Showing posts with label novel. Show all posts
Showing posts with label novel. Show all posts

Friday, January 27, 2017

NOBODY DIES FOR FREE Chapter 1


Back in June of 2013, Pro Se Press released my first spy novel, NOBODY DIES FOR FREE. This book was the result of the interest in spy stories I've had since I saw my first James Bond movie at the age of 7. The novel features my American intelligence agent Richard Monroe, who then went on to appear in the sequel, UNDER THE RADAR, which was published in May of 2015. 

I'm pleased to announce that the third Richard Monroe novel, NEVER THINK TWICE, will be coming soon.
Today, for those who haven't read it and might be curious about Monroe, I'm posting here, free to read, the first chapter of the original Monroe book, NOBODY DIES FOR FREE.I hope you enjoy it. If you'd like to know what happens to Monroe next, links to order the book, which is available in print, Kindle, and audio book editions, are at the end of the chapter. 






NOBODY DIES FOR FREE


                                              Chapter 1: The Cradle or the Grave

Richard Monroe had invested his entire soul in one woman, and then she died. It was as simple as that.
            Her blood ran out through his fingers, the last product of her slowing heartbeat, and Monroe knew that it was too much red, far too fast, for his hand to contain and save her. It spilled out and stained the street outside the Paris Opera where, only seconds earlier, they had been joking about the Phantom as they waited their turn to enter.
            At that moment, Monroe did not care where the bullet had come from, why it had struck, or what the gathering crowd of policemen and gawkers were shouting. He cared only that he was about to lose her, and five years suddenly seemed shorter than the blink of an eye.
            He whispered her name one last time as her soft brown eyes closed.
            “Genevieve.”
            And she was gone. Richard Monroe held her until the police dragged him away from the body, but already he was alone.


            Six months later, the CIA seemed a world away, a different lifetime for Monroe. The week after the shooting had gone by in a mostly emotionless blur as Monroe had gone through the necessary motions: identification of the body, burial arrangements, and notification of Genevieve’s few scattered relatives. Then he saw to the distribution of their money, most of which had come from her inheritance, into various accounts tied to various banks in various nations. Finally, he put down onto paper his official resignation from the agency that had stationed him in Paris five years earlier. When Genevieve was gone, Richard Monroe severed all ties to his old life, abandoned everything he had planned for the future, and erased himself from the eyes of those who had known him in the years before the shot outside the opera hall.
            Genevieve had softened him; he was fully aware of that. With her by his side, he had shifted from a life of movement, change, upheaval, and violence to one of tranquility, happiness, music, fine food and high style.
            But she was gone and now the softness of proper civilization had to go away, too. Monroe sharpened himself again, let the cultured, educated façade slip away into the night and hardened into something like what he had been before her, but perhaps worse. He set into motion a metamorphosis that would have made him unrecognizable to his friends, if he had any left who might happen to see him in the dark places he now traveled.
            He stopped shaving and let his hair grow until he took on a grizzled appearance and his hair became a semi-hippie mop. He discarded his perfectly tailored suits and took to wearing clothes that put him just one level above a bum. He became the sort of man who nobody looked at twice, who nobody would want to look at twice. Easier to blend in that way. His face went from the younger side of thirty-nine to the ragged wilderness of the far side of fifty. He made the changes in Paris while crashing in a small rented room all the way across the city from the spacious home he had shared with Genevieve. When he was satisfied with his transformation, he put it to the test.
            Monroe shuffled into the bank where he had been a frequent customer, his height disguised with a slouch, his face peering out from the jungle of his beard, his movements cautious and without his traditional smooth confidence. He roamed into the bank and stood less than six feet from the bank manager, who knew him very well, and stared the man down, glad to see not a sliver of recognition cross the French moneylender’s face.
            Having satisfactorily melted from the face of the Earth, Richard Monroe began the hunt. He had no personal computer now, having abandoned it along with his house, car, and suits. He went into an internet café in one of the rougher corners of Paris and hacked his way into the United States Federal computer system. The US government has over a dozen levels of classified files and Monroe knew how to get into all but the highest of them. He had five minutes in there and began to check statuses and memorize the contents of the secret sites. In minutes though, the intrusion was detected and the visit shut down. No matter. He left the place.
            He hit two more pay by the hour computers in Paris and then moved on to Nice, travelling by train and sometimes by bus. Lyon and Toulouse were next, and then back to Paris, followed by a quick side trip to Marseille. He avoided hitting the cities or their internet cafés in any sort of logical pattern; his travels were now as random as his hair. He did not confine his jumps to Paris either, but made it into Belgium once or twice, then Portugal, and finally all the way over to Sofia, Bulgaria. All the while, he memorized names and faces and the details of those to whom the faces belonged. He knew that there were a limited number of men in the world capable of setting up, taking a shot like the one that had stolen Genevieve away from him, and then fading into the night almost before their presence was realized. What Monroe needed to do was figure out which one of those men had been in the right place at the right time to have been the one who destroyed his life.
            He had lost count of how many times he had hacked into those files for a minute here and ten minutes there and sometimes as little as thirty seconds before being detected and tossed like a drunk who just pissed off the bouncer. But finally, late one night in Sofia, Richard Monroe struck gold and his blood felt like ice as he saw the face of the man who had indeed been in that place at that time. He would no longer need to go to those classified sites. He would not need to print any documents. That face, that name, that dossier were burned into his memory as if branded with a white-hot iron.
            His name was Baltasar al-Hamsi. A former Syrian intelligence man now gone freelance, al-Hamsi was a killer, and a good one. He would shoot anyone for the right price and had never come close to being caught. It was only due to a few small leaks in the chain of darkness that binds together men in al-Hamsi’s profession that the CIA and DHS had any idea who he was. In any case, they had never had sufficient evidence or reason to go after him, to finish him. He was simply on a handful of watch-lists. Those lists had failed to keep Genevieve safe.
            Monroe had no idea who might have hired al-Hamsi, for he had spat in the faces of many nations in his CIA career, but he knew who had pulled the trigger and, for now, that was something. And what was more, the CIA, at that moment, according to the information Monroe had just stolen, knew where the son of a bitch was. Richard Monroe would have to go to Istanbul.


            Turkey was hot as Hell and Monroe was sorely tempted to shave off the beard; it made him itch terribly, but he resisted. He had to keep looking like a man who nobody wanted to look at twice, had to blend in. It was no problem locating Baltasar al-Hamsi. Monroe, despite his ragged appearance, still had a nice chunk of money in his possession and buying information was easier and easier the further east one went. The Syrian sniper was apparently taking a break between jobs. He had done one a month earlier, although the provider of the information did not know who the target was and the CIA’s files had not made mention of the job, either. But that was nothing new; it had not made the connection between al-Hamsi’s sights and Genevieve. But al-Hamsi had certainly been in Paris that evening and left on the next flight available after Monroe had desperately tried to keep his wife’s blood in her veins. That was proof enough.
            After the information was in Monroe’s mind—al-Hamsi’s address in Istanbul, his favorite café, the brothel he frequented—Monroe spent a bit more of his vengeance fund. He found a dealer of antiquities, medieval in specialty, and he purchased a misericorde. This was the instrument of the final death-thrust for warriors of the Middle Ages, a long, thin blade easily concealed—such as up a sleeve—with a narrow point that could quickly and quietly be slipped right between the ribs to pierce the heart and stop it cold with a minimum of noisy fuss. While Monroe had often entertained the thought of taking al-Hamsi somewhere secluded and giving him a lifetime’s worth of pain before putting him down, it was not his style. Not after Genevieve any more than it would have been before she had softened him. He was willing to stoop to being a beast to end her killer’s life, but he would not become a complete animal. He had to hang on to some part of Richard Monroe. If he did not, he would be as dead as Genevieve, and she would not have wanted that.
            It was after midnight on Monroe’s fifth day in Turkey when he caught al-Hamsi’s scent. The Syrian had gone for a woman, spent almost three hours in his preferred whorehouse, and finally wandered back onto the streets looking exhausted but content. Good, Monroe thought, a tired target goes down easier.
            Al-Hamsi would take the subway home and Monroe followed him into the tunnel, boarded the same car, and sat five seats away from him. They were the only two men in the car. They were alone, and yet al-Hamsi glanced only once at the bearded, bedraggled stranger.
            Monroe got up, shambled over to al-Hamsi, doing his best to feign slight inebriation, and finally swayed back and forth for a moment in front of the assassin.
            Al-Hamsi mumbled something in Turkish. When the ragged man showed no clue, he tried Arabic but still got nothing. French came out next and Monroe understood but did not show it. Finally, the irritated Syrian let English fly out.
            “Fuck off, you stupid asshole! I have no money for beggars!”
            At those words, Monroe unfurled his hand and let something slip from his grasp and fall like a leaf into the lap of Baltasar al-Hamsi. The seated Syrian looked down and saw the photograph settle gently into his lap. It was a picture of a woman, the head and shoulders of a stunning brunette with a joyous twinkle in her eyes.
            Recognition came to al-Hamsi like sudden thunder, putting the fear of all gods into him as he understood what was happening and what the ragged man wanted with him. He went for his gun. It was too late.
            The arm that tried to get the gun from the belt left an open space, just a few inches, between the elbow and the side of the body. Monroe leaned forward, thrust the misericorde in, felt the slight scrape against the bars of the ribcage, and watched Baltasar al-Hamsi cease to exist.
            Monroe did not smile, did not display any emotion whatsoever. He pulled the thin blade out of the dead man’s body and wiped al-Hamsi’s blood onto the subway seat. The misericorde went back into Monroe’s sleeve where it would stay until he let himself think normally again and could decide whether to get rid of it, perhaps in some river somewhere, or keep it as a souvenir of the mission that had meant the most to him of all his assignments over his many years in and out of the business of secret lives and secret death.


            Monroe made it out of the subway at the next stop. He walked out casually and roamed in random circles around many streets before taking a room at a small, cheap inn. He fell into bed at one-thirty in the morning and slept better than he had in months, better than he had since the last time he could feel the warmth of Genevieve’s body beside him in the darkness.
            He rolled out of bed when the light of the sun came through the window. He stepped into his shoes, having slept in the rest of his clothes, and sauntered out onto the streets just as the imams were calling out for morning prayers. Coffee was needed, the Turkish kind, strong and bitter and all-powerful. He glanced around for a café and caught the scent of one. At that moment, he thought of Genevieve and it hit him hard that finally justice had been done and she was avenged. He allowed himself to smile and, just for an instant, his automatic guard dropped, his years of training lost to sentimentality and satisfaction. That instant was all it took. He was grabbed, counted four strong hands taking him all at the same time, smelled cheap aftershave, and felt a heavy blow to the back of the head, and that was all.
            His head still throbbed when he woke up in the Turkish prison. He cursed in his mind. Had he been on camera in the subway? Where had he slipped up? He was screwed now, and he knew it. Turkish prisons were the worst, and murder counted for, at the very least, life inside the walls. He found himself hoping for execution and wondered—and religion was not a frequent subject in his mind—if he might possibly find Genevieve in the afterlife.
            His death hopes were short-lived. A key rattled in the cell door and a small Turkish man in a tan suit waltzed in. The mouth opened and smooth English poured out.
            “I am the warden here and I want you to leave my prison immediately.”
            He tossed an envelope onto the floor in front of the slab Monroe had slept on.
            “In there,” the warden said, “is the money my men found on you, as well as two tickets for an airplane trip and a new passport bearing your real name, Mr. Monroe. You will leave here and go to a hotel where you will make yourself not stink so much. You will purchase new clothing. You will go to the airport and board a flight to Chicago in the United States. When you land there, you will get on a bus, one of those Gray Dog buses that are so famous in your country, and you will ride to the small town of Cradle, located in the state of Wisconsin. If you do not go to Cradle, then you will be sent to your grave.”
            Monroe almost laughed at the warden’s unintended abuse of an old expression, but he refrained and let the last words come from the small Turk’s lips.
            “Do these things now. Get out of my jail!”

                                                                     ***


NOBODY DIES FOR FREE can be found on Amazon in


Wednesday, August 7, 2013

Jason Kahn and BADGE OF LIES

Last Month, Pro Se Press released two new novels on the same day. One was my spy novel Nobody Dies For Free, and the other was a work of crime noir by Jason Kahn called Badge of Lies. For today's post, Jason was kind enough to answer some questions about his novel and his writing career in general.

 


Aaron: Your novel, Badge of Lies recently became available. Can you tell us what it's about and what inspired you to write it?

Jason: Badge of Lies is the story of detective Frank Arnold, a recovering alcoholic who’s just buried his partner and best friend Mitch Connell, only to find out that Mitch was not the man Frank thought he was. The mistress who comes out of the woodwork is surprising enough, but the ties to organized crime are more concerning, especially after the cryptic warning Mitch gives from beyond the grave, that Frank’s in trouble, and not to trust anyone.

Avoiding thugs, crime bosses, his ex-wife, his new girlfriend, Internal Affairs and a rogue cop who might be framing him for several mob-related killings, Frank desperately tries to unravel Mitch’s cryptic clues. But the closer Frank gets to the information that will protect him, the more danger he finds himself in. The truth may set him free, but it may also get him killed as Frank tries to stay one step ahead of the cops, the criminals, and the women eager to betray him. It’s enough to drive a good man to drink, or become all the things he despises before he’s done.

 I wrote this at the request of a different publisher who liked a science fiction crime series I was writing for her. She asked me to write a hard-boiled detective novel, and of course I said yes. I’d written a previous short story set in a fictional “Metro City” involving some of the same main characters, namely Frank and his partner Vera. So I thought I’d write the story of how they became partners in the first place, and combine that with Frank being led on a constant goose chase by his dead partner.

 Aaron: How did you originally start writing and then pursuing it seriously?

Jason: Academically, I was always drawn to writing—high school newspaper, stuff like that. I was headed toward a journalism degree my second or third year in college, so I knew then that I wanted to be a writer. But it wasn’t until the summer after my senior year that I discovered I wanted to be a WRITER. I’d been reading scifi-fantasy books since I was a kid, and during my senior year, my then-girlfriend, now-wife, said to me, “hey, why don’t you write one of those?” Incredible as it may seem, the thought had never occurred to me. That summer I started writing, and haven’t stopped since. I’ve published numerous short stories in magazines and anthologies, and Badge of Lies is my first novel.

Aaron: Who or what are some of your major influences?

Jason: Early on, I would say authors like Raymond Feist and David Eddings as I tried to write fantasy-adventures, but then, much more James Ellroy and Joseph Wambaugh as I started writing more noir crime fiction. Especially Ellroy. The Black Dahlia, L.A. Confidential, The Big Nowhere. I wasn’t prepared, my mind exploded. A whole new world opened up.

Aaron: Badge of Lies was published by Pro Se Press, a major entity in the New Pulp movement. How did you come to be involved with New Pulp in general and Pro Se in particular?

 Jason: I wouldn’t say it was a conscious decision to start writing New Pulp fiction. It just so happened that what I was really getting into writing happened to be in that genre. And finding Pro Se was a stroke of utmost fortuitousness. Remember when I said that other publisher asked me to write a hardboiled detective story, which turned into Badge of Lies? Well I wrote it, and then her small press house went out of business, leaving me high and dry with a manuscript and no publisher. Needless to say I was a bit depressed. But I would not be deterred, and I started looking around for an appropriate home. I looked for a LONG time, and eventually found several candidates. Some weren’t the right fit, others just said “no thanks.” Then I found Pro Se. The head honcho, Tommy Hancock, said they were not quite closed to submissions and I could certainly send in the manuscript. I did so, and within a few weeks was informed that Badge of Lies had been accepted. From that point on, everything has just been a dream.

Aaron: What other projects of yours, either past or upcoming, would you like readers to know about?

Jason: I recently finished that science fiction series I referred to earlier. It’s called The Dark InSpectre, and involves a police unit of telepaths with the unique ability to contact the psychic awareness of the dead. I’ve always thought of it as a cross between L.A. Confidential and the psi-corps of Babylon Five. It’s a wicked piece of noir fiction, and I’ve submitted it to Pro Se. It’s been accepted for publication and we’re going into the editing phase shortly. I’m totally psyched about it.

Aaron: In your experience, what are the best and worst aspects of being a writer?

Jason: The best part about writing for me is that it makes me happy, pure and simple. When I’m not writing I’m edgy and anxious. I constantly feel like I should be writing, like I’m slacking off if I’m not. But after I’ve written something, even if it’s just a paragraph or two, that all goes away. I feel better about myself. The neurons start firing, I get jazzed about the new possibilities that arise from the latest section, about where they might go and all the other story threads that will now come into play. I feel a sense of accomplishment and satisfaction. I’d say the hardest part is finding the time. Both to write and to just think about a story, to work it out in my head. I’m a news editor by day, and my job is extremely busy. I’m also a husband and father of two boys. I’ll write whenever I can, but long stretches can go by when I’m not writing. It can be very frustrating. I look forward to long flights, like from New York to San Francisco and back. I tend to get a lot of writing done on flights like that!



Aaron:  Thanks, Jason, for taking the time to tell us about your work.

Badge of Lies can be found on Amazon on its own page or along with Jason's other work at his Amazon author page.

More information about Jason's work can be found on his website, his blog, or Facebook. 


Wednesday, February 6, 2013

What's Coming on Halloween?

I was asked to participate in a blog hop called "The Next Big Thing" in which authors are answering a series of 10 questions about their next project.

Also participating today are the following authors, so check out their blogs when you've finished with mine!

 Malena Lott
 
 
For my part in today's blog hop, I'll be answering questions about a novel I have coming out around Halloween of this year. 
 
1: What is the working title of your book?
Chicago Fell First was my working title and it’s now become the official title.

2: Where did the idea come from for the book?
The initial spark of the idea came from something my wife mentioned to me. She works for Verizon Wireless and has heard dozens of ridiculous stories of the ways people manage to find to damage their cell phones. She came home one day and told me that people have taken to using rice to dry out water-logged phones! This sounded so absurd that it stuck in my head and became an incident in the first chapter of the book and the rest of the story kind of grew out of that little seed. As soon as I heard that, I knew I could find some kind of weird angle to the idea, but I wasn’t sure what it would be until I started writing. 

3: What genre does your book come under?
It’s a horror novel in the zombie sub-genre.

4: Which actors would you choose to play your characters in a movie rendition?
Whenever I’m asked that question about any of my books, my mind usually turns toward whatever movies or TV shows I’ve been watching the most lately. In recent weeks, I caught up on Game of Thrones and Breaking Bad, so I’d probably end up pulling people from those series to cast the Chicago Fell First movie. That would work just fine for me, since those shows are loaded with excellent actors. But…I don’t want to name any specific character/actor matches because I’d rather let the readers see the characters however they form in the mind during the act of reading the book. 

5: What is the one-sentence synopsis of your book?
When a city is overrun by an unimaginable horror, a group of strangers try to save themselves from what could be the end of the world.

6: Is your book self-published, published by an independent publisher, or represented by an agency?
Chicago Fell First will be published by Buzz Books, for whom I’ve previously written short stories for the anthologies Prom Dates to Die For and Something Wicked.

7: How long did it take you to write the first draft of your manuscript?
It was written well over a year ago, so I don’t remember the exact time frame, but I’m a pretty fast writer, so I don’t think it took more than maybe three months for the first draft.

8: What other books would you compare this story to within your genre?
Well of course it has things in common with other zombie books, but those are factors that are kind of essential to the sub-genre. Those kinds of similarities are impossible to avoid. That pattern of people coming together to form a temporary "family" to survive a horrible situation is one of the core themes of horror, from Dracula to The Walking Dead and everything in between. 

9: Who or what inspired you to write this book?
The aforementioned rice story started the ball rolling and it just went from there as the story built itself and I decided that zombies would be the focus. The human characters in the story came from a variety of different places. The fact that one of the main characters is a cancer survivor is due to the fact that a friend of mine was battling cancer around the time I was writing this book, although she and the character are much, much different. Another character is loosely based on a waitress in one of our local diners. Others just pop into my head when I need someone to move the story along. 

10: What else about your book might pique the reader’s interest?
What I really wanted to do with this book was focus on the human beings. The zombie outbreak and all its gore and horror and destruction is the backbone of the story, but the way the people deal with it is the face of the book. At its heart, it’s a story about how the worst of circumstances can bring out the best in people, much like the way those who survive a war often come home stronger because of their experiences.  

So those are my answers regarding Chicago Fell First. Look for more news about the book as we get closer to October. This will be my first full novel with Buzz Books. They've previously published my two young adult paranormal stories in their anthologies, Prom Dates to Die For  and Something Wicked, so I'm, thrilled to be working with them again.