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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.
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 audiobook edition of Bill Crider's western crime novel. Read by John Burlinson
Hobbs is a professional thief who takes on a heist even though the money doesn't match the risk....but the woman behind the job does.
Author Patrick E. McLean tries to shoot a promo video for his new novel THE SOAK... but can't seem to catch a break.
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.
Like a lot of writers I know, I started out with a grand idea and a lot of words clogging up my head, and so I embarked on the tale in December 2013. I cranked out nearly 10,000 words over a holiday vacation week and felt pretty good about where I was headed.
Then reality set in. Ten thousand words is a commitment — once I’m into it that deep, I have to finish it.
I’ve been reflecting on the Grand Master this past week, the only troubling aspect of which is that it’s a reminder that a long career preceded it, and that the remainder of that career will be much shorter. Life achievement awards are something people try to give you while you’re not dead. So that part of it is sobering.