Frequently Asked Questions
Q: What inspired you to write Glitzy Murder?
A: This story’s been living in my head in pieces for a long time—bits of earlier novels that never quite clicked. I’ve always been drawn to detective stories that are more guilt vs. evil than good vs. evil. I wanted to write something that felt fast and real, with a character that resembles Al Pacino from Serpico who’s walking the edge but still holding onto some sense of justice. Messy, flawed, human.
Q: Who are your creative influences?
A: Elmore Leonard, Richard Stark, Robert Parker—those stripped-down crime writers who waste zero time. Filmmakers like Spike Lee, Scorsese, and Tarantino, who explore hidden depths of characters and you really have no idea what they'll do next. I’m a big believer in Leonard’s rule: “Leave out the parts readers skip.” I try to keep things tight, sharp, and emotionally honest.
Q: Why set the series in Las Vegas?
A: I’ve been to Vegas a bunch of times and the stories practically write themselves. It’s a city of masks—flashy on the outside, haunted underneath. That contrast fits the kinds of characters I’m drawn to. And let’s be real—things go down in Vegas that wouldn’t fly anywhere else. They're great fun to write.
Q: What makes Detective Prem Pilot different from other crime fiction protagonists?
A: Pilot's an insomniac who doesn't trust anyone—including himself. He's not the brilliant detective who sees everything or the tortured cop drowning in whiskey. He's just a dude who's been kicked around enough to know that the obvious answer is usually wrong. He doesn't have special powers or tragic backstories driving him. He's stubborn, makes mistakes, and sometimes the bad guys get away. That feels more honest to me than the superhero detective who always wins. But also, I'm not sure he's a good enough character for more than one book. We'll see.
Q: Your writing style is pretty stripped-down. Is that intentional?
A: Yes, and no. I simply don't have the language to write in a way that isn't. I also hate when writers get in the way of their own story. For me, crime fiction should hit like a punch, not a lecture. I strive to write the way people actually think and talk when they're under pressure—short sentences, no wasted words, lots of subtext. If I'm doing my job right, and that's up to the reader, you should feel like you're watching a movie, not reading a book. The goal is to keep you turning pages, not admiring my vocab.
Q: What can readers expect from your future work?
A: More stories about people making bad choices for good reasons. I'm fascinated by that moment when someone crosses a line they never thought they'd cross. Whether that's a cop, a criminal, or just someone caught in the wrong place at the wrong time. The settings might change, but it'll always be about real people in crazy situations, trying to figure out how to survive with some piece of their soul intact.