Hi Folks! Today I was to have a special guest post from Burt, who’s visited the blog several times by now. However, technical difficulties got in the way. So, once I have that entertaining guest post, I’ll get it posted. Until then, check out the info on Burt’s latest book!
Finally, here is the guest post from Burt. Enjoy!
When I first started writing COREY LOGAN (the working title of INSIDE PASSAGE), I had no idea I’d be writing a trilogy. In fact, The first iteration of COREY LOGAN was as a screenplay, and the story was different from INSIDE PASSAGE .
Abe and Corey stayed with me, however. I was very interested in this unlikely couple – a tough, smart, very practical woman who simply knows what she knows, and a quirky, absent-minded, occasionally brilliant psychiatrist who’s often not connected to the world. In INSIDE PASSAGE, they fall madly in love with an intensity that I didn’t anticipate, and they become an extraordinary team.
So I wanted to see more of them. In TEASER, they’re married, and even closer to each other than they are in INSIDE PASSAGE. They’re very sensitive to one another and it’s often true that they actually know what their partner is feeling, what he or she is thinking. What they share is an ability to tune in to one another, to see their world as it actually is, even when that’s painful and complicated.
In TEASER, Abe and Corey take extraordinary risks – they take the law in their own hands because it’s the only way to save two young people. They trust their own assessment of the reality they’re dealing with long before anyone else gets it. They work together seamlessly in the face of formidable obstacles. They finally dispense ”rough justice” as only they can do it.
In MINOS, the third book in the trilogy, I wanted to go further into Abe’s world. Here’s how I describe this book on my website:
The title derives from the mythical king of Crete who every year condemns seven Athenian youths and seven maidens to be eaten by the ferocious Minotaur. Minos begins at the Olympic Academy, where Billy’s friend Sara has just carved a magic circle in the hardwood bathroom floor with an ancient double-edged dagger. She twirls inside her circle calling on the Oracle of Apollo to help her find a modern-day Theseus, the reincarnation of Athens’ “hero of all heroes” who slew the Minotaur. Lost in her magical dance, she knocks over a candle, sets fire to the curtains, and is suspended from school. She is sent to Abe for treatment. Abe discovers that Sara has patched together an entire mythological universe and language with which she tries to make him see that lives are at stake. It is not easy to convince the authorities. But Corey knows that runaways are indeed being murdered, and soon Sara’s dire warnings begin to make sense. But who is the modern-day descendant of Minos? The key is inside Sara’s head.
So Abe, her therapist, has to enter Sara’s world, learn her mythological language, and uncover her modern-day Theseus. I’m writing this book now and it’s becoming the story of an unconventional, brilliant therapist who believes and trusts his patient when no one else will.
So the trilogy starts with INSIDE PASSAGE which I always thought of as Corey’s book. It continues with TEASER , which is really both Abe and Corey’s book. It ends with MINOS which is Abe’s book.
Will there be more? I honestly don’t know.
Teaser, the sequel to Inside Passage, takes Corey and Abe into the interconnected worlds of private school kids and the runaways who roam Seattle’s streets. Billy attends the Olympic Academy, where two friends, Maisie and Aaron, are experimenting with sex and drugs. They’ve become close to Star, a streetwise seductress who leads them down a treacherous path. Despite the best efforts of Abe and Corey, Maisie is abducted by the diabolical “Teaser,” a man determined to take revenge on her father, his former cellmate. Teaser is a mystery to everyone except Abe and Corey, who alone realize what they must do to rescue Maisie. They contrive a plan that shocks even them.
Burt Weissbourd writes character-driven thrillers. Reviewers describe his work as “brilliantly detailed, evocative … thrillingly suspenseful.” “His descriptions are luscious.” “An incredibly strong and intelligent female protagonist.” “[His] dark characters rank with some of Koontz’s and King’s worst imaginaries.”
Burt began his career producing movies, working closely with screenwriters, then writing his own screenplays.
A newcomer to Hollywood, he approached writers whose movies he loved — movies such as “Klute,” “Two for the Road,” and “Ordinary People” — and worked with those writers and others, including working with Ross Macdonald, a legend in crime fiction, on his only screenplay.
This was the “New Hollywood” (1967 – 1980), and he found writers whose work grabbed viewers viscerally, not with explosions but with multi-dimensional characters who would draw you into a deeply moving story.
Savvy actors wanted to play finely drawn characters in compelling stories, and before long, Burt was developing screenplays, working directly with Robert Redford, Lily Tomlin, Goldie Hawn, Sally Field, and Jill Clayburg, among others.
As a producer developing a screenplay, he looked for stories with strong, complex characters and a “rich stew” — that is to say, a situation with conflict, emotional intensity, and the potential to evolve in unexpected ways. This is exactly what he tries to create for the books he writes.
Places to Find Burt Weissbourd