mismatched smiles, the dejected eyes, the primly clasped hands.  The camera captures tiny insights like a time machine. 

We fear that our lives are insignificant. 

I grew up in a New England farmhouse that—I swear—was haunted.  The rooms breathed.  The foundation was made out of crumbling stones.  You could hear insects chewing into the windowsills.  The narrow attic stairs pitched upwards into darkness.  My sisters and I hurried past that awful door.  

We fear that our lives are meaningless. 

We were poor.  We took one bath a week.  We shared one hair-dryer.  We had one phone, nailed to the hallway wall, with a long cord that stretched around the corner and into the basement.  I would close the basement door behind me, sit on the top step, and tell my best friend my worst secret.

We doubt the wisdom of our choices. 

In the summer, we went barefoot.  We had a beautiful wildness.  We shrieked with laughter and slammed screen doors.  We competed to see who could hit the most chestnuts into the woods with a golf club.  We wore hand-me-downs.  We ran through the fields like heathens. We put wildflowers in our tangled hair.

Nobody has it all worked out. 

My father struggled to keep us afloat.  His car was always in the garage getting fixed.  My mother cut our hair in the kitchen.  She combed my bangs, then cut them straight across with a pair of scissors, like she was hemming curtains. 

We fumble along.

Here’s a picture of me.  My eyes are happy bright.  I look a little goofy.  I didn’t feel poor.

HOW MY BOOK CAME TOGETHER

Before I can sit down and write a 350-page novel, I need three things—a dream, a memory, and a true story that fascinates me. Only then can the alchemy begin.

1. The Dream:

Each one of my novels was inspired by a dream. Before I wrote “A Breath After Drowning,” I had a dream that my husband and I came home and couldn’t get our front door open. I slid the key into the lock but it wouldn’t turn. Inside, the phone was ringing off the hook, and I knew in my heart something horrible had happened. That dream was the seed that grew into my new novel. 

Dreams contain an underlying truth. What did this one mean? I was suddenly homeless. I’d lost my identity. An unknown force was threatening everything I held dear. I’d been locked out of my own home—this ignited my imagination, and I became obsessed with its literary implications.

2. The Memory:

My father was admitted to a psych ward after his first suicide attempt. I remember visiting him there when I was sixteen years old. The clocks in the waiting room told the wrong time, and the magazines were three years old. Dad shuffled toward us in his pajamas and bathrobe. He looked washed away. His eyes were faded. He talked to us as if he’d forgotten who we were. As if something alien had replaced him. This memory still haunts me, and it inspired the pivotal scene in “A Breath After Drowning” where, as a young girl, Kate visits her mother in the asylum.

3. The True Story:

The murder of Jessica Lunsford effected me deeply. She was a nine-year-old girl from Florida, who was murdered in 2005. Her body was found 150 yards from her home. She’d been buried alive. Her death was so tragic and cruel, it filled me with anger and sadness. I couldn’t imagine how her parents coped with such a loss, and so I gave their terrible pain to my main character. 

In my novel, “A Breath After Drowning,” child psychiatrist Kate Wolfe’s world comes crashing down when one of her young patients reveals things about Kate’s past that she shouldn’t know—things involving the murder of Kate’s sister sixteen years earlier.

In writing this book, I felt a powerful connection to Kate, a connection so strong it propelled the book forward. She took the dream, the memory, and the true story, and she put it on her shoulders—I followed.

DYSLEXIA

DYSLEXIA

Pre-school.

A three-year-old, screaming, and her stern-faced mother saying, “Use your words.  Find your words.” Where?  How?  A vortex of nano-particles choking my throat.  Holding my breath until I turned blue.

Elementary school.

A skinny dark-haired tomboy, scowling at the world. 

I couldn’t spell.  I inverted letters on the page.  Went became want.  Hole became howl. How are you? became Who are you? 

I struggled to read.  I trudged over to the big round reading table in a pissy mood.  All my friends could recite aloud, but when it came my turn, I was quickly overwhelmed by the hieroglyphics drifting across the page. 

My teacher would say, “Try again.”  Ugh.  I developed a stammer. 

My father told me not to worry—he’d struggled with reading once, too.  He showed me an illustrated book, and inspired, I wrote my own version of Alice in Wonderland.  Alice follwo’d the rabbit down a howl.  Bown, bown and bown she want.

Grade school.

Awkward and lost.  A wildness in my eyes.

Deathly afraid of failing in school, I finally learned how to read by falling in love with the characters in stories.  To this day, I can’t explain why or how, but suddenly I was reading everything I could get my hands on.  And my imagination soared.

I hated school, but what I really hated was confinement.  Dry lectures and big windows with perfect views of blue sky and green grass. 

My stomachaches sometimes fooled my mother, and I’d stay home and write.

Middle school.

Skinny, scrawny, too much makeup caked over the eyes.  Self-conscious about my K-Mart clothes. 

I got my first dictionary.  Right away, I looked up dyslexia.

My grandfather once wrote me a check for a million-trillion dollars, which I kept in my coat pocket until my mom made me throw it away.  On our walks in the woods, he would make up stories about fairies who lived in the roots of trees.  Each time I visited, he would say, “You can have any book in my house.”  His books were leather-bound and dusty.  He’d flip through the pages and read aloud, and I loved the sound of his voice.  He gave me confidence.  He made me love words.

I decided.  I would write books.

And so I wrote, and when I wasn’t writing, I wasn’t breathing.

Junior high.

Pencil-thin, greasy long hair, distracted smile, rebellious.

I wrote essays about fruit flies and being a nonconformist.

I wandered the halls.  I wanted to disappear.  Everyone was rushing.  Why?

High school.

A shallow-breather hiding inside my parka.  Impulsive girlie-girl.  Creative.  Curious.

I had my core group of friends.  We hung out together, majoring in alienation.  We wrote and read and talked a blue streak.  My first writer’s group.

College.

A sullen Bambi lost in the forest.  Not always understanding what people were saying but taking things too literally. 

I attended college in the city, as far away from the woods and the barns and the cows as possible.  I took drugs and drank beer and made new friends and enemies.

My father’s letters to me—meticulously handwritten—would often have words crossed out, with corrected spellings written above them.  And sometimes his corrected spellings were misspelled.

I starved myself.  I didn’t eat well.  I wasn’t sure why.  I wrote about my confusion.  Cynicism was my core curriculum. 

I called home, looking for assurance, full of secrets I couldn’t share with my parents.  I was thoroughly down the rabbit hole.  My mother and I would talk about practical things.

Then she would hand the phone to Dad.

“Hi,” he would say.

“Hi,” I would say.

“How are you?”

“Fine.  You?”

We no longer spoke the same language. 

When the conversation was over, I’d say with relief, “I love you, Dad.”

“I love you, honey.”

I’d hang up and write about those things I couldn’t say to him—stories about love and childhood and hometown friends and things I missed and dreams I wished would come true.

Today.

I’m a published author.  I still struggle.

I’m not sure what my story can teach you.

I just never gave up.

WHAT WOULD YOU WEAR TO YOUR OWN FUNERAL?

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"What Would You Wear To Your Own Funeral?"

Here’s what I would wear.

One.  My 1982 Lee straightleg jeans.  Lee jeans, not Levi’s.  They stretched everywhere I moved.  They’re faded now, with tiny moth holes.  I can barely get them over my hips.  But these are the jeans I wore when my husband and I first got married and were just learning about each other.

Two.  My Book Culture T-shirt.  Book Culture is a bookstore on the upper East side of New York.  I’ve never been there.  I must go some day.  My husband went there while I was home writing my new book (when you’re a writer, sometimes it seems like you never leave home).  He surprised me with the T-shirt as a gift.  I wear it to sleep at night.  I wear it when I write.  It gets stinky, but it gets softer each time I wash it.  It’s as comfortable a thing as can possibly exist.  I am a novelist, and I belong to the book culture.  I’ll wear it to my grave.

Three.  I’ll have on a black winter coat, quilted and super soft, plush and fleecy.  I wore it all over London while on vacation there in the nineties.  My husband and I had so much fun.  We picnicked in Hampstead Heath, and a pit bull with brown spots and a broad smile ran across the entire length of the field to steal our Brie cheese, and it was so funny we let him have it.  He wanted it so damned badly.  He deserved it.  We took pictures.  We don’t have a dog.  We have a picture of this dog.  He will be in my coat pocket.

Four.  Many years ago, my father went on a sabbatical to New Mexico, chasing his dreams.  He joined an archeological dig in the desert, and after the dig, he came to visit me in Los Angeles and pulled a necklace out of his dusty backpack and gave it to me.  It’s Navajo.  Hand-strung.  Rough pieces of turquoise.  Clumps of nickel silver.  Blue hearts and squash blossoms.  He bought it cheap but this necklace is as precious as my memories of him.

Five.  On my right ear I’ll wear a single vintage drop-dangle earring of a Victorian woman’s hand.  Tarnished silver.  Brass earwire.  Palmistry jewelry.  Just the one earring.  I lost the other one at a job I hated.  Actually, I lost it walking around a nondescript haunted neighborhood for an hour because I couldn’t bear to eat lunch with the lifers.  Finding that earring became an obsession during my remaining days at that shitty job.  I never found it.  I’ve had some good jobs but also many shitty jobs in my life.  Every single shitty job I’ve ever had has made me a better writer.  Everything is an opportunity.  To learn.  To grow.  To dream.  To scream and write it all down.  I remember when my husband gave me the earrings.  I opened the pillow gift box.  They were exquisite—the shiny, delicate hands.  Now her hand is open, fingers outstretched, blackening, oxidized, surface-scratched, soft patina, so beautiful to me.

Six.  The cheap beaded bracelet I was wearing when I met my husband for the very first time at college, and I drank too much out of nervousness and got sick to my stomach, and he held my hair while I puked in the toilet, and that’s true love.

Seven.  Sunglasses.  I love the idea of wearing sunglasses at a funeral.  People don’t like it when you wear sunglasses, especially if they can’t see your eyes.  One guy tried to kick me in the head once because I was wearing mirrored shades.

Eight.  I’ll be wearing a yellow gold ring with a black onyx stone on the fourth finger of my left hand.  It has an Art Deco shank and open-weave mount.  My husband found it in an old mason jar filled with wood screws, washers and roofing nails.  One day, while visiting his folks, he felt an impulse to rummage around in the basement, and he emptied the jar on a workbench, and out spilled the ring.  Had his grandfather hidden it there?  Were there other rings in other jars strewn around the old basement?  We’ll never know.  His parents are gone.  The house is gone.  But it’s my wedding ring now.  It’s magical.  I cherish it.

Nine.  My beat-up Beatle boots.  I wore them to see Patti Smith, The Ramones, The Dead Boys, X, The Pixies, The Smithereens, Til Tuesday, Rash of Stabbings, Mission of Burma, Husker Du.  Heels worn down.  They make a funny scraping sound when you walk.  You can feel the road beneath their soles.

Ten.  I’ll be holding a preserved rose flattened between two pieces of cellophane.  My husband presented it to me on the morning we got married by a justice of the peace.  A single cut flower.  A rose bud.  We put it in a vase and set it on the coffee table, and by the time the civil ceremony was finished, the rose had blossomed to full bloom in a beam of sunlight.  Things like that just don’t happen—until, of course, they do.

What you wear to your own funeral is about who you really are.  What you’ve done.  Who you loved and were loved by. 

This is a love story.

What would you wear to your funeral?

My Father

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I’m staring at a painting by Paul Klee. Sweeping brushstrokes on the canvas, eye-popping oranges and reds, flame-shapes, one large blue eye so wise it looks into your soul, and a sense that something is imminent, just trembling there, about to explode.

This is how it feels to live with a bipolar father.

Arthur Rimbaud wrote, “There’s a fire in you alone, made of soft, satin embers.”

Being an artist is like being an addict. You’re hooked on the process of creating. You have visions. You crawl inside your own head and get stuck in the tunnels of your mind, until you find your way out, rest and recuperate, and begin again.

Klee said, “I cannot be understood at all on this Earth.” That’s the fear. The fear of loneliness. Of silence. Of isolation.

My father could not be understood at all on this Earth. We all tried to understand him. Until, in the end, we could not understand.

Dad was a painter and sculptor, a sensitive, vulnerable man. He had ups and downs. His highs were Mount Everest highs, and his lows could be hellish. His upswings were magical, especially for me as a child—he’d tell us his grandiose schemes. He’d paint obsessively for hours. His eyes grew wide with visions swirling in the chemical miasma of his brain. His canvases reminded me of Klee’s—the bold colors and broad strokes. He painted pueblos of New Mexico, brooding New England barns, and foreboding moonlit skies over our house on the edge of the woods.

He taught me how to walk through the forest without making a sound, like the Native Americans he deeply admired—heel-to-toe. That way you could view the woods without scaring the creatures away. You could experience life as it really was. He taught me how to observe. How to see the world.

When my dad took his own life, recovering from it was like crawling out of emotional quicksand. For the longest time, I struggled with my writing. I ran away. As fast as I could. I ran and hid. But eventually, I had to turn and face it.

Long after his death, my father came to me in a dream. He was smiling. He seemed happy. I asked him my most burning question—“Where are you?” He told me he was in northern Idaho. “Oh,” I said. The dream was over.

The next day, I looked the place up on a map. I had no idea what it was supposed to mean. But I think he was telling me to move on. Explore. Go. Don’t stop now. He certainly wasn’t.

“Writing is being able to take something fiercely alive that exists inside you, and to then store it like a genie in tense, tiny black symbols on a calm white page." ― Mary Gaitskill