Most of my ideas start with a nugget of an idea, a “what if...” I think about a good idea like a piece of sand in an oyster: it starts out small and not that special, but as I let it sit, turning it over and over and looking at the idea from all sides, it grows into a pearl. That’s how I feel about The Wrong Victim.
The idea sprouted when I pictured an explosion on the water and wondered what happened. Everything else in the story came from that initial vision. Why did the boat explode? Was it an accident or murder? What was the motive? How can my characters solve the crime?
As I started writing, I realized one key flaw: I knew nothing about explosives. I read everything I could find about bombs—I don’t even want to know if the FBI has a file on me at this point, because my internet searches would certainly raise some eyebrows. But reading doesn’t always mean understanding, so I relied on my friend and fellow author Rick McMahon, retired ATF special agent, for guidance. And my usual disclaimer: if I got anything wrong about bombs and the subsequent investigation, that’s on me, not my sources.
Whenever I research a place I haven’t been, I first talk to people who live in the area. I know no one who lives in the San Juan Islands. I had wanted to visit, but 2020 canceled those plans. As such, I relied heavily on the internet for this book. I wanted to give a special shout-out to the San Juan Islands Visitors Bureau—the information on their website was invaluable to help me feel like I was there, and I hope because of that, you feel like you’re there.
Once again, my friend and retired FBI agent Steve Dupre helped with some of my jurisdictional and “what if” questions. I am always grateful for his input!
And mostly, I need to thank Dana Isaacson, who read an early draft of this book and identified a fatal flaw I had missed. Thank you, thank you, thank you!
A very special thanks to my agent, Dan Conaway, who has stuck with me for more than a decade. When you find an agent who helps keep you sane and focused in this business, keep them. Thanks Dan, and the entire Writers House team, especially Lauren Carsley and Chaim Lipskar.
I’ve been so happy with the Quinn & Costa series, from my editor’s edits to the art director’s covers to the marketing team behind the scenes. Thanks to Kathy Sagan for loving this book like I do, and still finding ways to make it stronger. Thanks to the art director, Sean Kapitain—I’m always amazed that each cover is better than the last when they’re all so good. And I want to give a special shout-out to Justine Sha, senior publicist, who not only does her job extremely well but answers all my odd questions.
As always, my family is my foundation. Dan and the kids deal with my wild writing schedule and random questions about murder. I don’t think anyone else would put up with me. And Mom? You know you get the first copy of everything I write.
And of course, thank you to my readers: without you, I wouldn’t be able to do what I love.