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Patrick is an award-winning author and narrator. His work includes the Parsec Award winning How to Succeed in Evil series and The Merchant Adventurer.
Mystery Writers of America Grandmaster Max Allan Collins brings his acclaimed and unforgettable Perdition saga to a breathtaking conclusion. It's 1973, and Michael is on the road with his 16-yedar-old daughter, his life-long struggle for redemption at odds with his thirst for revenge.
The audiobook edition of Patrick McLean's thriller -- read by the author.
The Preacher gambles for an atomic bomb...and the fate of Las Vegas hangs in the balance.
An aging, professional thief chases one last, big score into the eye of a Florida hurricane.
THE SOAK author Patrick McLean introduces you to Hobbs, a professional thief, and some of the skills he uses to chase one last, big score into the eye of a Florida hurricane. It begins with the Amnesia Dodge.
"Richard Stark fans will relish heistmeister Hobbs in this well-plotted tale of robbery, murder and revenge." Publishers Weekly
the best heroes display genuine humanity and vulnerability. Moreover, the best protagonists don’t shy away from their vulnerability but embrace it. They understand their vulnerability isn’t their weakness–it is the source of their strength.
(In my Edgar speech) I did manage to talk about the three key mentors of my early professional career – two of whom were MWA Grand Masters themselves, Donald E. Westlake and Mickey Spillane. I mentioned that Don had given his blessing when Bait Money sold, and generated sequels, even though they were outrageously imitative of his work. And I shared some writing advice Mickey gave me – “Take your wallet out of your back pocket before you sit down to write.” To which I said to Mickey, “Mick, I’m pretty sure your wallet is fatter than mine.”
Faulkner said that all great stories are about the same thing, “The human heart in conflict with itself.” Crime novels (and especially heist stories) have this baked in. At the most basic level, stealing or not stealing something is a conflict between fear and greed. And even if you get away with it, the conflict can easily become a person at war with their own conscience.
With the “Road to Perdition” movie in production, and having written the novelization (even if it was published in a truncated form…until just lately), I thought writing prose sequels, as opposed to graphic novel ones, made the most sense.
Perhaps you’ve read the graphic novel and don’t see the point in revisiting this story, particularly if you’ve seen the movie. Or maybe you read the previously published version and figure that, even though it’s 30,000 words shorter, you’ve already experienced this story in prose. The new Road to Perdition novel (and it’s “new” despite having been written in 2001) is not just 30,000 words longer – it’s a different novel entirely. To explain, I have to revisit the painful experience of writing it…
There’s an old saying that it’s easier to edit than it is to write, but I’m not sure I’m all in on that. Especially when you’re writing long form fiction.
I use a variety of methods to stay mentally and physically focused while I’m trying to write a novel, and this is important to me because I don’t spend all day writing. I may go days without being able to sit down with the characters, and I need to be able to jump right back in whenever I do. So, one of the big challenges for me during the writing of Outside the Law was staying organized for the long haul. Both physically and mentally.
It was bad enough that in 2007, at the age of 55, I tore up roots and moved from the east coast to Los Angeles, to carve out a career as a screenwriter. I upped the fish-out-of-water ante by choosing to live in an ethnic enclave—Koreatown. On arrival I found myself in a neighborhood where I not only couldn’t speak the language—I couldn’t even decipher the store signs. I was an outsider, which isn’t a bad situation for a writer.