Saturday–Jeff
It’s been a rough several weeks but … fingers crossed… things seem to be back on course.
Earlier this week , “The Campus Files” published a deep-diving interview with me exploring A Study In Secrets, the just published debut novel in my new “The Redacted Man” series. Sam Hunter conducted the interview and I thoroughly enjoyed the experience. Here’s hoping you will as well in the reading.
Here is the Q&A:
On the Evolution of the Protagonist
Q.1 Michael is a fascinating departure from the typical high-octane thriller hero. What prompted the decision to center a new series on a man whose primary power is his intellect and his "gentil civility" rather than physical youth?
Answer.1 We live in the time of the “high-octane thriller hero.” No matter where you look, aggressive power dominates intellect. Be it in entertainment, business or politics. As for “gentile civility,” good luck at finding evidence of that amid modern social media. Call me a cockeyed optimist, but I believe the world can be different. But only if those with the capacity for bringing about real change choose to stand up for what they know to be right and not simply live out their days going along with the status quo.
Q.2 Michael’s past is intentionally "redacted," leaving the reader to piece together his history through small clues—his wealth, his service, and his loss of a foot. As a writer, how do you balance the need to satisfy a reader's curiosity while maintaining the mystery that defines his character?
Answer.2 I agree with the principle that curiosity keeps readers turning pages, but I also believe a writer must be wary of an unintended opposite effect. It is an intriguing dilemma; one I confront every day––guided by this variation on an age-old proverb: “Too much requited curiosity will kill the cat…no matter how much satisfaction tries to bring it back.”
On the "Imagined Life" vs. Reality
Q.3 The book opens with Michael as a passive observer, literally watching life through a window. The theme of "imagining" vs. "living" is central to his journey. Was this a reflection on the role of the novelist—creating lives for others—or was it strictly a character choice to illustrate Michael’s self-imposed isolation?
Answer.3 Actually, it was neither. Or both. As I’m sure you’ve gathered by now this is a very different sort of book from any of my Kaldis novels. This one is driven far more by the nuances of its characters and the intensity of their individual backstories than by the sort of grandiose settings and unique cultural ways at play in my Greece-based Kaldis stories.
In the opening scenes of A Study in Secrets, Michael A subtly offers his perspective on modern life and why he prefers a lifestyle reminiscent of elegant late 19th Century living. One that provides a firm framework for moving the storyline forward at an ever increasing, more complicated pace. As for why I chose New York City over several other cosmopolitan international settings I’d been considering, I settled upon NYC because of how well I know the city and its secrets.
Q.4 At the end of the novel, Michael considers "shuttering" his window. Does this signify a permanent transition from an observer to a participant, or is he simply trading one form of protection for another?
Answer. 4 The closing lines of the novel reveal a subtle distinction in how Michael now views his role compared to how he’d imagined it when the story began. Specifically:
“He’d long considered his window an impenetrable barrier between the imagined and reality. One that allowed him to see life as he wanted it to be, not as it had become. To imagine life left him free to be fearless and forever hopeful. Facing reality meant confrontation, sacrifice, and risk to all he held dear.
“But his window had failed him.
“Before it did so again, he should shutter it.
“Perhaps tomorrow.”
Yes, his choice lay between observer and participant…existing and living…the imagined and the actual.
And he’s not yet sure of the path to choose. Perhaps tomorrow he will.
On Dialogue and Narrative Style
Q.5 The dialogue in A Study in Secrets is notably formal, almost Victorian in its precision. Even characters from rougher backgrounds, like Angel, seem to adapt to this "gentlemanly" frequency when speaking with Michael. Was this a deliberate choice to show how Michael’s personality reshapes the world around him?
Answer.5 I’ve long admired Conan Doyle’s brilliant Victorian prose, and so I’m not surprised that I fell to utilizing that style in creating the ambiance for this book. I wouldn’t say that all characters adopted Michael’s style of speech, but without question the dialogue was meant to demonstrate that Michael is a character very much in charge of whatever situation he confronts.
On the Nature of "The Treasure"
Q.6 The "Fielding Treasure" serves as the classic MacGuffin, yet its true value remains somewhat ambiguous even as the book closes. Why was it important for the resolution of the story to focus more on the psychological safety of the characters than the physical contents of the package?
Answer.6 Once again the mischievous role of curiosity brings its buddy imagination into play. I’m a big believer in utilizing a reader’s natural imagination to play a significant role in selling my story. And that’s why I resisted editorial efforts to identify the Fielding Treasure beyond classic MacGuffin status. My reasoning is simple: If I were to tell a room full of readers that in a box on the table before them is the most fearsome horror imaginable, how many different opinions will that elicit as to what’s in the box? Some people might imagine ten possibilities, some a hundred. But one thing is for certain: Once the box is opened, they’ll be relieved it wasn’t any of the other nine or ninety-nine they feared. That’s why I prefer to leave the box closed.
On Secondary Characters and Relationships
Q.7. The relationship between Michael and Gabriel (the diner owner) hints at a deep, generational history involving Gabriel’s father. How much of Michael’s backstory is already mapped out in your mind, and how much is being discovered as he interacts with these "remnants" of his former life?
Answer 7. I am a dedicated seat-of-the-pants writer. When I sit down at a keyboard, I rarely have more than a tingle in my brain of what I’m about to write that day. It’s up to my characters to tell me where we’re off to and whether or not they’ll permit me to intercede in ways they disagree. That’s especially true in the case of Michael and Gabriel. The two have a lot of backstory at play in their respective lives, that I sense they’re anxious to explore and share. Hopefully soon.
Q.8. Mrs. Baker is clearly much more than a housekeeper. In many ways, she feels like his last remaining "handler." How does their dynamic serve to ground Michael in a reality he often tries to avoid?
Answer 8. Once again you impress me with your insights on the nature of my characters and their interpersonal dynamics. Though I didn’t intend for Mrs. Baker to serve as Michael’s “handler” I must admit that their interactions reveal a long-standing symbiotic relationship akin to handler and asset with each doing what they must to jointly survive a needlessly merciless and complex world.
On Future Redactions
Q.9. Now that the "Redacted Man" has stepped out of his apartment and into the lives of others, can we expect the next installment to peel back more layers of his history, or will he continue to keep the reader—and his new family—at arm's length?
Answer 9. He’s promised to tell more but on reflection, we all know how these secret agent types can be tricky.
––Jeff
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