Michael Palmer and Daniel Palmer in Conversation

Michael: Before we get into our conversation, Daniel, I want to say publicly how incredibly impressed and proud I am with what you have accomplished. In the thirty-three years since I started writing, I can't tell you how many people have crossed my path who said they were writing a novel or thinking about writing a novel, versus how many people have actually finished one, let alone one as compelling an well-written as Delirious. Good going.
Daniel: Thanks for the compliments, Dad. I guess I've come a long way since my term paper about Custer's Last Stand. You gave me a lot of great advice along the way. What's the best writing advice you ever got?

Michael: Wish I knew who to attribute it to, but by far the best writing advice I have ever gotten is "RELAX." The more up tight I am at the keyboard, the more I worry how many people are going to read this sentence or that metaphor, the less effective my storytelling is. So tell me, I remember the summer camp jobs and the constantly changing bands you played in, and even the computer jobs after graduate school. When in the heck did you decide to be a writer?
Daniel: Hmmm . . . I think it was right after I met Elizabeth Hurley at the movie premiere of your book, Extreme Measures. Actually, I'd say that I've always been a writer, just that my focus had been songwriting. I came to writing fiction later in life, after the Internet bubble had burst, because I got this crazy idea that I could write a book and sell it (yes, I needed the cash). You kept telling me that it was a really really hard thing to do. I think your words were, "If it were easy, everybody would be doing it." Well, once again you were right. It was MUCH harder than I thought it would be, and of course I couldn't sell my first attempt (or second, or third, or fourth . . .). But what I discovered in the process was how much I loved writing and storytelling. So kept at it and a dozen years later, sold a three book contract to Kensington Publishers. What is it that you love most about writing? Is that same now as it was when you were just starting out?

Michael: One of the clearest memories I have of you involves your boundless imagination. When you were like four or five I used to tell my friends and family that if I wanted to keep you occupied, all I had to do was send you out to the back yard with two sticks. Next thing I'd know, there would be a pitched battle raging. It would go on for hours, complete with great sound effects and dialogue among the combatants. Ironically, all I had to do to occupy your older brother, Matt, was to give him a book. As for your question, one of my hobbies is collecting quotes by writers about their craft. When I get blocked or stuck or whatever you call it, I still go back and read some of them. It's reassuring to remember that no matter how incredible Faulkner or Hemingway or Nabokov were as writers, the process for them and the hardships were the same as mine. One of the anonymous quotes I like the most is: "Writers don't like writing books, they like having written them." For me, the thing I love the most about writing fiction, same as when it happens in the rest of life, is that I'm in charge!! If I want something to happen, I just open my mind and start typing. So, unlike Matt, when you were growing up, and right into college, reading was an effort for you as was writing. Now you've got two or three books going at a time and you have a major 3-book writing contract. When did everything change?
Daniel: There's no doubt reading was always a challenge for me growing up. I remember loving comic books (Marvel more than DC), the Tarzan series by Edgar Rice Burroughs, and a lot of Stephen King novels, but unlike my brother, reading wasn't my first choice for escapist pleasure. As I grew older, I became interested in music and songwriting in particular. What I liked most about songwriting was how the lyrics of the song created a mood, or evoked certain emotions. I soon became a student of the craft and looked for ways that I could convey well understood emotions--love, loss, joy, fear, etc. in my own lyrics, without being derivative, obtuse, or too cliché. What I discovered when I began to write fiction was that the same basic elements that inspired my songwriting were present in a well crafted novel. As soon as I made that connection, I began to read with an entirely new awareness. I could see more clearly the choices the author had made and how it influenced their story. When I became an active reader is when I became a lifelong reader. Of course, the more that I read the more I could see how some characters worked better than others. In your opinion how important is character development in the sort of novels we write? How do you create characters that your readers end up caring about?

Michael: Before I address your question, I want to tell everyone how terrific your songs are. Some of them can be heard (and bought) on www.danielpalmerbooks.com. I also want to say that you are one of the better blues/rock and roll harmonica players around. On my Web site (www.michaelpalmerbooks.com) I have a list of writing tips for anyone who is interested. I always start a book by settling on a subject. Next I formulate a "what if?" question that I will answer in the book. This is the "elevator" question I would pull out if a publisher or agent or movie mogul on an elevator asks me what my book is about, but they only have two floors before they are getting off. After that, I try to be sure I have an answer. That part of the process, the answer to the what if question, was named the McGuffin by Alfred Hitchcock (see my tips or google the term). Next I determine whose story is this, If I'm writing about fertility, it would be silly NOT to have my protagonist be a woman, and probably an OB/GYN as well. Many readers feel as if they are plowing through a thriller to find out what happens or whodunnit. I know that unless they have been led to care about the characters, they may not even make it to the end. Warmth, humor, quirks, problems, fears, dreams, and, most importantly, big stuff to lose. Put those all together and you have the makings of a protagonist readers will care about. I know how hard you have worked at "becoming" a better writer. What do you feel are your strongest attributes as a novelist.
Daniel: Strongest attribute, eh? I'd say it's my ability to laugh in the face of utterly devastating, humiliating, and ruthless rejection. But in all seriousness, persistence was the key to my getting published. With each rejection (and I received many) I’d always ask for specific feed-back. I looked closely at their criticism, tried to stay objective, and asked myself—“do I agree?” I was surprised that there were many instances where the answer to that question was, yes. I believe it’s critical to have an open mind when evaluating feedback. There is more power in refusing to quit than there is in refusing to change. Going through the processes of rejection and refinement was essential for my being able to focus on the type of novels that I hope to write. Because of my background in software product development, I decided that each of my books would focus on a theme in technology that people are familiar with—in-car communication/entertainment systems, blogs, sexting, and identity theft just as examples. In that way, I hope to continue writing novels that explore the hidden dangers of common technologies in a way that geeks and technophobes alike will be able to enjoy. In addition to being able to explain complex technology in easy to understand language, I think I'm also strong at writing action scenes (probably because I love the movies so much) and writing realistic dialog (I act out all of my scenes aloud). I think that's a great question, so I'll ask it in return. What do you feel are your strongest attributes as a novelist.

Michael: Thanks for the easy "softball" question. The attributes I consider my strongest are: Imagination, Discipline, Fearlessness and A love of people. I can't tell you how neat it is to be sharing a billing in THE MYSTERY GUILD with one of my sons. You are not only a heck of a writer and son, but a really good guy down to the core. Any final words you'd like to share regarding your career and/or DELIRIOUS?
Daniel: Only that it's great to share the THE MYSTERY GUILD billing with you as well. I want to say any readers out there that I hope if you read DELIRIOUS you'll stop by my Web site, Twitter or Facebook page and drop me a note. From what I've observed of your writing career, interacting with your readers is one of the most rewarding aspects of the profession. How about you, Dad? Any final words about the breathtaking, thrill ride of A HEARTBEAT AWAY. You've got an amazing story here. I know all your books are different, but does this one have anything specifically unique you want to share with your readers?

Michael: Because of the interest in and success of the medical/political suspense novels The First Patient and The Last Surgeon, I am continuing the hybrid genre with A Heartbeat Away, and will be following it up with another medical/political thriller called The White House. This was fun, Dan. Thanks a lot.
Daniel: Thanks back atcha, pop.

Michael Palmer and Daniel Palmer in Conversation

Michael: Before we get into our conversation, Daniel, I want to say publicly how incredibly impressed and proud I am with what you have accomplished. In the thirty-three years since I started writing, I can't tell you how many people have crossed my path who said they were writing a novel or thinking about writing a novel, versus how many people have actually finished one, let alone one as compelling an well-written as Delirious. Good going.
Daniel: Thanks for the compliments, Dad. I guess I've come a long way since my term paper about Custer's Last Stand. You gave me a lot of great advice along the way. What's the best writing advice you ever got?

Michael: Wish I knew who to attribute it to, but by far the best writing advice I have ever gotten is "RELAX." The more up tight I am at the keyboard, the more I worry how many people are going to read this sentence or that metaphor, the less effective my storytelling is. So tell me, I remember the summer camp jobs and the constantly changing bands you played in, and even the computer jobs after graduate school. When in the heck did you decide to be a writer?
Daniel: Hmmm . . . I think it was right after I met Elizabeth Hurley at the movie premiere of your book, Extreme Measures. Actually, I'd say that I've always been a writer, just that my focus had been songwriting. I came to writing fiction later in life, after the Internet bubble had burst, because I got this crazy idea that I could write a book and sell it (yes, I needed the cash). You kept telling me that it was a really really hard thing to do. I think your words were, "If it were easy, everybody would be doing it." Well, once again you were right. It was MUCH harder than I thought it would be, and of course I couldn't sell my first attempt (or second, or third, or fourth . . .). But what I discovered in the process was how much I loved writing and storytelling. So kept at it and a dozen years later, sold a three book contract to Kensington Publishers. What is it that you love most about writing? Is that same now as it was when you were just starting out?

Michael: One of the clearest memories I have of you involves your boundless imagination. When you were like four or five I used to tell my friends and family that if I wanted to keep you occupied, all I had to do was send you out to the back yard with two sticks. Next thing I'd know, there would be a pitched battle raging. It would go on for hours, complete with great sound effects and dialogue among the combatants. Ironically, all I had to do to occupy your older brother, Matt, was to give him a book. As for your question, one of my hobbies is collecting quotes by writers about their craft. When I get blocked or stuck or whatever you call it, I still go back and read some of them. It's reassuring to remember that no matter how incredible Faulkner or Hemingway or Nabokov were as writers, the process for them and the hardships were the same as mine. One of the anonymous quotes I like the most is: "Writers don't like writing books, they like having written them." For me, the thing I love the most about writing fiction, same as when it happens in the rest of life, is that I'm in charge!! If I want something to happen, I just open my mind and start typing. So, unlike Matt, when you were growing up, and right into college, reading was an effort for you as was writing. Now you've got two or three books going at a time and you have a major 3-book writing contract. When did everything change?
Daniel: There's no doubt reading was always a challenge for me growing up. I remember loving comic books (Marvel more than DC), the Tarzan series by Edgar Rice Burroughs, and a lot of Stephen King novels, but unlike my brother, reading wasn't my first choice for escapist pleasure. As I grew older, I became interested in music and songwriting in particular. What I liked most about songwriting was how the lyrics of the song created a mood, or evoked certain emotions. I soon became a student of the craft and looked for ways that I could convey well understood emotions--love, loss, joy, fear, etc. in my own lyrics, without being derivative, obtuse, or too cliché. What I discovered when I began to write fiction was that the same basic elements that inspired my songwriting were present in a well crafted novel. As soon as I made that connection, I began to read with an entirely new awareness. I could see more clearly the choices the author had made and how it influenced their story. When I became an active reader is when I became a lifelong reader. Of course, the more that I read the more I could see how some characters worked better than others. In your opinion how important is character development in the sort of novels we write? How do you create characters that your readers end up caring about?

Michael: Before I address your question, I want to tell everyone how terrific your songs are. Some of them can be heard (and bought) on www.danielpalmerbooks.com. I also want to say that you are one of the better blues/rock and roll harmonica players around. On my Web site (www.michaelpalmerbooks.com) I have a list of writing tips for anyone who is interested. I always start a book by settling on a subject. Next I formulate a "what if?" question that I will answer in the book. This is the "elevator" question I would pull out if a publisher or agent or movie mogul on an elevator asks me what my book is about, but they only have two floors before they are getting off. After that, I try to be sure I have an answer. That part of the process, the answer to the what if question, was named the McGuffin by Alfred Hitchcock (see my tips or google the term). Next I determine whose story is this, If I'm writing about fertility, it would be silly NOT to have my protagonist be a woman, and probably an OB/GYN as well. Many readers feel as if they are plowing through a thriller to find out what happens or whodunnit. I know that unless they have been led to care about the characters, they may not even make it to the end. Warmth, humor, quirks, problems, fears, dreams, and, most importantly, big stuff to lose. Put those all together and you have the makings of a protagonist readers will care about. I know how hard you have worked at "becoming" a better writer. What do you feel are your strongest attributes as a novelist.
Daniel: Strongest attribute, eh? I'd say it's my ability to laugh in the face of utterly devastating, humiliating, and ruthless rejection. But in all seriousness, persistence was the key to my getting published. With each rejection (and I received many) I’d always ask for specific feed-back. I looked closely at their criticism, tried to stay objective, and asked myself—“do I agree?” I was surprised that there were many instances where the answer to that question was, yes. I believe it’s critical to have an open mind when evaluating feedback. There is more power in refusing to quit than there is in refusing to change. Going through the processes of rejection and refinement was essential for my being able to focus on the type of novels that I hope to write. Because of my background in software product development, I decided that each of my books would focus on a theme in technology that people are familiar with—in-car communication/entertainment systems, blogs, sexting, and identity theft just as examples. In that way, I hope to continue writing novels that explore the hidden dangers of common technologies in a way that geeks and technophobes alike will be able to enjoy. In addition to being able to explain complex technology in easy to understand language, I think I'm also strong at writing action scenes (probably because I love the movies so much) and writing realistic dialog (I act out all of my scenes aloud). I think that's a great question, so I'll ask it in return. What do you feel are your strongest attributes as a novelist.

Michael: Thanks for the easy "softball" question. The attributes I consider my strongest are: Imagination, Discipline, Fearlessness and A love of people. I can't tell you how neat it is to be sharing a billing in THE MYSTERY GUILD with one of my sons. You are not only a heck of a writer and son, but a really good guy down to the core. Any final words you'd like to share regarding your career and/or DELIRIOUS?
Daniel: Only that it's great to share the THE MYSTERY GUILD billing with you as well. I want to say any readers out there that I hope if you read DELIRIOUS you'll stop by my Web site, Twitter or Facebook page and drop me a note. From what I've observed of your writing career, interacting with your readers is one of the most rewarding aspects of the profession. How about you, Dad? Any final words about the breathtaking, thrill ride of A HEARTBEAT AWAY. You've got an amazing story here. I know all your books are different, but does this one have anything specifically unique you want to share with your readers?

Michael: Because of the interest in and success of the medical/political suspense novels The First Patient and The Last Surgeon, I am continuing the hybrid genre with A Heartbeat Away, and will be following it up with another medical/political thriller called The White House. This was fun, Dan. Thanks a lot.
Daniel: Thanks back atcha, pop.

Michael Palmer and Daniel Palmer in Conversation

Michael: Before we get into our conversation, Daniel, I want to say publicly how incredibly impressed and proud I am with what you have accomplished. In the thirty-three years since I started writing, I can't tell you how many people have crossed my path who said they were writing a novel or thinking about writing a novel, versus how many people have actually finished one, let alone one as compelling an well-written as Delirious. Good going.
Daniel: Thanks for the compliments, Dad. I guess I've come a long way since my term paper about Custer's Last Stand. You gave me a lot of great advice along the way. What's the best writing advice you ever got?

Michael: Wish I knew who to attribute it to, but by far the best writing advice I have ever gotten is "RELAX." The more up tight I am at the keyboard, the more I worry how many people are going to read this sentence or that metaphor, the less effective my storytelling is. So tell me, I remember the summer camp jobs and the constantly changing bands you played in, and even the computer jobs after graduate school. When in the heck did you decide to be a writer?
Daniel: Hmmm . . . I think it was right after I met Elizabeth Hurley at the movie premiere of your book, Extreme Measures. Actually, I'd say that I've always been a writer, just that my focus had been songwriting. I came to writing fiction later in life, after the Internet bubble had burst, because I got this crazy idea that I could write a book and sell it (yes, I needed the cash). You kept telling me that it was a really really hard thing to do. I think your words were, "If it were easy, everybody would be doing it." Well, once again you were right. It was MUCH harder than I thought it would be, and of course I couldn't sell my first attempt (or second, or third, or fourth . . .). But what I discovered in the process was how much I loved writing and storytelling. So kept at it and a dozen years later, sold a three book contract to Kensington Publishers. What is it that you love most about writing? Is that same now as it was when you were just starting out?

Michael: One of the clearest memories I have of you involves your boundless imagination. When you were like four or five I used to tell my friends and family that if I wanted to keep you occupied, all I had to do was send you out to the back yard with two sticks. Next thing I'd know, there would be a pitched battle raging. It would go on for hours, complete with great sound effects and dialogue among the combatants. Ironically, all I had to do to occupy your older brother, Matt, was to give him a book. As for your question, one of my hobbies is collecting quotes by writers about their craft. When I get blocked or stuck or whatever you call it, I still go back and read some of them. It's reassuring to remember that no matter how incredible Faulkner or Hemingway or Nabokov were as writers, the process for them and the hardships were the same as mine. One of the anonymous quotes I like the most is: "Writers don't like writing books, they like having written them." For me, the thing I love the most about writing fiction, same as when it happens in the rest of life, is that I'm in charge!! If I want something to happen, I just open my mind and start typing. So, unlike Matt, when you were growing up, and right into college, reading was an effort for you as was writing. Now you've got two or three books going at a time and you have a major 3-book writing contract. When did everything change?
Daniel: There's no doubt reading was always a challenge for me growing up. I remember loving comic books (Marvel more than DC), the Tarzan series by Edgar Rice Burroughs, and a lot of Stephen King novels, but unlike my brother, reading wasn't my first choice for escapist pleasure. As I grew older, I became interested in music and songwriting in particular. What I liked most about songwriting was how the lyrics of the song created a mood, or evoked certain emotions. I soon became a student of the craft and looked for ways that I could convey well understood emotions--love, loss, joy, fear, etc. in my own lyrics, without being derivative, obtuse, or too cliché. What I discovered when I began to write fiction was that the same basic elements that inspired my songwriting were present in a well crafted novel. As soon as I made that connection, I began to read with an entirely new awareness. I could see more clearly the choices the author had made and how it influenced their story. When I became an active reader is when I became a lifelong reader. Of course, the more that I read the more I could see how some characters worked better than others. In your opinion how important is character development in the sort of novels we write? How do you create characters that your readers end up caring about?

Michael: Before I address your question, I want to tell everyone how terrific your songs are. Some of them can be heard (and bought) on www.danielpalmerbooks.com. I also want to say that you are one of the better blues/rock and roll harmonica players around. On my Web site (www.michaelpalmerbooks.com) I have a list of writing tips for anyone who is interested. I always start a book by settling on a subject. Next I formulate a "what if?" question that I will answer in the book. This is the "elevator" question I would pull out if a publisher or agent or movie mogul on an elevator asks me what my book is about, but they only have two floors before they are getting off. After that, I try to be sure I have an answer. That part of the process, the answer to the what if question, was named the McGuffin by Alfred Hitchcock (see my tips or google the term). Next I determine whose story is this, If I'm writing about fertility, it would be silly NOT to have my protagonist be a woman, and probably an OB/GYN as well. Many readers feel as if they are plowing through a thriller to find out what happens or whodunnit. I know that unless they have been led to care about the characters, they may not even make it to the end. Warmth, humor, quirks, problems, fears, dreams, and, most importantly, big stuff to lose. Put those all together and you have the makings of a protagonist readers will care about. I know how hard you have worked at "becoming" a better writer. What do you feel are your strongest attributes as a novelist.
Daniel: Strongest attribute, eh? I'd say it's my ability to laugh in the face of utterly devastating, humiliating, and ruthless rejection. But in all seriousness, persistence was the key to my getting published. With each rejection (and I received many) I’d always ask for specific feed-back. I looked closely at their criticism, tried to stay objective, and asked myself—“do I agree?” I was surprised that there were many instances where the answer to that question was, yes. I believe it’s critical to have an open mind when evaluating feedback. There is more power in refusing to quit than there is in refusing to change. Going through the processes of rejection and refinement was essential for my being able to focus on the type of novels that I hope to write. Because of my background in software product development, I decided that each of my books would focus on a theme in technology that people are familiar with—in-car communication/entertainment systems, blogs, sexting, and identity theft just as examples. In that way, I hope to continue writing novels that explore the hidden dangers of common technologies in a way that geeks and technophobes alike will be able to enjoy. In addition to being able to explain complex technology in easy to understand language, I think I'm also strong at writing action scenes (probably because I love the movies so much) and writing realistic dialog (I act out all of my scenes aloud). I think that's a great question, so I'll ask it in return. What do you feel are your strongest attributes as a novelist.

Michael: Thanks for the easy "softball" question. The attributes I consider my strongest are: Imagination, Discipline, Fearlessness and A love of people. I can't tell you how neat it is to be sharing a billing in THE MYSTERY GUILD with one of my sons. You are not only a heck of a writer and son, but a really good guy down to the core. Any final words you'd like to share regarding your career and/or DELIRIOUS?
Daniel: Only that it's great to share the THE MYSTERY GUILD billing with you as well. I want to say any readers out there that I hope if you read DELIRIOUS you'll stop by my Web site, Twitter or Facebook page and drop me a note. From what I've observed of your writing career, interacting with your readers is one of the most rewarding aspects of the profession. How about you, Dad? Any final words about the breathtaking, thrill ride of A HEARTBEAT AWAY. You've got an amazing story here. I know all your books are different, but does this one have anything specifically unique you want to share with your readers?

Michael: Because of the interest in and success of the medical/political suspense novels The First Patient and The Last Surgeon, I am continuing the hybrid genre with A Heartbeat Away, and will be following it up with another medical/political thriller called The White House. This was fun, Dan. Thanks a lot.
Daniel: Thanks back atcha, pop.

Michael Palmer and Daniel Palmer in Conversation

Michael: Before we get into our conversation, Daniel, I want to say publicly how incredibly impressed and proud I am with what you have accomplished. In the thirty-three years since I started writing, I can't tell you how many people have crossed my path who said they were writing a novel or thinking about writing a novel, versus how many people have actually finished one, let alone one as compelling an well-written as Delirious. Good going.
Daniel: Thanks for the compliments, Dad. I guess I've come a long way since my term paper about Custer's Last Stand. You gave me a lot of great advice along the way. What's the best writing advice you ever got?

Michael: Wish I knew who to attribute it to, but by far the best writing advice I have ever gotten is "RELAX." The more up tight I am at the keyboard, the more I worry how many people are going to read this sentence or that metaphor, the less effective my storytelling is. So tell me, I remember the summer camp jobs and the constantly changing bands you played in, and even the computer jobs after graduate school. When in the heck did you decide to be a writer?
Daniel: Hmmm . . . I think it was right after I met Elizabeth Hurley at the movie premiere of your book, Extreme Measures. Actually, I'd say that I've always been a writer, just that my focus had been songwriting. I came to writing fiction later in life, after the Internet bubble had burst, because I got this crazy idea that I could write a book and sell it (yes, I needed the cash). You kept telling me that it was a really really hard thing to do. I think your words were, "If it were easy, everybody would be doing it." Well, once again you were right. It was MUCH harder than I thought it would be, and of course I couldn't sell my first attempt (or second, or third, or fourth . . .). But what I discovered in the process was how much I loved writing and storytelling. So kept at it and a dozen years later, sold a three book contract to Kensington Publishers. What is it that you love most about writing? Is that same now as it was when you were just starting out?

Michael: One of the clearest memories I have of you involves your boundless imagination. When you were like four or five I used to tell my friends and family that if I wanted to keep you occupied, all I had to do was send you out to the back yard with two sticks. Next thing I'd know, there would be a pitched battle raging. It would go on for hours, complete with great sound effects and dialogue among the combatants. Ironically, all I had to do to occupy your older brother, Matt, was to give him a book. As for your question, one of my hobbies is collecting quotes by writers about their craft. When I get blocked or stuck or whatever you call it, I still go back and read some of them. It's reassuring to remember that no matter how incredible Faulkner or Hemingway or Nabokov were as writers, the process for them and the hardships were the same as mine. One of the anonymous quotes I like the most is: "Writers don't like writing books, they like having written them." For me, the thing I love the most about writing fiction, same as when it happens in the rest of life, is that I'm in charge!! If I want something to happen, I just open my mind and start typing. So, unlike Matt, when you were growing up, and right into college, reading was an effort for you as was writing. Now you've got two or three books going at a time and you have a major 3-book writing contract. When did everything change?
Daniel: There's no doubt reading was always a challenge for me growing up. I remember loving comic books (Marvel more than DC), the Tarzan series by Edgar Rice Burroughs, and a lot of Stephen King novels, but unlike my brother, reading wasn't my first choice for escapist pleasure. As I grew older, I became interested in music and songwriting in particular. What I liked most about songwriting was how the lyrics of the song created a mood, or evoked certain emotions. I soon became a student of the craft and looked for ways that I could convey well understood emotions--love, loss, joy, fear, etc. in my own lyrics, without being derivative, obtuse, or too cliché. What I discovered when I began to write fiction was that the same basic elements that inspired my songwriting were present in a well crafted novel. As soon as I made that connection, I began to read with an entirely new awareness. I could see more clearly the choices the author had made and how it influenced their story. When I became an active reader is when I became a lifelong reader. Of course, the more that I read the more I could see how some characters worked better than others. In your opinion how important is character development in the sort of novels we write? How do you create characters that your readers end up caring about?

Michael: Before I address your question, I want to tell everyone how terrific your songs are. Some of them can be heard (and bought) on www.danielpalmerbooks.com. I also want to say that you are one of the better blues/rock and roll harmonica players around. On my Web site (www.michaelpalmerbooks.com) I have a list of writing tips for anyone who is interested. I always start a book by settling on a subject. Next I formulate a "what if?" question that I will answer in the book. This is the "elevator" question I would pull out if a publisher or agent or movie mogul on an elevator asks me what my book is about, but they only have two floors before they are getting off. After that, I try to be sure I have an answer. That part of the process, the answer to the what if question, was named the McGuffin by Alfred Hitchcock (see my tips or google the term). Next I determine whose story is this, If I'm writing about fertility, it would be silly NOT to have my protagonist be a woman, and probably an OB/GYN as well. Many readers feel as if they are plowing through a thriller to find out what happens or whodunnit. I know that unless they have been led to care about the characters, they may not even make it to the end. Warmth, humor, quirks, problems, fears, dreams, and, most importantly, big stuff to lose. Put those all together and you have the makings of a protagonist readers will care about. I know how hard you have worked at "becoming" a better writer. What do you feel are your strongest attributes as a novelist.
Daniel: Strongest attribute, eh? I'd say it's my ability to laugh in the face of utterly devastating, humiliating, and ruthless rejection. But in all seriousness, persistence was the key to my getting published. With each rejection (and I received many) I’d always ask for specific feed-back. I looked closely at their criticism, tried to stay objective, and asked myself—“do I agree?” I was surprised that there were many instances where the answer to that question was, yes. I believe it’s critical to have an open mind when evaluating feedback. There is more power in refusing to quit than there is in refusing to change. Going through the processes of rejection and refinement was essential for my being able to focus on the type of novels that I hope to write. Because of my background in software product development, I decided that each of my books would focus on a theme in technology that people are familiar with—in-car communication/entertainment systems, blogs, sexting, and identity theft just as examples. In that way, I hope to continue writing novels that explore the hidden dangers of common technologies in a way that geeks and technophobes alike will be able to enjoy. In addition to being able to explain complex technology in easy to understand language, I think I'm also strong at writing action scenes (probably because I love the movies so much) and writing realistic dialog (I act out all of my scenes aloud). I think that's a great question, so I'll ask it in return. What do you feel are your strongest attributes as a novelist.

Michael: Thanks for the easy "softball" question. The attributes I consider my strongest are: Imagination, Discipline, Fearlessness and A love of people. I can't tell you how neat it is to be sharing a billing in THE MYSTERY GUILD with one of my sons. You are not only a heck of a writer and son, but a really good guy down to the core. Any final words you'd like to share regarding your career and/or DELIRIOUS?
Daniel: Only that it's great to share the THE MYSTERY GUILD billing with you as well. I want to say any readers out there that I hope if you read DELIRIOUS you'll stop by my Web site, Twitter or Facebook page and drop me a note. From what I've observed of your writing career, interacting with your readers is one of the most rewarding aspects of the profession. How about you, Dad? Any final words about the breathtaking, thrill ride of A HEARTBEAT AWAY. You've got an amazing story here. I know all your books are different, but does this one have anything specifically unique you want to share with your readers?

Michael: Because of the interest in and success of the medical/political suspense novels The First Patient and The Last Surgeon, I am continuing the hybrid genre with A Heartbeat Away, and will be following it up with another medical/political thriller called The White House. This was fun, Dan. Thanks a lot.
Daniel: Thanks back atcha, pop.