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Exclusive Audio Excerpt: "Dance of the Angels" by Robert Morcet

Robert Morcet shares an exclusive audio excerpt from his newest book Dance of the Angels.  

NYCC Exclusive: Q&A with "Batman" Writer Scott Snyder and Artist Greg Capullo

51A85vG+hML._SX323_BO1,204,203,200_Scott Snyder and Greg Capullo's best selling run on DC Comics' "Batman" continues this week with the release of "Batman #46"; the current storyline features former Commissioner Jim Gordon taking over as Batman following the tumultuous events of the "Batman: Endgame" story arc.

It's been a major change for the character, and for the title.  Here, Snyder and Capullo discuss how the storyline came about, and the philosophy behind their popular tenure on the book.

What was the pitch like for “Jim Gordon takes over as Batman”? Where did the idea come from, and Greg, what was your reaction when you heard it?

SCOTT SNYDER:  It occurred to me in the summer, when we were about to really get going with “Endgame.”  I realized that, if “Endgame” went the way I wanted it to, there’d be an opportunity for Bruce [Wayne] to really be off the table for a while, and ‘who would step into that role?’ became a big question for me. 

[Gordon] became the immediate answer. It was almost like a story where, if Batman “dies” and Bruce Wayne comes back free of the Batman, then Batman should also be a human – somebody deeply mortal, struggling to live up to this legend.  Jim spoke to me immediately, because he’s a character who’s always put his faith in systems that are human systems put in place to protect us – police, local government and so on.  So it all kind of came together. 

The way the pitch went, Greg is always the first person I pitch to. So I called him up, and I remember – I think I called you.  We weren’t together.

GREG CAPULLO:  Yeah, I think you’re right.

SNYDER: And I told him, you might hate this. You might be like, “This is the dumbest idea. I quit.’”

CAPULLO: I thought it was awesome!  Especially seeing how much I love Jim Gordon! I

I remember the moment.  Scotty called me up and, you know, he’s on the fence about it.  And I go, “No, it’s great!” I love Jim Gordon as a character.  I love drawing him as a character, and when [Scott] said we can make him Batman I just said, wow, that’s like mixing two of my favorite things together in one drink.  So I was all for it!

In terms of visuals….seeing Jim Gordon as Batman is obviously very different.  But it’s also been interesting how Bruce Wayne has changed without any memory of his life as Batman.  How did you approach that from a design standpoint?

CAPULLO: Well, Scott always has some visual ideas – he’s the one who wanted Bruce to have a beard – 

SNYDER:  I guess the most embarrassing thing, I get so neurotic about “you know what I mean, right? You know what I mean?” …and I sent Greg a picture of a beard.  [LAUGHTER] You know: “A beard…kinda like this?” And he’s like, “Yeah. It’s a beard.”

CAPULLO:  So some of the other things – obviously Gordon had to be more bulked up, but a man of his years, he’s never going to have a physique like Bruce Wayne. And when I move Bruce Wayne the character around, I try to make it just a little less imposing. More relaxed. You see him, he’s just a little bit more relaxed in his stature.  It’s a subtle thing, maybe nobody even sees it, but I’m conscious about it. And Gordon, I gave him a lean, tapered, boxer’s body, and tried to emulate his sort of slender frame with the [robot battlesuit].  Obviously, it’s big, but it’s more length. It’s more slender to emulate that.

It’s just little, conscious-subconscious decisions that you hope the fans, even if they don’t consciously recognize them, it seeps in and they appreciate it on a different level.

SNYDER:  He makes it so real.  My idea for Gordon was even bulkier, but when I saw what [Greg] was thinking, I knew that’s exactly what he would really look like.  That is what a man of his age, training to be Batman in this period of time – that is how he would move.  How he would hold himself. How his face would look. 

That’s the thing, I mean, he’s capable of making any crazy idea real.  A lot of comic artists, I think, can make them believable.  But he makes them real.  Because of the fine work that goes into the acting, into the detail, the posturing, all of it. It becomes three-dimensional to me in a way that it doesn’t for many other artists that I love. 

Batman is thought to have the best “Rogues Gallery” in all of comics.  During your run, you’ve added new pieces to that – the Court of Owls, now Mr. Bloom.  Is that something you consciously avoided, leaning too hard on the classic villains?

SNYDER: It really comes down to each arc, and trying to decide what it’s about. With an arc like the Jim Gordon arc, I know I want to create a new villain for it because the city changes itself to become his antagonist. That means it’s not going to bring back those villains, as you said.  It’s going to bring something to life that’s terrifying in a way that speaks to his nightmares.

When we’re doing a Bruce story, if I want to get at something where I want to say “this story is about why Bruce should matter to my kids,” I’m going to bring out the villain who’ll say the most loudly, “You mean nothing.” And that’s Joker.  The key is always making sure the stories have something new to say about the character – have something personal to say about the character – and making the decisions about what villains you’re going to use, or how to construct the villains, based on what the entire thing is aiming for psychologically.

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NYCC Exclusive: Q&A with "DC Comics: Bombshells" Writer Marguerite Bennett

51ivWBeuzSL._SX323_BO1,204,203,200_"DC Comics: Bombshells" is a weekly, 10-page digital comic that features alternate-reality stories starring popular DC heroines.  We spoke with "Bombshells" writer Marguerite Bennett during New York Comic Con about how the series comes together and why she considers the book her dream job.

You’ve called DC COMICS: BOMBSHELLS your “dream project.” Tell me why.

MARGUERITE BENNETT:  It’s just the level of scale.  I get to create a universe with characters I grew up on – characters who are iconic, not only in my heart but in terms of female heroes that have been created in the last 70 years!  Getting to do something that is that enormous, I feel really blessed.

Then I also get to create this entire universe, you know? Different lands, different times, different relationships and friendships and interactions.  One of the big conceits of BOMBSHELLS is thatwe focus on a different heroine each chapter. And each one of the heroines is always influenced by a specific genre from the 30’s and 40’s:  Wonder Woman is a war story; Batwoman is this pulpy, radio serial adventure; Supergirl is a propaganda film; Harley Quinn is Looney Toons; Zatanna is like a Hammer horror movie.  We just get to keep going like that. 

So I got to create a whole, vivid universe that feels complete to me because it’s not just a single tone or a single note. I get to have a symphony.

Are you happy so far with how the book’s been received?

BENNETT:  My gosh, I love it! I mean, the series exists in the first place because of the fans. There have been cosplayers since the original statues came out, but then when DC did their Bombshell Variants month in August 2014, there was such demand for those covers.  A variety of audiences responded to them, and DC really took notice that this is something people truly love.  It was something where people met up, and there were a lot of different interests that came to find each other. And they progressed from there.  

The fact that this is a digital-first [comic] that started based on a line of collectibles, and is built on an alternate history WWII, and we sold-out 60,000 issues …that’s insane! I love it.

Coming in, which of the characters was your favorite – and is that character still your favorite?

BENNETT:  Well, Batwoman – Kate Kane – is always going to be my favorite.  I was very surprised by how much I enjoyed writing Zatanna, though.  I discovered this streak in her that I really enjoy.  She’s a heroine who screws up a lot, who’ll bite off more than she can chew and wind up in hot water.  Getting to write someone who has to be an aspirational character, but was permitted to screw up and still be one of the good guys, was very important to me.

Because it’s a different publishing schedule [ten pages a week vs. 22 pages a month], how does that does that change your approach?  What’s the schedule like for you?

BENNETT:  I work on it every day. So, I might have a script going Friday, and then by Monday I’ve got the breakdowns in from the artist.  By Tuesday, the first pencils show up, and then we get like a page of pencils a day.  So then, ten days later I’ll do a final lettering draft, and the next day I’ve got a lettering script review. Then we see colors, and it goes out, but because we’ve got a sort of waterfall going on, I’ll have that every day for each of the chapters, and they’ll start piling up.  So I’ll work on three different BOMBSHELLS stories – or some aspect of them – every day, whether it’s taking a bit to look over the colors or it takes me hours and hours to write a full script.  But you know, I love it.  Again, I’m so blessed to get to enjoy what I do, and to have a project where no matter what surprise comes down the chute today, I know I’ll enjoy the challenge.

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Author Post by Lisa Scottoline: Love and Justice

Lisa Scottoline, writes about inspiration for new novel, Corrupted.

They say love is blind.  They also say justice is blind.

But only one of these statements is true.   

I wanted to examine love and justice, and I did in my new novel, Corrupted.

Where did I get the idea for the book?

Even though my novels are fiction, they spring from an emotional truth in my life, and the emotional truth of Corrupted comes from the fact that I never understand people who say they have no regrets.

Because to me, that means they’ve never made a mistake.

As a human being, I've made mistakes.

And I have more than a few regrets.

And there have been times when I wished I had a second chance.

That thought gnaws at the back of my mind and keeps me awake for more nights than I care to admit, so I gave that problem to my heroine, Bennie Rosato, who's a great trial lawyer with a big-time regret:

Thirteen years ago, she made a mistake with a young client, losing a case she should have won, and part of the reason she made that mistake was because she had fallen in love.

Love is blind. 

Justice isn’t. 

To wit:

The other reason that Bennie lost the case was because the judge was completely corrupt, and here's where Corrupted is also grounded in literal truth - a judicial scandal in the juvenile justice system that rocked Pennsylvania.  The scandal was called Kids for Cash, during which two state-court judges conspired to unjustly send children to juvenile prison for even the slightest thing - like fighting in the cafeteria or posting jokes on Facebook.

Why did the judges do such a horrendous thing?

For money. 

Unbeknownst to everyone, the judges had an ownership interest in the juvenile prison.  They actually had a quota of children they had to send to the prison, for which they were paid $2.8 million.

In real life, those judges were sent to prison for decades, but what I wanted to do is to examine their innocent victims – children who were incarcerated for years, torn from their families, taken from their schools, their lives derailed. 

Can they ever get justice, after past injustice?

What happens when those in power aren’t looking out for the most vulnerable among us, but in fact, are seeking to profit from their pain?      

In Corrupted, Bennie gets the second chance she wanted when the same client finds himself accused of murder and begs her to defend him.  And when the client comes back into Bennie's life, he brings with him the man she'd fallen in love with, whom she’d let get away. 

Bennie jumps at the case.  She knows the vulnerable need a voice, and she wants to set everything right.

Her client’s life.

Her own life.



Corrupted asks the question, what would we do if we got a second chance?


Or win.

I do hope you read Corrupted and I would love to hear what you think about it. Every reader’s opinion matters to me, and I welcome your reviews on Amazon.   

Thank you so much for your support of my books.   


NYCC Exclusive: Q&A with "Two Brothers" Creators Fábio Moon and Gabriel Bá

51azXLZvfRL._SX365_BO1,204,203,200_The new graphic novel, "Two Brothers," is an adaptation of Brazilian writer Milton Hatoum's novel "The Brothers." It tells the story of twin brothers Omar and Yaqub, and tensions based on mutual jealousy and family secrets.

We spoke with the award-winning creative team (and twin brothers themselves) Fábio Moon and Gabriel Bá at New York Comic Con about the process of bringing Hatoum's book to life as a graphic novel.

How did this project come about?

Fábio Moon: We were invited by the Brazilian publisher who had the rights.  The editor of their comics branch saw us talking to the author at a literary festival, and they had the idea.  Initially we were hesitant, because the book is very dense and complex, and there’s stuff that you do in prose that’s easy to do when you have this stream-of-consciousness type of narrative. But to translate that visually is very hard to do. 

We knew it was going to be a long, hard job. But at the same time, it had everything that we like to do in comics, and it had stuff that we hadn’t seen before [in comics]. That was the challenge that drew us to the project.

The original novel is all told in flashback.  You don’t even know who the narrator is for a good portion of the book. In adapting it for a graphic novel, which pieces of that did you keep, and how is your story different because of the change in format?

Gabriel Bá: I think the graphic novel ended up a lot more faithful to the book than we first expected.  We did change some things in the structure to make it a little bit more fluid and a little more dynamic. Even though it’s not an action story or anything. The changes we made in the structure of the story were to keep the dynamism on a certain level.  Because it’s a very intense and very personal story, so we didn’t want [the pacing] to be too uneven. But I think it’s very faithful to the book.

Fábio Moon: We love how the book is written. And we love how Milton’s style seduces the reader with words. So we tried to keep that, and think of how we could expand on that when we brought in the visual layer of the story.

Has Milton seen your book? What was his response?

Gabriel Bá:  Yeah, yeah.  He was very humble, and let us do whatever we wanted, respected our work, and we only talked with him two times.  One in the beginning, we went to Manaus for research, to visit the city, and he gave us tips where to go and what to look for.

Fábio Moon: Two years later, when we were starting to create the visuals of the characters, we came to him and showed him the sketches we had. He had a completely different vision for [the twins' mother], and that helped us a lot to understand the character.  But after that, we only showed him parts of the book that were already done.  And when he saw the whole thing afterwards, he was very surprised and very happy with it. He liked it a lot.

Gabriel Bá: He was surprised at how powerfully the visuals add to the story, and how people can really have a sense of this city that doesn’t exist anymore.  You can really see that part of the story flourish.

Fábio Moon: That has a much more emotional impact on the reader, as well as the silent moments. They really play well in relationship stories, to add to the drama and the tension.  So he was thrilled when he saw what comics could bring to the story he told.

Tell me a little bit about your collaborative process.  Obviously, it’s different, being brothers - is it easier, or does that make it more challenging? How do you two work together?

Fábio Moon: I think for us it’s easier, because we grew up together. We spent most of our time together. We have a lot of the same references.  So our communication is really easy, and I think we have a brutal honesty with each other because we share the same goal: to tell a good story.So it doesn’t matter who has the idea, it doesn’t matter who writes it, or who draws it.  We just want to tell a good story.

I think that brutal honesty is essential to how we work.  We write together, we talk out loud so we can figure out how to break up the story.  We figure out which style works best – we have to choose one or the other to draw the whole thing, to have one unique look. And if somebody’s tired or unsure what we’re doing, we have the other to push us to do our best work

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“What Made Me Want To Be A Writer?” by "Lumberjanes" creators Shannon Watters, Grace Ellis, Noelle Stevenson, and Brooke Allen

The Eisner Award-winning, fan-favorite "Lumberjanes" is an all-ages series that follows a group of young girls at camp, as they encounter all manner of monsters and mysteries.  Lauded as an inspiration to aspiring comics creators, the "Lumberjanes" creative team shared the comics and books that inspired them most in their formative years.

51zZ12eTeLL._SX311_BO1,204,203,200_Creator: Shannon Watters

Blue Monday

"This is the book that got me back into American comics in a big way. I loved the way that Chynna used's been a huge influence on the way that I write dialogue."

Babysitter's Club

"The BSC had you coming back again and again because of the affinity that readers felt with the characters. They were aspirational -- you wanted to be their friend, go on their adventures. It's been a huge influence on my life as an editor and writer."


"When I read Blankets as a teenager, all I wanted to do was something like it. Rich and beautiful and deeply personal in a way that cuts into anyone and everyone."

Creator:  Grace Ellis

Fun Home: A Family Tragicomic

"Unsurprisingly, I was deeply affected by this book, and not only because its subject matter hit close to home. Fun Home was instrumental in expanding my idea of what counts as a comic book and what stories can be told in a comic. Alison Bechdel is an actual genius."

The Eyre Affair: A Thursday Next Novel

"This was by far my favorite book in high school. As someone who had grown up on A Series of Unfortunate Events, I love and admire Fforde's world that seems close to our own while being distinctly fantastic."


"Not only is [Malinda] Lo a skillful storyteller, but her book Ash (as well as its prequel Huntress) is a master class in including LGBTQ characters without making their queerness the most important element of the plot. This would be a feat in any genre, but in a young adult fantasy book, it is particularly inspiring. I cannot recommend this book enough."

The Clean House and Other Plays 

"Many plays are written to only be interesting on the stage and not on the page, but Sarah Ruhl's scripts are poetic and creative and, above all, fun to read. These are the plays that made script writing seem alluring to me because they make it undeniably clear that it is an art."

Continue reading "“What Made Me Want To Be A Writer?” by "Lumberjanes" creators Shannon Watters, Grace Ellis, Noelle Stevenson, and Brooke Allen" »

Q&A with "Rivers of London" writer Ben Aaronovitch

Ben Aaronovitch is the noted screenwriter and author of the popular "Rivers of London" book series.  He is currently collaborating on an in-universe comic book, "Rivers of London: Body Work."  The comic is not an adaptation, but tells an all-new story set between the events of novels 4 and 5.  The latest issue went on-sale this week.

511dqMRpQDL._SX311_BO1,204,203,200_Most readers will know you from the RIVERS OF LONDON books.  How has the process of writing the comic series, RIVERS OF LONDON: BODY WORK, differed?

BEN AARONOVITCH: I’ve found writing for comics a wonderfully liberating process because my prose is not on display. In fact the only person who has to read the words that Andrew Cartmel and I write is the illustrator, Lee Sullivan. If you’re used to having thousands of people taking an interest in your word choice – this is a wonderful experience.

It’s the most fun I’ve ever had writing anything ever, because some other poor sod, Lee again, has to do all the heavy lifting. Andrew and I just have to come up with the story, roughly what happens on each panel and that’s it.

Have the comics enabled you to explore anything that the books didn’t allow, and is there anything that you’d like to explore in future series?

AARONOVITCH: The books are written in a very strict first-person narrative style and the comics are much looser – you can follow other characters, do quick one panel flashbacks, memories and other omniscient narrator stuff - which opens up a wide array of possibilities of expanding the world beyond the books.

There are also jokes and action sequences that wouldn’t work within the prose style of the books. Surprise splash pages, rapid chronological intercutting and ironic caption/image counterpoints are tools that aren’t available to me in the books allowing me to expand the story in new ways.

Working with the characters for over five years, you must have had a very strong idea of what they would look like. What was it like seeing them given form through Lee Sullivan’s illustrations?

AARONOVITCH:  Some of them, yes.  Weirdly, I knew exactly what Toby looked like, but when push came to shove I was a bit hazy on Nightingale.

Lee says that people think they have a clear idea of what a character looks like but if they were to sit down with a pencil they’d find their conception much vaguer than they thought. Also Lee has his own style and since he’s the one that has to draw them day in, day out, consistently and expressively it’s important to let him bring his own notions to the design so he’s comfortable with them as well.

Both the comics and the books include rich detail about local history, myths, and legends.  What do you enjoy most about the research process?

AARONOVITCH: The best thing about research is that it’s not actually work in any way or form. Actually that’s not the best thing; the best thing is finding out stuff that you never knew – like the existence of a coffee shop on the Thames in the 18th Century that was called ‘The Folly’. Things like that just drop into your lap and seamlessly integrate into your story as if you’d planned them from the start – it makes you look good.

Peter Grant has been at the center of all of the books, and now the comic.  Are there any other characters that you’d like to explore more deeply?

AARONOVITCH: It’s this aspect of the comics that makes me the most excited, because they offer a chance to do mini spin-offs without the cumbersomeness of a full length novel.

Here are just some of the ideas floating around: a one off done in the style of the old Commando Comics detailing the war time adventures of our favorite wizard – provisional working title ACHTUNG NIGHTINGALE;  a trippy, Grant Morrisonesque LSD soaked noir story set in the early 1970s starring Varvara;  what Abigail did on her summer holiday (clue: she doesn’t go to the seaside)

I’d also like to expand the range and diversity of the writers, see if I can persuade Samit Basu to do a Nightingale in India during the 20s story or see if I can expand the universe to other magical traditions.

Now that you’ve cut your teeth on ‘Rivers of London: Body Work’ are there any other comic series that you have designs on?

AARONOVITCH:  I have a couple which I plan to pitch when the time is right – both of them riffs on the superhero/costumed vigilante trope. If any major franchises out there would like me to revamp a minor character (or even a major character), they have only to ask.

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Exclusive Excerpt: "The Iron Warrior"

Sometimes we see things from the corners of our eyes…but when we look, nothing’s there. Find out why in Julie Kagawa’s upcoming book The Iron Warrior, the epic conclusion to the New York Times and internationally bestselling Iron Fey series, on shelves October 27. And meanwhile, please enjoy this exclusive excerpt from the book!

51o0zLhimPL._SX330_BO1,204,203,200_“Guro,” I said, as he glanced at me sharply, “the Forgotten are here. Er, faeries that are after
Kenzie and me. Do you have a back door? If we leave now, we might be able to lead them away.”
His eyes narrowed. “How many?” he asked in a lethal voice.
“Uh…” I glanced at the window. Three Forgotten pressed against the glass, now, and another
two scuttled past the window beside it. “I don’t know, exactly. At least five, maybe more.”
A high-pitched screech interrupted us, setting my teeth on edge. A Forgotten glaring in the
window raked its claws down the glass, leaving four long, thin gashes behind. Razor screeched
in return, baring his fangs, and Kenzie cringed back in fear. Guro shot a look at the window, at
the white scratches made by invisible claws, and whirled from the room.
“This way,” he ordered. “Follow me.”
We followed Guro through the kitchen and paused as he opened a single wooden door on the
opposite wall. A set of stairs led down into what I assumed was a basement, and Guro motioned
us through. “In here, quickly.”
I went down the steps, Kenzie close behind. The bottom of the stairwell opened into a large
room with cement walls and floors. It was dark down here, the shadows clinging to the walls
and hiding everything from view, until Guro flipped on the light.
My eyes widened. The space in the center of the floor was clear, but the walls were covered
with weapons. Crossed swords, knives, clubs, wooden rattan sticks, a couple machetes and
tomahawks, all hung in pairs around the room, glimmering wickedly in the florescent lights. A
tire dummy sat in one corner of the room, a heavy bag in the other, and a couple wooden stands
with padded coats and helmets stood at the back. One entire wall had pairs of traditional
Filipino short swords—the kris, gayang and kalis were a few I knew by name—hanging
beneath a crest that read Weapons of Moroland.
“Okay,” I almost gasped, “I’ll admit it. I’m a little terrified.”
Guro stalked to the back wall, where a pair of swords hung, isolated from everything else. I
recognized them as his personal blades, his family’s swords, passed down from his father and
grandfather before him. They were shorter than mine but no less lethal, a pair of razor-edged
barong that were probably several decades older than I was.
Kenzie’s frightened cry rang behind me. I whirled to see a solid flood of Forgotten stream
through the door and scuttle down the stairs, climbing along the walls and ceiling like huge
black spiders.
“Guro!” I called, as one spindly shadow dropped from the ceiling and lunged at me. “They’re
I dodged back as the faery’s long, thin claws barely missed my shirt, and lashed out with one
of my blades. It struck the thing’s neck, biting deep, and the Forgotten didn’t make a sound as it
writhed into tendrils of darkness and disappeared. Another leaped in, slashing at me, and I
hacked through its arm before backing away.
The Forgotten hissed and drew back, melting into a crowd of its brethren. As I raised my
swords, a chill crawled up my spine. The Forgotten had surrounded three sides of the room.
Guro, Kenzie and I stood near the back wall, a semicircle of solid black glaring at us with baleful
yellow eyes.
“Kenzie,” I panted, “get back. Try to stay between me and Guro.” Though I didn’t know how
my mentor was going to fight them. There were an awful lot of Forgotten down here, and they
were invisible to normal eyes. Unless Guro had somehow gotten the Sight, which I doubted,
most of the fighting was going to be up to me. “If you see an opening,” I continued, not daring to
look back at the girl, “run. Get out however you can, and don’t wait for me. I’ll catch up.”
“Screw that,” Kenzie snapped, and I heard the frantic zip of her bag opening. “I’m sure as hell
not leaving you, Ethan. you should know that by now. Just keep them back for a few seconds.”
The Forgotten edged forward, silent and deadly, preparing to attack. Guro stood next to me,
the barongs held loosely at his sides. I snuck a glance at him and saw that his eyes were closed.
Like a flood of black water, the Forgotten surged forward.

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Editors' Picks: Favorite Hobby Mysteries

One of the great joys of reading is the way it transports you into the extraordinary. For the mystery readers among us, we’ve all felt the thrill of unraveling a wide-scale, even epic whodunit - be it through a high-stakes police investigation, through cracking a government cover-up, or getting wrapped up in an international conspiracy.

But what happens when mystery strikes closer to home, in something as simple, and otherwise delightful as our hobbies? Our editors think there is something particularly entertaining when a jarring mystery appears in these pleasant and steady parts of our lives. It’s a thrill to realize that nothing is safe and insidious threats can creep in where you least expect them. From golf to baking to board games, these books show us that the ordinary can become extraordinary, and that even our most beloved past times can turn deadly.

Our editors compiled a list of their favorite hobby mysteries, in which our familiar, everyday past times become settings for conflict and intrigue.

  • A Wicked Slice by Charlotte and Aaron Elkins – From Edgar Award winning Aaron Elkins and wife Charlotte Elkins comes this first installment of the Lee Ofsted Mysteries. While playing in the Pacific-Western Women's Pro-Am tournament, golfer Lee Ofsted discovers the body of the tournament star. With the help of a handsome Lieutenant, she’ll learn what a wicked game golf can be.
  • Words in the Dark by Giulia Beyman – A classic board game is used as a central clue in this haunting mystery. After the sudden loss of her husband Joe, Nora Cooper is stunned to learn secrets about him she never suspected. While searching for answers, she suddenly starts receiving inexplicable messages in Scrabble letters. Could they be from her late husband, directing her towards the truth?
  • A Peach of a Murder: A Fresh-Baked Mystery by Livia J. Washburn – Retired school teacher Phyllis Newsom is determined to take the top pie prize at this year’s Peach Festival. But when her spicy peace cobbler kills one of the judges, the amateur sleuth must prove she’s not a murderer.
  • Murder on the 18th Green by Federico Maria Rivalta – Golf once again serves as the background for this cozy mystery. The Euganean Hills golf community in northern Italy is a beautiful paradise for golfers – until one of its members turns up dead. Investigative journalist Riccardo Ranieri takes up the case, but as more bodies pile up, the community may never be the same.
  • To Brew or Not to Brew (Brewing Trouble Mystery #1) by Joyce Tremel – Maxine O’Hara’s dream of turning her love of beer brewing into a business is about to come true. But before she can open the doors of her new craft brew pub, she’s faced with suspicious acts of sabotage and even finds her assistant brewmaster strangled in one of the vats. Can she get to the bottom of the mysterious events before her business tanks?

Guest Blog Post by Heather Graham, Author of "The Hidden"

512Wy4FoskL._SX314_BO1,204,203,200_Heather Graham, author of the The Hidden (a Krewe of Hunters novel), reflects on her well-known love of costumes.

I love costumes! Anyone who knows me knows this. It may come from the fact that I started my adult life in dinner theater and that a great deal of what we worked on was historical. I’m still not sure exactly why—but to this day, I love everything that goes with theater and costuming and makeup… Maybe it’s because, for just a few minutes or a few hours, we become someone (or even something!) else. Every year at the RT Booklovers Convention and at the Writers for New Orleans conference, some of my colleagues and friends and I put together a short stage play (always a musical of sorts) and don costumes for the fun of it.

Not only that, my husband, Dennis, and I once wore costumes and modeled for two book covers—Ondine and Tomorrow the Glory. For the first one, we recreated people living in the 1600s, and for the second, the Deep South. Tremendous fun!

My favorite costumes tend to be elaborate—and homemade. I don’t like to purchase costumes that everyone else might have, and if I do buy one, it’s as a base to be accessorized. Of course, I’m very lucky—one of my best friends, Connie Perry of Lafayette, Louisiana, is a costume designer. She makes truly wild and beautiful costumes for Mardi Gras, and we like to tease her that “Have Glitter, Will Travel” should be her motto. When we’re working on something historical, I have to restrain Connie’s love of all things shimmering and shining!

This is not to say that all kinds of costumes aren’t fun, including those that are ready-made. One of my sons has a wonderful Captain America costume and one of his best friends (a Miami-Dade detective by day!) has a wonderful Batman costume. They dress up as favors to relatives and friends when kids have birthday and Halloween parties and thrill the little ones—who get to believe, for a few minutes, that they’re meeting real superheroes.

Some of my friends and I recently filmed a little short, Revenge of the Ghouls. A total spoof—and tons of fun. We had excellent zombies and innocents, and I got to play the wronged one, who needed to find someone to help her put the mayhem to rest.

This Halloween I’ll be heading to New Orleans for the annual UndeadCon and the Anne Rice fan club’s Gathering of the Ancients Ball, put on by Sue Quiroz. I’m still in the planning stages, but I believe it’ll be either Victorian or Steampunk for me this year. Not surprisingly New Orleans is great when it comes to costumes; to accessorize, you can run down to Fifi Mahony’s on Royal Street and find a fantastic wig. At Fifi’s, Brooklyn and Marci and the others design some of the wildest and most impressive wigs you’ll ever see. They might include a model ship in a high bouffant or, for Halloween, scarecrows, bats, skeletons, pumpkins and so on. Whatever I finally decide on as a costume this year, a trip to Fifi’s will be in order.

And for a little while, I’ll get to be someone else. Just as a writer does when he or she is in the throes of creating a character. And readers, when they’re living that character’s life through the medium (so to speak!) of a book… The only difference is that, at Halloween, I get to wear the clothes!