I also knew Merc’s book would be a long time coming because I had a lot of other projects planned, but Slack was my initial set-up for what would become Meet Me In The Dark. So by the time I started writing MMITD, Merc was real to me. I know him pretty well. I knew the book started with him saving Sasha on Christmas Eve and ended with him being fucked over by the girl he left behind. And I had already set up this mind control stuff in the Come books. James was insane, Harper was on weird drugs, Sasha might be a sleeper assassin.

All that stuff was there.

But I tell you what—this Sydney girl surprised the hell out of me in this book. She was the only one I didn’t know. I knew her father, he’s been mentioned before. But the only thing I knew about Sydney going in was that at the end of Guns (oh yeah, Merc was in that too) Merc is watching her coming out of a bar in Cheyenne with a guy… (“I watch the girl hanging on her piece of shit boyfriend outside the bar.”)

That was it. That’s all I had about Sydney. So her story unfolded as the plot progressed. I knew she was gonna have secrets and I knew she was going to get the better of Merc. She did that twice, so that made me happy. I knew Merc was an asshole and that he would walk away. That’s all I had. So I don’t know where I get these ideas. I do remember about a month ago, walking into the gym and telling my trainer, James, that I was writing some fucked up shit. That was during “research week”.

I find this book disturbing, but not for the same reasons that most people will. I don’t find Merc disturbing at all. I know him intimately. I see past what others can’t because I created him. So even though he is a violent asshole in the first half of the book, I know why he’s like that. I’m fine with Merc.

But all this mind control stuff really affected me in a negative way. I spent about a week researching it online. I read articles and watched videos. (And FYI, this MKUltra stuff was real. The really did these experiments on people back in the day by pumping them up with drugs without their knowledge. They admitted to it, and then the CIA, under the Nixon administration, promptly destroyed all the records) I looked for specific drugs to use, but ended up keeping it simple and leaving most of those brand names out. And it took me a while (Julie time – like a week) to put this plot together so that it made sense and could still be something people might like.

It was a difficult book for me in a lot of ways.

But I remember watching the commentary video on the Director’s Cut version of that Tom Hank’s movie, Castaway, and the one thing that stuck out was that they came up with the plot after they randomly put objects inside the Fed Ex boxes. And then they consulted survivalists to determine how Tam Hank’s character might use those things to stay alive on that deserted island.

So I kinda felt like that’s what I was doing in MMITD. I had these objects in the form of Merc’s past roles in other books, and I needed to figure out how I can use them to survive. It was fun (now that my mind control paranoia has waned) and challenging. But I’m really happy with how the book turned out.

There is also a lot of set-up for Sasha’s book in here, which will hopefully release a month from now. May 20, 2015 is my plan, but release week usually puts me behind schedule, so I might not make it. I’m trying hard though. Sasha’s book will be the “end of” book. Meaning—end of these Company plotlines. I think she is the last character who needs to deal with them. But who knows, maybe someone who survived in Coming For You will be back? ;)

Anyway, I know I write twisted thrillers. And sometimes people ask me why I don’t stop writing romance and just write thrillers. I have a really good plot for one just waiting for the time to write it. But I like romances. I don’t want to write thrillers with no romance. I think the romance is the best part. I like the way my characters are all so unlikable by themselves, but putting them together makes them complete. It softens their edges and makes them companionate. I almost never finish reading a book if the characters are too perfect. I like them to be damaged and ugly inside. I like the men to be mean and/or unlovable until that one special girl comes along who can tame them. And I like the women to find their own strength. These twisted plots give them the opportunity to overcome seemingly insurmountable obstacles. So I’m gonna keep writing romantic suspense as long as I have plot ideas.

I hope you enjoyed this story. Merc and Sydney are messed up by themselves, but they are complete when they are together. I guess that’s my aim when I write. Take two fucked up people and make them better once they fall in love. :)

***

If you read Three, Two, One (321) and didn’t see that I posted a bonus ending scene between Ark and Blue online, you can read that scene here.

The Street Team and Shrike Bikes people teamed up for a contest I ran to promote MMITD on release week and I gave them five different tasks to do. Some of the amazing ideas they came up—I’m blown away. And one of the tasks was to spell out the title of the book using household objects. One of these images in particular stood out in my mind, because she used her husband’s guns and hunting gear to do this. I asked her if I could use these images in the official book trailer and she said yes. So I’d just like to say thank you to Lauren and Matt Duncan. Love your guns, man. Love them!

I have one more thing to say, and this is about my editor. I get a lot of messages from people telling me how to edit. Why, I don’t know. I have an editor. Her name is RJ. I am never, as long as she keeps taking my manuscripts, going to ditch her. She is the only editor I’ve ever used, she’s been working with me since my first book, Clutch, and she has been a major contributor to my success. She is the only person who read this book before the ARC’s went out and so I owe her a huge thank you for all her guidance.

After writing thirty books I know what an editor is. And it’s not a proofreader. I still get typos, everyone does. Editing is not about typos or grammar. Editing is about plot and characterization. Editing is about sentence structure and flow. It’s about knowing what part of the book is my “true story” and what part needs to be cut. She also knows my style. Fiction is not bound by grammar or spelling. The point of a good story is not to have perfect grammar. That’s silly. I take some liberties in this area and those liberties create my “voice”. People seem to like my voice, so I’m gonna keep doing it.

We do our best to find stray typos after the editing is done, but that’s not why I hire RJ. I hire her to take what I write and tell me how to improve it. That does include grammar and stuff. She has a master’s degree in publishing—she knows what she’s doing. But what RJ does is something most people cannot do. She sees my story arc. She knows what works and what doesn’t. She calls me on all the parts I try to half-ass my way through. She knows what I’m capable of and never lets it slide.

She’s invaluable to me. She is the reason why my books are so consistent and why you keep coming back for more. She makes me better.

So big huge thank you to RJ.

(By the way, the EOBS is never edited!) :)

OK, I’m done here. If you enjoyed this story please take a moment to leave a simple review over at Amazon, even if you didn’t buy the book there. It really, really, really helps me sell more books. I cannot stress that enough.

Thank you for reading and reviewing. Thank you for all your support and love. And thank you for making my work so fulfilling. You are the reason I keep doing it.

See you in the next book!

Julie

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