EDWIN J McBRIDE - INDIE AUTHOR
Written to explore the emotional impact of domestic violence and murder on the unsuspecting and innocent. Taken from the point of view of the victim and a study into the evil of intent provoked in drug addiction and irrational fears of sufferers. The book follows police during a one day unfolding of events that brings all things to an unexpected conclusion.
On any normal day, the events of this day would be unimaginable…
Expecting parents, Michael and Michelle Armstrong, look forward to the birth of their first child, Anna, yet Michael finds himself captive to a crazed ICE addict, leaving Michelle to suffer an unexpected difficult delivery…
Braxton City is immersed in fear as a calculating killer abducts, rapes, tortures then kill’s young women without remorse and leaves nothing but battered corpses around the city; only to raise more questions than uncover needed answers for the police. Detective Paul Anderson, burdened by the case, learns of a female victim who has escaped the very serial killer they hunt…only what she knows will put her in grave danger and thrust the city into absolute shock if the truth she holds is revealed…
A complex and utterly enthralling thriller that asks a burning question…
What will happen to Anna the day she is born?
“Another emotionally charged character driven story by McBride, who seems to thrive on the inner chaos and war within his character’s as they battle through a compelling plot and challenging conflicts…The theme of estranged families and futile relationships bind amongst the realism of drug use and domestic violence…a truly enjoyable journey for anyone not of faint heart and a lover of great Australian fiction…5 stars…”
Janine, IndieAuthor reviewer
Edwin was raised in Rural NSW on a large property, where many of his early years were spent alone in the vast landscape. Edwin has been writing since an early age with over 35 years of writing experience that includes fiction and Non-fiction, magazine articles, TV/radio and film screenplays, along with hundreds of blogs and website copy. A BA in Media Law and Marketing, he is a passionate creative who enjoys learning, dining out, wine appreciation and exploring the wonders of the spirit...
Some Q&A from Edwin on her book series and its development –
You write The Birth of Anna from a range of different perspectives. Did you find this challenging?
Not really...it started with the concept of the young cop trapped by an ICE addict amongst the intense domestic drama and grew from there. I found the development of the back story evolved as I wrote, where I asked myself (and my characters) questions about their pasts and struggles that would make them behave in certain ways within the situation. I then developed the external characters who crossed through this dramatic incident and how they also are impacted and challenged by their lives. I found the timeline of one day for the entire book a good basis to control relevant narration and not needing to over-delve into back stories and historical experiences but rather keep the most important characteristics in the present and allow for the feeling in the story of it happening now and glimpsing enough of the characters to engage the readers understanding of them and their emotional involvement in the drama. I think personally, the most challenging character for me to write in the story was the young boy, Colin, who was unwittingly subjected to the terror and evil of drugs as they decayed his father who he admired and, as I wrote, I know his future experiences in life will be constantly suffering the memories of this horror…each character had an arc and even a suffering to bare, yet Colin was the pure innocent within the mess, as much as Anna was also born this day; her memories were not there to carry forward as yet…
Your story follows a number of different characters. Who was your favourite?
To sound cliché, I liked them all…they all held aspects that intrigued me and as I developed them to a fuller understanding, I appreciated that these characters were being true to themselves within the story, for good or bad, they were who they needed to be and faced with choices and consequences as individuals and as key characters to an overall confronting drama. Favourites for me are defined as collectives because I wrote them, I fell in love with them for all they were. When writing, as a side-note, I find I spend many, many hours with these characters that they become real in my fictional world and I grow to respect and admire them in unique ways. Some readers may find them concerning, or may not like what they see in the story, yet I have had the privilege of growing with them and knowing them beyond anyone else’s comprehension, even if these details are not shared in the story…the hardest part for me was editing, cutting out or amending...this process challenges the truth within my story at times…
Among your characters are a number of female voices. Did you find their voices harder to perfect than that of the men?
I was lucky when I was nineteen, while I was writing my first novel, Paper & Fire, about a woman and daughter abandoned by the man they love and admire; this story at my younger age, had been very challenging and I was blessed to meet and work with an amazing woman and writer, Georgette. She fell in love with my story and took a lot of time with me in explaining and helping me in understanding the female character, explaining the way a woman may feel or perceive differently to a man. This skill, as I was a developing young writer with idol-ism and arrogance abounding, became the basis of the craft I treasured. As many men, I never understood girls nor women when I was young; I was, for the most part, trying to understand myself becoming a man in a fast-changing world, so how would I find time to understand the opposite sex?! I admired them and loved them, as much as I feared them…my relationship with my mother was estranged and I had no real family connections to draw from, so my perception of women was fairly one dimensional at the time, yet through Georgette, I learned some wonderful thought provoking things and really wanted to develop women for my writing purposes. Naturally, writing the women into my stories became a craft and the place I would be able to control and manage them within the confines of the story; the external understanding of them in my reality always alluded me - and still does!
You have also written for magazines, TV and film. What are the main challenges when comparing writing a novel?
I have enjoyed writing for all the available creative mediums and learned a lot about the craft of writing on the whole. The main challenges in other mediums to Novels is the restrictions and measurements required to achieve the visual or content success of the TV, film or magazine. An article is governed by word count mostly, where skills in articulation and construct are paramount to success, and as a writer of such, you are often paid by the word count and acknowledged by readers for the construction and delivery of your summation. In TV and Films, you are faced with budget restrictions and time issues that can be incredibly stressful and restrictive to the truth of a complete story. TV you may only have 15 -30 seconds to create an emotional experience for the viewer and this takes precise thought and skills in the showing of the elements within the short story.
You also have many dozens of people working on the project and creating variables to the core work, so this can be amazingly difficult if it is not clearly focused and managed by the key players in production. Your script for film and TV is also crafted differently with focus on dialogue and character arcs being the vocal points for moving the story and creating the reality visually for the audience, so it has an easier narrative to express and portray in words as the characters become defined by the actor, director or producer in the end result than just by the written words. (James Bond as a book character to a film character is a good example)
Now with a novel, you have no budgets, no limits and an open canvas of expression to build your world and story to the full potential. You do not have to worry about anything but making it the best you can and work with only a few trusted people to meet the end goal of the work. The narrative is more involved and the only real expense a writer needs to consider is the time required to complete the project. Time may be governed by the publishers at times due to release commitments etc, yet for the most part, a writer has the freedom to plan and plot and develop over a period which fits them best. Writing a novel is more fun for me and totally free in the expression and execution as I do not have to worry about how a space station will actually be created and how much CGI will cost for all my action sequences, or props, camera angles, crew, cast and catering needed everyday I write…
The novel is the imaginations playground and for me, it is like sitting amongst new friends and learning more about them and myself than I knew before…
This is your second thriller novel. Why is this your favourite genre to write?
That is an interesting question…I have several novels coming out in other genres next year, yet these thrillers were the first to be published. (Ironically, I have two more thrillers releasing this year and one romance also)
I guess it is fair to say the genre has an appeal to me. I grew up reading John Saul, Stephen King, Peter Straub, Dean Koontz, Tom Clancy, Ian Fleming, Robert Ludlum, Michael Crichton, Eric Van Lustbader, Alister MacLean, Fredrick Forsythe, Thomas Harris and many more wonderful authors who created the chills and thrills amongst worn pages for me as a young man...The genre has many levels of intent and deception, along with perspectives and motivations amongst many colourful characters so the writing of these stories becomes a real ride for the writer also. I love having questions first about my ideas and then looking at interesting ways to expose and answer them through the story and have characters who have mixed complexities within them and around them to which they must also ask many difficult questions and face some tough choices. In creating escapism, it is in our interest as writers to allow the reader to explore the unimagined and to then imagine the unfathomable and then bring them back alive and relieved at the end of the story. This is simply the thrill of reading and the love of writing in this genre…
How do you feel your childhood spent in a rural setting shaped you as a writer?
The rural setting was splendid for unlimited imagination and indulgent reading as we did not have TV or access to movies until Video came into the decade, yet by this time I was heading to the city. I spent a lot of time alone and in my mind, amongst my horses and dogs. I worked hard during the seasons and school breaks and spent an hour and a half on a rickety bus to-from school during the weekdays, so made use of the time. I was athletic and thin due to the constant physical demands of the work required to help our family…the part which made me a real writer and perhaps dreamer, was the difficult relationship with my family, and this is a long, long story…but the emotional difficulties and abuse was best cured through my writing and times of peace in my mind where I could develop the worlds and words I needed to survive…I expressed mostly in poems and short stories at the age I was then and I wrote my first novel, Paper & Fire, when I was nineteen.
I left the land when I was sixteen and have never returned yet often I recall and savour the times within my youth of the blessings the short period gave me…When I was ten years old, I saw Star Wars on the big screen (my first movie in cinema), as did most of my generation, and I experienced the aspiring realisation that the world, the universe, was bigger than just my imagination and that I could leave the loneliness of my barren planet (the farm) to explore other adventures…Like Luke, this became my goal and my dream; then one day, it was my reality, to seek and experience all I could and to be able to share my stories and passions with others…
Are there any Australian thriller authors you find particularly inspiring?
Yes, and I sincerely believe Australia has some of the greatest talents in the world, and not just in writing, yet we as artists are limited by resources and real support for our arts, making it tough to break the larger global markets, unlike other leading countries. Given what we have and can resource though, we do have international greats like Matthew Riley, Peter Temple, Michael Robotham, Heather Rose, Garry Disher, Tara Moss, Peter Carey, Heather Morris, John Birmingham, Sarah Bailey…there are so many talents from this amazing country with a wide variety of all genres to be enjoyed and aspired to. One day, I would love to be mentioned in such a noble list of my peers…
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