Interview with Libby Fischer Hellman
Mystery One, Milwaukee
Summer, 2003

By Jon Jordan

Jon: Why is such a lovely young lady like yourself writing about crime?

Libby: For a couple of reasons. I like to explore (and read about) the darker side of human nature; in one sense, it's alien to me—I can't really fathom it, and I suppose writing about it is a way to understand it, to try and make sense of why people are driven to do the things they do. The other reason is the satisfaction of having justice prevail at the end. I love the way order seems to crumble and fall into chaos during a really good crime novel—I love even more the way it's restored... or partially restored at the end. In that sense, I think crime novels are truly a reflection of the best in human nature, as well as the worst.

Jon: What were you doing before you started writing books?

Libby: Reading them. And writing nonfiction. I wrote (and still do) video scripts, speeches, articles, training manuals—anything anyone would pay me to write—so I've always been comfortable around "words." I also studied film and (like my protagonist) am a video producer. So it was always difficult to decide whether to read a book or go see a film. For whatever it's worth, books won out. At least for now.

My mother, a prolific mystery reader, was actually the first person to turn me onto mysteries. I'd been reading thrillers (Ludlum, Gifford, Forsyth, etc.) and they were all starting to sound the same. About 20 years ago she (literally) threw me a copy of Jerry Healy's The Staked Goat and said try this. I did, and I was hooked.

Jon: What is it about your books that you think makes them a bit different than the other mysteries out there?

Libby: Wow... that's a hard question. But a good one. Let me come at it from a different angle, and maybe that will help. I wanted to write the kind of mysteries I wanted to read. Not cozy, but not really hard-boiled. With believable characters that came from a place and background I could recognize. Then I wanted to put them into situations they would never face being from that milieu. So, in that sense, perhaps, my novels aren't that much different than other female authors of a certain age.

I do hope the combination of humor and suspense—as well as Ellie's wry attitude toward almost everything—helps make them memorable... if not different.

Jon: Do you concern yourself with getting every single little fact correct, or do you use some artistic license when you write?

Libby: There's a fine line between accuracy and literary license. And I do believe in research... historical, procedural, and situational. Accuracy breeds credibility and realism, and both those attributes are essential for me as a reader... and a writer. So I do as much research as I can to "get it right"—and believe me, I've had e-mails from readers who, even after my attempts, have a quibble or two. Having said that, though, I do believe there may be a time when it's okay to change or "alter" history a bit. For example, in An Eye For Murder, I leave readers with the impression that Rosie the Riveter may well have originated in a Chicago steel mill during the war. That's absolutely untrue. Rosie came out of California... Rockwell, I believe. And I knew it. But the story worked better with her coming out of Chicago. The point? I had to know where she indeed did come from before I felt comfortable playing with that fact. And I think most readers accepted it. At least I haven't had any e-mails about it. Yet.

Jon: What were you doing right before you opened this e-mail full of questions?

Libby: It was last night about 10. I was eating cereal and reading The Da Vinci Code.

Jon: What is it about Chicago that makes it a great city and a great city to write about?

Libby: Chicago is a real city... gritty, mean, and brutally beautiful, all at the same time. Plus, it's huge. You can explore a different neighborhood every week, and still not get to everything in a year. In fact, the neighborhoods are the key. Some are dramatically different from each other... some more subtle in their variety... but the nuances and flavors of each neighborhood are—at least to me—fascinating and significant. I feel as if I'm traveling between continents and countries each time I venture into a new area, and yet, there's a comfort zone too... maybe borne from the fact that—after all—we're in the solid, down-to-earth Midwest. I can never see running out of Chicago locations to set my novels.

Jon: Does your protagonist, Ellie, portray any parts of you or your personality?

Libby: Aside from the fact that we're both video producers, parents of teen-age girls, and live on the North Shore of Chicago... no. Ellie is taller, thinner, braver, and more noble than me.

Jon: Poison Pen is doing a beautiful job with your books. The covers are stunning. How did the covers come about?

Libby: That's a great story. Barbara Peters came up with the concept of doing two bridges for the cover of Eye: the Michigan Avenue bridge on the front, with the Saints bridge in Prague on the back. Then she told me to go ahead and find an image of the Michigan Avenue bridge. After I panicked, I did find a shot on the internet that was perfect for the book: dark, mysterious, yet colorful. Happily, it had been taken by an amateur photographer who was thrilled to have his work on the cover. It worked out so well that we had him shoot the cover for Guilt as well. I'm hopeful he'll do book #3 as well. His name is Paul Olinick, by the way.

Jon: Were you surprised to hear you were nominated for an Anthony Award?

Libby: Overwhelmed is more like it. But thrilled at the same time. It's a real honor to me!

Jon: It is a little strange that a book is published in Mass Market Paperback at the same time the Hardcover comes out. Why was the first book published this way?

Libby: The arrangement between Berkley Prime Crime and Poisoned Pen is unusual, but has a precedent with Marsha Simpson who wrote Crow in Stolen Colors. What happened was this: my original contract is with Berkley; however, they liked the manuscript of Eye so much they felt it deserved to be released in hardcover as well. Barbara Peters agreed, at which point Berkley awarded the subsidiary rights to Poisoned Pen. I had nothing to do with the negotiations. Happily, the same arrangement has prevailed with Guilt and will also be done with An Image of Death, which comes out February, 2004. I consider myself extremely lucky, and I am grateful. Especially for the opportunity to be reviewed so extensively, which I'm not sure would have happened without the Poisoned Pen version.

Jon: Am I correct in thinking that what led to the writing novels gig was winning the short story contest at Bouchercon in 1999?

Libby: Actually, I'd written two police procedurals prior to winning the short story contest. They didn't sell, and looking them over now, I realize why. My writing wasn't ready. I did have an agent at that point, although eventually he advised me to try some other subgenre... some other voice... some other agent too, as he had decided to drop me. After I picked myself up off the floor, I took his advice. The only real success I'd had to date was the short story, so I tried to figure out how I could capitalize on it. The story took place in the 1930's and featured Jake Foreman as the 16 year old protagonist. Ultimately, I got the idea to move everything into the future... give Jake a daughter... and give Jake's daughter a daughter, and write the whole thing from first person POV. That's how Ellie and Eye came to be. I did get a new agent, and she was able to sell it to Berkley 10 weeks later.

Jon: Has becoming a published author changed the way you read? How about who you read?

Libby: Unfortunately, yes to the first; fortunately, yes to the second. I have become more discriminating—I just don't have enough time. I don't mean to sound harsh about it, but I find there are a lot of books I don't finish aymore; in fact, if a book hasn't captured me by Pages 25-30, I'm outta there. I just can't waste the time. On the other hand, I'm reading more mysteries than ever before and finding some delightful stories and authors.

Jon: As you write more, do you find yourself taking more chances with your writing?

Libby: Absolutely. At least what some authors would consider risks. For example, in my third book, I mix first and third person. Purists might say that shouldn't happen, but the story was such that it was necessary. In addition, the third book (An Image of Death, released in February '04) doesn't end with all the "bad guys" being brought to justice. It's darker, and more open-ended, so, in that respect, it is more risky.

Jon: What would you consider to be some examples of a perfectly made movie?

Libby: You don't make it easy, do you? As you know, I studied film in graduate school , how can you make me choose? OK, OK... I'll give you some American films that I feel are pretty close to perfect: "Citizen Kane," "The Godfather," "Psycho," "High Noon," "Chinatown." Now, if you asked me about European or Japanese, we'd have to spend the rest of the interview talking film. Truffaut, Renoir, Kurosawa, Bergman (sigh)—the list goes on.

Jon: You're a member of a writing group. What is the group, and how does it help you? Would you suggest something like this for new authors?

Libby: My group in Chicago is called the Red Herrings, and I will always be a member. We meet almost weekly, and about half of us are published. Some of the members are David Walker, Michael Dymmoch, Eleanor Taylor Bland, and Michael Black.

There's no question that a writers' group is absolutely essential, both for the beginning writer, as well as the advanced. Being in a group has taught me how to "parse my prose how to find my rhythm" what works and what doesn't work... where my procedure might be off... and what I need to do more research on. The group can even point out plot and character issues I might not have realized.

I also think it's helpful if a writer's group is focused on just one genre. We are purely a mystery writing group—no horror, no sci-fi... just mystery. It works. In the time I've been there (almost 7 years) three of us have gone from unpublished to published.

Jon: What's in store for book number three?

Libby: As I mentioned before, An Image of Death is probably the darkest book I've written. In it, someone drops off a videotape at Ellie's house, and when she looks at it, she sees a woman being murdered. Like Eye (my first novel), Image goes back into history, but recent history... the dissolution of the Soviet Union. And it does mix first and third person. But it's also a book about friendship, I hope, and the lengths friends will go for each other.

Jon: Is there a question you always wanted to be asked?

Libby: How about "how does it feel to have a multi-million dollar film deal for your novel?"

Jon: Juggling a regular job with your writing, do you tend to write at odd times?

Libby: Yes, although I'm writing—or thinking about writing—pretty much all the time. I try to write first thing in the morning at least for an hour or 90 minutes. That way, if something else is going on, I will have had at least some time at the computer. But I keep scraps of paper all over—in the kitchen, bathroom, bedroom, car—so that I can jot down things whenever they come.

Jon: Is there anything you've always wanted to do or try that you haven't yet?

Libby: Actually, I'd kind of like to have a FOID card. (Firearms Owners ID card) And I'd really like to shoot a high-powered assault rifle. I can think of plenty of targets. No... seriously, when I started writing crime fiction, I went to the shooting range and was able to fire both revolvers and semi-automatic pistols. I was surprised at how much I liked doing that. It was—as they say—totally empowering. Unfortunately, getting proficient requires more time and effort than I have right now.

I'd also like to learn Photoshop someday... and desk-top video editing.

Jon: If I come over to visit, would you cook or would we go out to eat?

Libby: We'd go out for Mexican, of course. Maybe Thai.

Jon: What's the most distracting thing when you write?

Libby: Kids. Phones. The dog. E-mail. Dust mites. Unfortunately, I'm easily distracted. And I like to procrastinate. Which is why I'm answering these questions instead of putting my nose to the grindstone.

Jon: What is always in your refrigerator?

Libby: Milk. Lettuce. Cheese. Salad dressings. Diet Snapple. (Thank god you didn't say freezer! I'd have to cop to the frozen chocolate chip cookie dough.)

All content © Libby Fischer Hellmann.