Posts tagged Dan Kotler
An interview with Agent Roland Denzel

As promised, Dr. Dan Kotler did me a solid and set me up with his friend and partner against crime, Agent Roland Denzel. This time, I’m catching up with Agent Denzel in Orlando, Florida, as he’s helping out with a case in the area. He’s graciously taken the time to sit with me for a couple of hours in my hotel room, early this morning. Once again it’s coffee, which Agent Denzel takes strong and black. 

He’s wearing a suit—the sort you’d expect from an FBI agent, but it still feels jarring to me. The weather outside, even at 7 AM, is muggy and humid. Plus, because this is my hotel room and because I’m driving on the first leg back to Texas in a few hours, I’m dressed decidedly less formal than my friend. My khaki shorts and blue-palm Hawaiian-print shirt are a stark contrast to the stiff and formal “uniform” of an FBI agent.

We make do.

Denzel is sipping his coffee while seated across from me at the little round breakfast table in my suite. He’s checked his watch twice since sitting. And now that we’ve gotten past the formalities of a polite greeting, we begin.


Kevin Tumlinson: Agent Denzel... can I call you Roland?

Roland Denzel: Sure. Unless I have to arrest you for something.

[I have to admit, Denzel’s dry humor doesn’t always hit, but I get it. The trick is to remember that he’s only ever half joking]

KT: [laughing nervously] So a couple of weeks ago I had a chance to chat with your partner, Dr. Kotler. I’ve had the pleasure of writing about the two of you for the past six years. Hard to believe it’s been that long.

RD: Six years? It’s hard to believe Kotler’s been in my life that long. Feels longer.

KT: He has a lot of very good things to say about you.

RD: [looking slightly uncomfortable, shifting a bit in his chair] Kotler is... unique.

KT: That’s one way to put it. But how do you mean?

RD: I’ll just say he’s a good man. Smart. Maybe too smart, sometimes. But he puts it to good use. Most of the time.

KT: What about the rest of the time?

RD: The rest of the time, Kotler likes to toe the line. Don’t get me wrong, he’s one of the most ethical guys I’ve ever known. But being ethical isn’t always the same as being a rule follower. Kotler is not exactly a rule follower.

KT: And what about you? Are you a rule follower?

RD: [thinks for a moment, then nods] I am. I’ll admit to giving Kotler a lot of rope, but there are lines I won’t cross, and so I won’t let him cross them either. I wear a badge, and I took an oath. Several oaths. My job is to serve the laws of this country, to protect the lives of citizens, and to put bad guys behind bars. To do that right, you have to stick to the rules. You have to know where the lines are, and you have to be the one who stays inside of them.

KT: Sounds like a tough way to live, honestly.

RD: I’ve never understood people who could live with themselves after stepping over the line. Any time I’ve ever done it, I’ve regretted it. I feel like a hypocrite. I know that sometimes you have to choose to do the right thing even if it means doing something wrong. That’s life. But the job is to enforce the rules, and I have a hard time doing that if I’m the one breaking them.

KT: Fair enough. I suppose that comes from a lifetime of serving your country. You’re actually a decorated war veteran, aren’t you?

RD: [Nods, but doesn’t say anything]

KT: Is that something you’d rather not talk about?

RD: [considers] I guess it’s something I’ve already talked about enough. I was in Special Forces, and served in Afghanistan. We ran a lot of missions, and I served with some incredible people. But... well, it happens sometimes, that you lose even the good people. And when that happens, you start to realize a few things. That life is pretty short. That no matter how good you are, there’s an end coming, some time. You also start thinking about why you do what you do. I went into the military because I wanted to serve my country, but I only had this sort of vague idea about what the country was, you know? I was thinking flags and picnics on the Fourth of July. I was thinking church and freedom of speech, and all the rights laid out for us in the Constitution. But there was this mission—it went bad. I was trapped under a ton of sand and rock, and I could hear all the people I served with getting gunned down by the bad guys. It... it effected me. It’s still with me. I dream about it. Sometimes... sometimes I’m in an elevator, or in a crowded place, and it comes back to me. I’ve dealt with it, don’t get me wrong. I’ve had therapy for PTSD. And Kotler... Kotler’s taught me a few mediation tricks. It’s helped. But the thing I’ve never forgotten about that day is that these people I served with, the people being shot down out in that tunnel, they were dying for something bigger than apple pie and fireworks, or even church pews and protests. It was all about the people. Human beings who lived and worked and spent time with their families. Those people are in constant danger. They’re always on the verge of having every bit of that taken away. So somebody has to be there to help them. Some guy who follows the rules, who crawls out of a hole in the sand and picks up a gun and does his job.

[There’s a moment of quiet, and Denzel is staring into his coffee. I wait. It feels reverent, and I don’t want to interrupt.]

KT: That guy with the gun, the one who crawls out of the hole and risks everything to make sure people can have that apple pie and march in that protest... that’s you, then.

RD: [looks up like he forgot I was there] Me. Kotler. A thousand other FBI agents and consultants. Every soldier who ever took a bullet. I’m not alone.

KT: No, definitely not. And you’ve actually served in a number of ways.

RD: [nodding] Yeah. Military, police, DEA, FBI. And now Historic Crimes. I’m still FBI, but the job has changed a little. I’m taking on a different kind of case these days. Usually.

KT: You used to run Historic Crimes, when it was first created. Now Dr. Liz Ludlum is the Director. She used to work under you, didn’t she?

RD: Yeah, when we were just a subset of White Collar Crimes. She was my Forensic Lead. She’s damn good at it.

KT: Any resentment, now that she’s your boss?

RD: [shakes his head] Not even a little. She can have it. When I was behind that desk all I could think about was getting back out into the field. I really needed to stay focused on the job, but I kept wandering away, dealing with trouble. Mostly trouble Kotler brought around.

KT: And for that I’m grateful. The trouble you two get into is paying for my house.

RD: Well... you’re welcome, I guess? I can say that with Kotler around, it’s never a dull moment. Except for all the research. But even that ends up leading to some kind of dangerous situation. Kotler is just kind of a magnet for it. I think I’ve been shot four times since he and I have been partners. 

KT: So now you’re working under Historic Crimes, Dr. Ludlum is in charge, Dan Kotler is still your partner. Seems like things may have settled into kind of a routine.

RD: If you can call it that. But there’s always something brewing. And now I’m taking on another project, within Historic Crimes. Kind of a... well, kind of a task force, I guess.

KT: The Outsiders?

RD: I can’t really talk about it much. Not yet. But yeah. I’m not that fond of the name, if I’m being honest. But what I can tell you is that there’s sometimes a need for people who operate a little less like me and a little more like Kotler. The world sometimes needs people who can push the line without going over. And those people need someone who tells them where those lines are, and makes sure they don’t cross them. That’s me. And I’m going to be working with Kotler, but also with a couple of other agents, and an asset who is really kind of over all the lines anyway. She’s a fugitive with some kind of robot that helps her stay on the run.

KT: You’re talking about Alex Kayne and... well, I mean, it’s not a robot, it’s an AI. You’re talking about QuIEK? The artificially intelligent quantum program she designed?

RD: [shrugs] She’s a confidential informant, but we know she’s out there doing her thing. Our orders are to arrest her. But since we can’t get close enough to even sneeze on her, we’re making the best of it by using the intel she gives us. I  think it’s kind of a dicey game, but so far she’s come through. We’ve taken down a lot of bad guys because of her.

KT: But you’ll still arrest her, if you get the chance?

RD: Until the people I report to tell me otherwise, she’s a fugitive. And my job is to take her in. So yeah, I’ll arrest her. 

KT: You have a complicated life, Agent Denzel.

RD: [pauses, considers] I’ve never really thought of it that way. To me, things are simple. Or should be. My job is to make things simple, in a way. We can’t pick and choose which rules and laws we obey. We have to do what’s right. Sometimes there’s a conflict of interest between what’s right and what the rules dictate. When that comes up, you have to make a judgement call. My job is to make sure I have good judgement, always. And to live with the consequences when I don’t. I’m prepared for that. 

KT: I think the world is in good hands then. I also think it’s time we wrap up, so you can get back to taking down the bad guys and saving us all from the evils of the world. I appreciate you taking the time to chat.

RD: Thanks for the coffee.

With almost no further word, Agent Denzel gets up, finishes the coffee, and places the cup next to the sink. He nods to me as he leaves. And as I bid him farewell, I can’t help thinking that he’s maybe the most pragmatic character I write. He’d be considered “lawful good” in the gaming world. And knowing that, it’s a wonder to me that he and Dan Kotler could even be friends, much less partners.

But knowing them both, and having written them for six years now, I think I understand their relationship. At least a little.

They are both men of integrity, and both driven by a sense of what is right and what is wrong. That’s their common ground. The fact that Kotler is willing to bend or even break rules, and sometimes just ignore them all together, doesn’t change the fact that he’s out to do right, or to make things right.

Denzel is the same way in at least that regard. He’s intent on doing the right thing. He’s much more of a rule follower, but he’s wise in his way—he knows that the world isn’t black and white. Or rarely is so. And because of this, he’s decided that it’s his role to be the rule follower, and the role of others (Kotler) to be the rule benders. 

He’s there, always on guard, to make sure someone like Kotler doesn’t go too far. But he knows that the Kotler’s of the world have to have more leeway if they’re going to keep the rest of us safe. 

Kotler needs Denzel. And Denzel needs Kotler. And the world needs them both.


I hope you enjoyed this interview with Agent Roland Denzel. I’ll be doing more interviews with my characters over time, and may even get some of them back in the chair for follow-ups. Stay tuned. 

And please be sure to leave questions and comments below. Share this interview with your friends and family. And of course, find Agent Denzel, Dan Kotler, and a whole cast of other characters when you read my books.


YOU ARE READING SIDE NOTES

Side Notes is an extension of my Notes at the End, which are author’s notes that appear at the end of every one of my novels. If you like these posts, you’ll love the books. 

If you’d like to support me (and see more posts like this) you can do me two favors: First, peruse my catalog of books and find something you’d like to read; and second, join my mailing list to become part of an amazing community of readers and friends I interact with regularly. Thank you for your support!

An interview with Dan Kotler

I’ve been writing the adventures of Dan Kotler for more than five years now—currently twelve full-length novels, two novellas, two short stories, and one crossover with Alex Kayne. Kotler is, in fact, the character I’ve spent the most time with, out of every other character I’ve ever written. So I think I know him pretty well.

But we’re about to see.

In this post, I’ve sat Dr. Dan Kotler down in the office of my mind. We’re both in comfy chairs, both have coffees (Dan would have preferred doing this over a bourbon at Hemingway’s, in Manhattan, but it’s only 9 AM and we’re currently in my home office near Austin, Texas). Dan is dressed as he often is, in the casual clothes of an explorer—durable grey khakis and a comfortable white button-up. His grey tweed sports coat has the brown leather elbow patches that his profession practically demands, and it’s currently folded neatly and draped over the arm of his chair.

He smiles me from his seat, right leg crossed at the ankle over his left knee, casually reclined with his coffee, and I can tell just by looking at him that as I’m observing him he’s also reading me

I decide this is the place to start.


Kevin Tumlinson (KT): Dan, thanks for coming out and agreeing to this. I know you’re pretty busy with your work.

Dan Kotler (DK): Well, how could I say no? After you’ve gone to so much trouble to keep me in... well, so much trouble!

KT: Yeah, sorry about that. Mostly. But thanks for always managing to get out of it. The readers love it.

DK: I live to serve.

KT: So I was thinking just now about your skill at reading body language. It’s become kind of a go-to for you, especially as you’ve started working with the FBI and Historic Crimes. But it’s sort of unusual, isn’t it? What prompted an archaeologist to pick up and master a skill like that?

DK: Well, I should point out that my specialization in archaeology is anthropology. The study of human culture. And what’s more human than our expressions and microexpressions? Cultures start with individuals, and individuals are just constantly broadcasting their inner thoughts. The culture they belong to is a web of these thoughts, and also a result of them. Or rather, a result of how every individual adapts to the language they’re subconsciously picking up from every other individual. 

KT: Sounds kind of heady.

[Dan laughs]

DK: I suppose it is... but think about it for a moment and I think you’ll agree. Our personal interactions are part of the foundation of culture, and beyond that of society. How we deal with each other determines the sort of society we live in. I am fascinated by humans—can’t learn enough about them. Knowing how they speak when they don’t even know they’re speaking, that gives me a much deeper insight into not only the individual but into the whole of humanity. 

KT: And it’s hardly your only unconventional trick.

[Again, Dan laughs... something that becomes a common theme of how he interacts with me and, frankly, everyone. His personality is wry, ironic, observant. He watches everyone, all the time. He studies them. And his interactions with them come from a place of admiration.]

DK: No, it’s not my only trick, I guess. I’ve made it mandatory for me to know as much about human psychology as I can. So in addition to studying history, I study psychology. I’ve also gotten into studying neurology, though that’s kind of new. I want to know how the brain works, and how that impacts how the mind works. It’s a hobby, mostly. A useful hobby.

KT: I’ll say. That sort of thing seems to give you a leg up in your current work. How does working with the FBI connect with your work in the field of archeology?

DK: In more ways than I ever anticipated. Both impact the other, but I’ll admit that my background in archaeology tends to help out Roland and the rest of the Historic Crimes team more than the reverse.

KT: Roland Denzel. Agent Denzel. I’m planning to interview him at some point. What’s he like?

[Dan smiles pleasantly, reflecting before answering.]

DK: There are very few people that I think so openly and adamantly deserve the title of “A good man.” Roland has always been one of those. Though he’ll probably roll his eyes if you say it to him.

KT: The two of you are close.

DK: Oh, absolutely. We have been since the whole Coelho Medallion affair. We had maybe a rocky start, but I don’t think we were ever adversaries. More like... unwilling sidekicks, at times. Though we both might argue over who was sidekick to whom. [laugh] But Roland is a man of honor and integrity. He’s a war hero, though he’ll probably shoot me for saying so. 

KT: So you admire him.

DK: More than I’ll likely tell him in person. Not because I’m embarrassed by feeling it, but because he’d be embarrassed to hear it. And Roland gets cranky when he’s embarrassed.

KT: The work the two of you are doing in this new branch of law enforcement...

DK: Historic Crimes.

KT: Right. That’s been pretty impressive. How would you describe it?

[Dan pauses here, thinking, hands tented around his coffee cup over his stomach, chin down. When he looks up I can tell something funny has occurred to him]

DK: I’d say Historic Crimes is the only law enforcement agency in history to deal with the source of trouble instead of just the trouble itself.

KT: How so?

DK: All of the cases we take on have their roots in history. Sometimes it’s ancient, sometimes it’s something only decades old. Weird bits of history that fester into something that threatens the modern world. It’s the only reason I’m part of the team, to be honest. They certainly don’t need me around to take down the bad guys, I probably just get in the way.

KT: “Weird bits of history...” that’s certainly true. Does it seem unusual to you that so many historic sites, artifacts, and events seem to lead to threats on the modern world?

DK: Well, you tell me. 

KT: We’ll just leave it as “It’s a mystery.”

DK: And mysteries are the point, aren’t they? Life itself is that kind of mystery, by the way. It’s the reason I think Historic Crimes works, the whole reason it exists. Historic Crimes is kind of a microcosm of human culture. Something in our history has influenced and impacted the present, in some negative way, and the only way to put things right is to deal with that history in the here and now. If that isn’t a metaphor for life, I can’t think of anything that is.

KT: That sort of thing is important to you, isn’t?

DK: What, metaphor? Yes. Absolutely. Metaphors are stories. And just like you, as an anthropologist I’m in the business of stories. My stories tend to be about questions. Who are we, as a species? Where did we come from? Where are we going? The work I’m doing with Historic Crimes is about a darker side of those questions, but it’s just part of the whole quest. My life is dedicated to exploring humanity’s place in the universe. It’s the reason I slogged through not just my PhD in Archaeology, but also a PhD in Quantum Physics. Believe me, it’s not because I love math. I’m terrible at math.

KT: That was an influence of your parents, wasn’t it? Those two directions in graduate studies?

DK: Yes, definitely. My father was a physicist who had a side passion for archaeology. My mother was a mathematician. I’m willing to admit, these days, that part of what drove me to study the way I did was that I was paying homage to the two of them. Sometimes our paths get dictated to us, just a little. But I think they’d be proud of the middle road I carved out. I don’t use my PhD in Quantum Physics as much as my father would probably have preferred. But it’s come in handy, from time to time. 

KT: And you keep studying.

DK: [nodding] Always. Because that’s life. Studying. Learning. Growing. When that stops, life stops. When you aren’t learning something new about the world, you’re just existing. Experiences mean less if you learn nothing from them. But the good news is that even the most seemingly insignificant experiences have something to offer, something to learn and know. It’s up to us to pay attention to it, but it’s there. Just look.

KT: Well, I have to get on the road, and I know you do, too. This seems like a good stopping place for today. Want to do this again sometime?

DK: Absolutely. How often does a guy get to chat with his creator?

KT: [smiling] I do it every morning and all day long. But I’ll admit, I’d love to sit with God and a cup of coffee sometime.

DK: [chuckles] That’s the sort of thing that’s inevitable, isn’ t it?

KT: [laughs] Yeah... no rush, though.


We end that first interview with the promise that there will be another. And Dan has agreed to grease the wheels for me with Agent Denzel and Dr. Liz Ludlum. He’s even putting in a word with Alex Kayne. 

So stay tuned. Comment below with your thoughts on this interview, and tell me what you’d like me to ask Dan and the others in future interviews. 

God bless, safe travels, and see you out there.

Find more about Dan Kotler and his adventures with Historic Crimes on his website, https://DanKotler.com.


YOU ARE READING SIDE NOTES

Side Notes is an extension of my Notes at the End, which are author’s notes that appear at the end of every one of my novels. If you like these posts, you’ll love the books. 

If you’d like to support me (and see more posts like this) you can do me two favors: First, peruse my catalog of books and find something you’d like to read; and second, join my mailing list to become part of an amazing community of readers and friends I interact with regularly. Thank you for your support!

The Hidden Influences of Dan Kotler

The first book I ever published was a science fiction title, Citadel: First Colony. It was the end result of a few weeks of hanging out with my brother-in-law and a good friend of mine, drinking coffee and noshing at a local Panera Bread, dreaming and jotting down notes for a web series we wanted to produce. This was in the days before Netflix and Hulu and other streaming services. We had plans to launch this thing as 10-minute episodes on YouTube (10 minutes being the limit on length, at the time).

Things didn’t quite work out for us on producing the show, but as an exercise in getting a deeper understanding of the plot and the characters, I decided to write what is known in the business as a treatment. It’s basically a document that tells the story of a film or show, in prose, so that it can be handed over as part of a pitch. Writers will often put a treatment together to give to a prospective investor or someone at a studio.

I thought that if we had a treatment, I could better understand the story, and that might make it easier to start penning scripts.

What ended up happening instead was that the treatment expanded to become a novel. and then that novel became the first in a trilogy. And a novelist’s career was born.

Fast forward to 2015. I had about 30 books out, covering mostly science fiction and fantasy. I was doing ok—everyone who actually read the books loved them. But I was not doing great. Not as well, financially, as I hoped, anyway.

At that point in my career I’d gone all-in on being a part of the indie author scene. I was hosting my show, The Wordslinger Podcast, and I was also a co-host or host or guest host on at least seven other shows, including co-hosting with Nick Thacker and Justin Sloan on Self Publishing Answers. 

Before Justin came along, Nick and I hosted SPA together, and we used it as a space to discuss not only the business but our own work, what we were learning, how it was going, etc. And on one episode, we talked about genre. It was on that episode that Nick said he thought I could crush it as a thriller writer, and he dared me to write one. I took that dare.

Ok, so back to 2015—I started working on said thriller. At that point I was full-time as an author, but wasn’t getting quite the paycheck I felt I needed. Switching genres felt a little intimidating, so I decided I would write a one-off book, just to win the dare, and see how it went. And because I hadn’t really written a thriller before, and wasn’t sure how much time and effort I wanted to invest in the process, I decided to “cheat.”

There’s a dirty secret in the author world. Every author has this, and most don’t talk about it. And it can be called by and thought of in a variety of names and terms. For me, it is what I call “my thirds.”

My thirds—as in the first third of a book. The started but unfinished work, the exploration of an idea that I was excited enough about to start but didn’t have the integrity or heart or energy to finish. My thirds had always been my shame. Work left unfinished weighs heavier than the work of seeing things through.

Every author has something like this. Story starts, orphaned chapters, widowed plots—there are many names. In the comics world there’s a concept known as the “ash bin,” where fragments of script and dialogue, as well as rough sketches or even finished panels, get dumped. They might be pulled out later, dusted off, and put into service in some other story. But for now, they’re ash. Wasted, burned, not worthy.

I actually have a little folder in Scrivener, my writing tool of choice, that I call my “Ash Bin,” where I dump scenes I pull from books while editing. I always think, “I’ll come back and use this some day.” But so far I rarely have.

On the other hand, I also have my “thirds,” which are the abandoned ideas I was excited enough to start but not dedicated enough to finish. Over he decades, mostly prior to becoming a fairly prolific writer who actually does finish things, I have collected hundreds of these. They’re sitting there, taking up hard drive space, with creation dates that show me I really wanted to be in this business even in my youngest days.

So when I had to come up with a plot for a thriller novel, I thought, “Why not mine for gold?”

I went to my hard drives, I culled together a collection of story starts, and I began piecing together what would eventually become the Prologue for The Coelho Medallion.

Now, when I look back at that first Dan Kotler book, I can see that I had some pretty solid influences working. Indiana Jones was a given. Archaeologist adventurer and all. 

But at that point in my life I was reading a lot of books that I now realize fell within the thriller genre, though I hadn’t quite thought of them that way originally (for some reason). Among these was Stieg Larsson’s Millennium trilogy, which led off with the wildly popular The Girl with the Dragon Tattoo. Larsson’s obsession with describing 90s-era Apple technology in those books definitely fed into Dan Kotler’s early obsession with things like his iPad and Evernote. I still reference smartphones and apps and smart tablets to this day, but I’ve made them a little less overt, to avoid dating the material too much. 

Other influences included films such as National Treasure, which one reader accused me of plagiarizing (I’m not sure how... nothing in plot of Coelho Medallion is even remotely similar to the plot of those films, and the two characters share only a touch of brilliance tempered with arrogance... maybe that was it?). Then there were books by authors such as Clive Cussler, James Rollins, Steve Berry, and a few others. 

But there were two influences in particular that really shaped Dr. Dan Kotler as a character. The first is a book I wrote about recently, The Fingerprints of the Gods, by Graham Hancock. That book is, as I’ve stated, foundational to the whole Kotler universe. 

But the other influence was Dan Brown’s The Da Vinci Code. Both the book and the film, and all the subsequent sequels to each, shaped The Coelho Medallion right from the beginning. Though more so than I realized, at the time. 

Kotler is in a very real sense a descendent of Dr. Robert Langdon, from Brown’s books. And in fact, the “Dan” in Dan Kotler’s name is an homage to Dan Brown. Author names are a running in-joke among the characters of these books, and it started from name one. Even the title is an author homage, named for Paulo Coelho, author of The Alchemist.

All of that I deliberately chose from the beginning. I wanted a character who was brilliant and resourceful, yet flawed and sometimes overstepping. Kotler has many spiritual ancestors, but Robert Langdon is closest.

But it wasn’t until years after publishing The Coelho Medallion that I realized how much actual influence came from The Da Vinci Code.

I was at an author conference, I believe in Las Vegas, and had the television going while I showered and got ready to go back out and take some authors on a drinking tour of the town. When I turned on the TV, Tom Hanks greeted me.

The film, The Da Vinci Code, was playing as part of a marathon. I smiled, having loved the entire series from Ron Howard and Tom Hanks, and I let it play as I got ready.

It started to hit me, after a bit, that the whole thing was a little more familiar than I would have thought. Familiar, but there always seemed to be something missing. Some line I thought I remembered from the film went unsaid. Some scene I thought should have been there simply wasn’t. And then there were lines and scenes that did appear that felt wrong to me. 

It hit me, eventually, what was happening.

When I’d written The Coelho Medallion, I subconsciously reached for characteristics to instill in Dan Kotler so that I could understand his character, and get inside his head. And as I watched The Da Vinci Code for the first time in years, I suddenly started to recognize the framework of characteristics I had unconsciously “borrowed” from the film and the book.

Basically, when I introduce Kotler for the first time, he’s doing his very best impersonation of Robert Langdon.

In fact, once you’re past the Prologue of the book, the first chapter is a fairly decent clone of the introduction of Langdon in the film. It’s not exactly shot-for-shot or anything. No dialogue was lifted. Nothing was plagiarized, strictly speaking. But it’s pretty clear I had that scene in mind as Kotler spoke to a crowded auditorium about the evidence support Vikings in America. 

Kotler was Langdon. Vikings were the works of Leonardo. Dr. Horelica’s abduction was the murder of Sophie’s father. And there are more breadcrumbs like these throughout the book.

It was kind of shocking to me to discover this, but looking back on it I’m not that surprised. I mean, I had never written a book like this before, and I was casting around trying to find a guide. I landed on mimicking the work of an author I knew and enjoyed. It happens.

The rest of the book had different origins, though. I used my thirds to create the prologue, which inevitably inspired the rest of the book’s plot. Really it came down to a scene that is actually no longer in the book (I included it as a bonus at the end of the novel), in which a man on a hike discovers evidence for an underground river that rises to the surface every so often. That scene led me to the idea of the underground river, and from there I had to decide why that would be significant for an archaeologist. 

Another scene involved a museum being robbed, and the artifact was a medallion. I didn’t know what the artifact would point to, per se, but it seemed like a good piece.

Then there was a warehouse being robbed, and thousands of smoke detectors stolen. This was inspired by “The Radioactive Boyscout,” who snagged smoke detectors from an apartment complex that was under construction, and mined them for their radioactive components, in the name of building his very own nuclear reactor. True story. 

I had dozens of pieces like this, things I’d started writing but hadn’t finished. And I picked and chose bits here and there to weave into the Prologue, which inevitably laid the groundwork for the rest of the novel.

In fact, even the prologue was something I borrowed from various inspirations—the opening of The Da Vinci Code was one, but so were the thousands of hours of television series I’ve watched over the years, with their cold opens setting the stage for each episode. Shows like Castle are a good example.

Basically, that first novel was a mishmash of ideas and influences that I somehow, maybe miraculously, pulled together into a book. And that book, despite being a “one-off” in my mind, ended up launching an entire series. Which ended up launching an entire new era for my author career. 

Nick was right, I really did need to write a thriller.

Now, here we are. Kotler has been on hundreds of adventures by this point, and now there are even some new faces in his universe, having adventures of their own. Alex Kayne has a growing presence, along with her AI software, QuIEK. Agent Roland Denzel, Agent Eric Symon, Agent Julia Mayher—all pulling their weight in these novels. Director Liz Ludlum has evolved into someone I never expected. 

The stories, the characters, they are growing. They have become something more than I ever thought I was capable of creating. And it all started with a bit of immigration and mimicry. 

And I am so grateful for every bit of it.


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YOU ARE READING SIDE NOTES

Side Notes is an extension of my Notes at the End, which are author’s notes that appear at the end of every one of my novels. If you like these posts, you’ll love the books. 

If you’d like to support me (and see more posts like this) you can do me two favors: First, peruse my catalog of books and find something you’d like to read; and second, join my mailing list to become part of an amazing community of readers and friends I interact with regularly. Thank you for your support!

Book Influences: “Fingerprints of the Gods” by Graham Hancock

I first read Graham Hancock’s Fingerprints of the Gods: The Evidence of Earth’s Lost Civilization in the early 2000’s, after a friend casually mentioned it in conversation. It wasn’t really a book recommendation, at that point. And in fact, I don’t really remember what he said about the book, specifically, that piqued my interest. But he was someone I respected, the book sounded intriguing, and I immediately picked up a copy.

The thing was a tome. About two inches thick, in paperback, and coming in at 592 pages. It was far from being the longest book I’d read up to that point, but it was definitely a chunk of book that felt wonderful to hold in my hand. I do almost all of my reading via ebooks these days, but I’ve always been a sucker for a good, solid book.

I’ve also always loved history, though I did go through a period where I apparently denied this, first to myself and then, by extension and attitude, to others. It wasn’t cool, after all. I had enough trouble getting along with people in school, especially high school, without throwing “he’s the guy who nerds out about history” into the mix. 

Actually, it wasn’t even strictly history I nerded out over. It was weird and unusual history.

I loved reading and watching things about ancient Egypt, for example, but mostly it was the stuff about lost tombs and treasures, mystic objects and mythic beings, powerful gods and sorcerers that really got my brain buzzing. The hint of mystery among the ancient was always the most intriguing part to me. Reading a laundry list of lineage between dynasties was never quite as appealing, and neither was memorizing when Person X read Speech Y at Location and Event Z.

A plea to history teachers: Please stop teaching history as if it’s just one big census, and start focusing on the inspiring and fun parts. Love, people who love history. 

Fingerprints of the Gods hit all the right notes for me, right from page one. And though it was not the first book about “weird and unusual history” I’d ever read, it was still the start of a new era in reading and research and thought for me. It became a foundational book for my experience with and slog through history and archaeological study, and even more so for my career as a novelist. 

You can see the influence of this book (as well as other books by Hancock and his peers) in my Dan Kotler Archaeological Thrillers. Kotler is, in essence, an homage to guys like Hancock—an archaeologist who skirts the edge of the accepted narrative of history, who finds himself continuously at odds with the institutions of science and academia, challenging their self-assured positions with new facts that they’d prefer to ignore. Kotler gets compared to other famous fictional archaeologists and historians—notably the likes of Indiana Jones and Dr. Robert Langdon (of Da Vinci Code fame), and even Clive Cussler’s Dirk Pitt, at times—but at his core is an echo of Graham Hancock.

The thing that intrigues me most about Fingerprints is the concept of comparative mythology. It’s a theme I’ve come back to hundreds of times in my novels, and to me it’s perhaps the key to understanding more about human culture and history, shedding a very different light on our origins than what has so far been our story. 

Comparative mythology is, in a nutshell, the notion that hidden among all of the various and disparate cultures of the world are threads of a common story, and hints of a civilization lost to the mists of time. As just one example, when you look into every single myth and religion in recorded history, there is a flood myth. And that flood myth invariably contains common elements, even between cultures that should have absolutely nothing in common. There is always a man who communes with a greater power (God, or gods, or spirits, or some other powerful entity). This figure is told in advance of the coming of a great flood, and given explicit instructions for what to do so he and his family will survive. And in following those instructions they all do survive, to go forth and repopulate the Earth.

It’s mind boggling how similar the stories are. It shows up everywhere.

Call me on this. Go look at myths from the Mayans and Aztecs, compare them to myths from the Christian story, and then to myths from ancient Egypt, the Mesopotamian, the Phoenicians. And then, just for fun, look for flood myths among the Celts and Vikings. 

Water, water everywhere.

The same thing happens with other myths and legends, including the presence of “great trees” in just about every religion in existence, and the story of a savior who dies, only to be resurrected and raised to the heavens. Read the story of Osiris, and compare him to Christ, and then for some real fun go look at the story of Viracocha—the bearded, white-skinned god worshiped by the pre-Inca in Peru, who was known for traveling the land with his disciples, teaching about doing good while healing the sick, and even walking on water.

Mind = Blown.

Fingerprints looks at all of the above, by the way, and has served me as a very stable foundation for exploring things like this at a much deeper level. 

In this book I first learned of the alignment of the pyramids at Giza to the stars in the belt of Orion. I further learned that the same sort of alignment is in evidence at the Mayan pyramids. I learned about the prolific presence of circular cycles of destruction and resurrection in all the ancient cultures, a speculation about the continual death and rebirth of humanity. I learned that there are human cultures of which we know practically nothing, beyond the whispers we’ve deciphered from time-worn stone and ancient artifacts. All of these things, in one form or another, have made it into my books. And all of them hint at a world before the world we know, more ancient than we ever imagined.

“Stuff just keeps getting older,” as Graham Hancock himself is fond of saying. And he’s right. 

If you’ve read and enjoyed my Dan Kotler thrillers, and have an interest in the type of “weird and usual history” that Kotler is now famous for exploring, I recommend reading Fingerprints of the Gods, and the other books that have sprung from Hancock’s pen. You’ll come away with a new perspective on history and humanity, and it will change you forever.


YOU ARE READING SIDE NOTES

Side Notes is an extension of my Notes at the End, which are author’s notes that appear at the end of every one of my novels. If you like these posts, you’ll love the books. 

If you’d like to support me (and see more posts like this) you can do me two favors: First, peruse my catalog of books and find something you’d like to read; and second, join my mailing list to become part of an amazing community of readers and friends I interact with regularly. Thank you for your support!