I spent nineteen of my twenty-five years in law enforcement as a detective. Long before I became a police officer, I wanted to be a writer. But I feared it wasn’t a practical profession and lacked the confidence to an attempt at it. Shortly after I retired from law enforcement, I found the courage to try my hand writing a story that I had floated around in my imagination for years. I started taking classes to learn the craft and began my first book at the same time.

When I went to conferences and seminars the same question was asked: why don’t I write a cop story? I never had the desire to write one—to relive my career through my characters. I enjoy a good police story as much as anyone. My favorite authors in the genre are Mike Connelly, Joe Wambaugh, and John Sandford. I just didn’t want to take that road.

I have a great love of history. The story I had in my head all those years involved a medieval knight and a young English woman. The two subsequent books were based on characters from that original story. All were historical romances and had a medieval element. I also wrote two romantic thrillers in addition to the others where the protagonists are nautical archaeologists.

I was in the process of writing the third historical romance when I had the idea for an old fashioned detective. I knew he’d work in London and I couldn’t think of a better setting for a murder/suspense than Victorian England. Detective Inspector Rudyard Bloodstone (Ruddy) was created. At the same time, the killer came to me. Both personalities were crystal clear in my mind before I wrote the first word of Silk.

Since Ruddy was a 19th Century detective, when I started the book it hadn’t occurred to me how much of my personal background would influence the story. I wanted to put my spin on a classical British mystery. I found when writing the romantic thrillers including the POV of the antagonists added a lot of interesting aspects to their characters. They remained villains, but they weren’t flat, black and white ones. I knew I do the same with William Everhard, the killer in Silk. I liked the idea of  showing his descent into madness. It added a cat and mouse feel to the story that I had fun with.

My detective experience became important during Ruddy’s investigation. The story is set in 1888, a year before the first rudimentary work with fingertips began. He literally has no forensic science to help him. With each murder, I had to walk the scene with him, observe with him, and consider what could possibly serve as a clue. I had to think about every detail I included in the scene and then figure out how to use the potential clues. To stay true to the period, I had to strip away everything I knew from modern investigations and fall back on old fashioned police work.

I did give him an issue that crosses timelines and can be problematic to any investigation: a high profile (receiving a lot of media coverage), the manner in which it presented to the public, and influences of a political nature. I used how the press that surrounded the Jack the Ripper cases affected Ruddy’s. I also added in departmental rivalries between the two main police agencies, and political/economic forces coming to bear by making Everhard a wealthy nobleman in the House of Lords.

I found by putting the Victorian spin on it, I surprisingly loved the challenge of writing a cop story. Detective Bloodstone just may be my favorite character. He’ll definitely get more cases to solve in the near future.

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