A resourceful runaway alone in the wilds of Los Angeles, twelve-year-old Billy Straight suddenly witnesses a brutal stabbing in Griffith Park. Fleeing into the night, Billy cannot shake the horrific memory of the savage violence, nor the pursuit of a cold-blooded killer. For wherever Billy turns—from Hollywood Boulevard to the boardwalks of Venice—he is haunted by the chuck, chuck sound of a knife sinking into flesh.
“Taut, compelling . . . Everything a thriller ought to be. The writing is excellent. The plotting is superior. The characters ring true.”—USA Today
As LAPD homicide detective Petra Connor desperately searches for the murderer, as the media swarms mercilessly around the story, the vicious madman stalks closer to his prey. Only Petra can save Billy. But it will take all her cunning to uncover a child lost in a fierce urban labyrinth—where a killer seems right at home.
BONUS: This edition includes an excerpt from Jonathan Kellerman's Guilt.
A resourceful runaway alone in the wilds of Los Angeles, twelve-year-old Billy Straight suddenly witnesses a brutal stabbing in Griffith Park. Fleeing into the night, Billy cannot shake the horrific memory of the savage violence, nor the pursuit of a cold-blooded killer. For wherever Billy turns—from Hollywood Boulevard to the boardwalks of Venice—he is haunted by the chuck, chuck sound of a knife sinking into flesh.
“Taut, compelling . . . Everything a thriller ought to be. The writing is excellent. The plotting is superior. The characters ring true.”—USA Today
As LAPD homicide detective Petra Connor desperately searches for the murderer, as the media swarms mercilessly around the story, the vicious madman stalks closer to his prey. Only Petra can save Billy. But it will take all her cunning to uncover a child lost in a fierce urban labyrinth—where a killer seems right at home.
BONUS: This edition includes an excerpt from Jonathan Kellerman's Guilt.
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![Billy Straight](http://img.images-bn.com/static/redesign/srcs/images/grey-box.png?v11.11.4)
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Overview
A resourceful runaway alone in the wilds of Los Angeles, twelve-year-old Billy Straight suddenly witnesses a brutal stabbing in Griffith Park. Fleeing into the night, Billy cannot shake the horrific memory of the savage violence, nor the pursuit of a cold-blooded killer. For wherever Billy turns—from Hollywood Boulevard to the boardwalks of Venice—he is haunted by the chuck, chuck sound of a knife sinking into flesh.
“Taut, compelling . . . Everything a thriller ought to be. The writing is excellent. The plotting is superior. The characters ring true.”—USA Today
As LAPD homicide detective Petra Connor desperately searches for the murderer, as the media swarms mercilessly around the story, the vicious madman stalks closer to his prey. Only Petra can save Billy. But it will take all her cunning to uncover a child lost in a fierce urban labyrinth—where a killer seems right at home.
BONUS: This edition includes an excerpt from Jonathan Kellerman's Guilt.
Product Details
ISBN-13: | 9780345463678 |
---|---|
Publisher: | Random House Publishing Group |
Publication date: | 04/01/2003 |
Series: | Petra Connor Series , #1 |
Sold by: | Random House |
Format: | eBook |
Pages: | 448 |
Sales rank: | 4,671 |
File size: | 2 MB |
About the Author
![About The Author](http://img.images-bn.com/static/redesign/srcs/images/grey-box.png?v11.11.4)
Hometown:
Beverly Hills, CaliforniaDate of Birth:
August 9, 1949Place of Birth:
New York, New YorkEducation:
B.A. in psychology, University of California-Los Angeles; Ph.D., University of Southern California, 1974Website:
http://www.jonathankellerman.com/Read an Excerpt
In the park you see things.
But not what I saw tonight.
God, God . . .
I wanted to be dreaming but I was awake, smelling chili meat and onions and the pine trees.
First, the car drove up to the edge of the parking lot. They got out and talked and he grabbed her, like in a hug. I thought maybe they were going to kiss and I'd watch that.
Then all of a sudden, she made a weird sound--surprised, squeaky, like a cat or dog that gets stepped on.
He let go of her and she fell. Then he bent down next to her and his arm started moving up and down really fast. I thought he was punching her, and that was bad enough, and I kept thinking should I do something. But then I heard another sound, fast, wet, like the butcher at Stater Brothers back in Watson chopping meat--chuck chuck chuck.
He kept doing it, moving his arm up and down.
I wasn't breathing. My heart was on fire. My legs were cold. Then they turned hot-wet.
Pissing my pants like a stupid baby!
The chuck chuck stopped. He stood up, big and wide, wiped his hands on his pants. Something was in his hand and he held it far from his body.
He looked all around. Then in my direction.
Could he see me, hear me--smell me?
He kept looking. I wanted to run but knew he'd hear me. But staying here could trap me--how could he see anything behind the rocks? They're like a cave with no roof, just cracks you can look through, which is the reason I picked them as one of my places.
My stomach started to churn around, and I wanted to run so badly my leg muscles were jumping under my skin.
A breeze came through the trees, blowing up pine smell and piss stink.
Would it blow against the chili-burger's wrapping paper and make noise? Would he smell me?
He looked around some more. My stomach hurt so bad.
All of a sudden he jumped ran back to the car, got in, drove away.
I didn't want to see when he passed under the lamp at the corner of the parking lot, didn't want to read the license plate.
plyr 1.
The letters burned into my mind.
Why did I look?
Why?
I'm still sitting here. My Casio says 1:12 a.m.
I need to get out of here, but what if he's just driving around and comes back--no, that would be stupid, why would he do that?
I can't stand it. She's down there, and I smell like piss and meat and onions and chili. Real dinner from the Oki-Rama on the Boulevard, that Chinese guy who never smiles or looks at your face. I paid $2.38 and now I want to throw it up.
My jeans are starting to get sticky and itchy. Going over to the public bathroom at the other end of the lot is too dangerous . . . that arm going up and down. Like he was just doing a job. He wasn't as big as Moron, but he was big enough. She trusted him, let him hug her . . . what did she do to make him so mad . . . could she still be alive?
No way. Impossible.
I listen carefully to see if she's making any sounds. Nothing but the freeway noise from across the east side of the park and traffic from the Boulevard. Not much traffic tonight. Sometimes, when the wind blows north, you hear ambulance sirens, motorcycles, car honks. The city's all around. The park looks like the country, but I know the difference.
Who is she?--forget that, I don't want to know.
What I want is to put tonight on rewind.
That squeaky sound--like he took the air right out of her. For sure she's . . . gone. But what if she isn't?
Even if she isn't, she will be soon, all that chucking. And what could I do for her, anyway? Breathe into her mouth, put my face in her blood?
What if he comes back while I'm doing it?
Would he come back? That would be stupid, but there are always surprises. She sure found that out.
I can't help her. I have to put this all out of my mind.
I'll sit here for ten more minutes--no, fifteen. Twenty. Then I'll get my Place Two stuff together and move.
Where to? Place One, up near the observatory, is too far, and so are Three and Four, even though Three would be good 'cause it has a stream for washing. That leaves Five, in the fern tangle behind the zoo, all those trees. A little closer, but still a long walk in the dark.
But it's also the hardest one to find.
Okay, I'll go to Five. Me and the animals. The way they cry and roar and smash against their cages makes it hard to sleep, but tonight I probably won't sleep anyway.
Meantime, I sit here and wait.
Pray.
Our Father in heaven, how about no more surprises?
Not that praying ever got me anything, and sometimes I wonder if there's anyone up there to pray to or just stars--humongous balls of gas in an empty black universe.
Then I get worried that I'm blaspheming.
Maybe some kind of God is up there; maybe He's saved me lots of times and I'm just too dumb to know it. Or not a good enough person to appreciate Him.
Maybe God saved me tonight, putting me behind the rocks, instead of out in the open.
But if he had seen me when he drove up, he probably would've changed his mind and not done anything to her.
So did God want her to . . .
No, he just would've gone somewhere else to do it . . . whatever.
In case You saved me, thank You, God.
In case You're up there, do You have a plan for me?
What People are Saying About This
From a barnesandnoble.com e-nnouncement
America's foremost author of psychological suspense takes a rare departure from his bestselling Alex Delaware series with the recently released BILLY STRAIGHT -- a riveting thriller that weaves together the lives of a 12-year-old runaway, a psychotic killer, and a dedicated detective from the LAPD. Here is what Jonathan Kellerman had to say when barnesandnoble.com asked about the inspiration behind his new book BILLY STRAIGHT.
Where Ideas Originate by Jonathan KellermanOne of the questions I'm asked most frequently is "Where do you get your ideas?" So often am I faced with this that the urge to answer flippantly -- "From my warped mind." "At Sears." "At the blackjack table in Vegas." -- can be overwhelming.
The truth is that there's no pat answer. My ideas -- my novels themselves -- spring from a variety of sources. Sometimes a character appears to me and his/her persona drives the book. Other inspirations include chance meetings, overhearing a particularly delicious snippet of dialogue, my concern about social issues, and news items. (Not the headline-grabbing stuff. What turns me on is the obscure little piece buried in the back pages of some arcane journal.) Most often, a combination of factors is at play.
Occasionally, events from my own life guide my pen. For example, when I retired from the practice of psychology over a decade ago, I realized that my patients would remain in my life for as long as they needed my counsel. Hence, the first line of the book-in-progress, PRIVATE EYES: "A therapist's work is never over."
I've been quoted often regarding my affection for the two jobs with which I've been blessed: clinical psychology and writing fiction. What unites the two, I believe, is a deep curiosity, and hopefully, a compassion, about people. What differentiates them, is that psychology strives to develop rules about human behavior while fiction explores the exceptions to the rules.
Twelve-year-old Billy Straight, whom I believe to be among the most fascinating and endearing characters gracious enough to visit my head, presented himself in astonishing detail, virtually commanding me to write his story.
Billy is a grand exception, cast by Fate, Province, accident of birth -- whatever you choose to call it -- in the role of congenital victim. He enters this world in turmoil, encounters obstacles at every turn, and suffers the kind of terror and degradation that most children are fortunate never to encounter.
Yet, Billy never abandons his essential goodness, never takes leave of a strong moral stance. Billy survives. He thrives. I think of him as a hero for our time.
The same can be said for Petra Connor, the brilliant but troubled homicide cop who finds herself searching for Billy. Introduced in SURVIVAL OF THE FITTEST, Petra kept returning to my office, urging, "C'mon, Kellerman, there's more to me than that little cameo."
The streets of Hollywood played a role, too.
For many years, I worked in an inner-city hospital on the tough east end of Hollywood, came into contact with street kids, learned about the horrors of abuse and abandonment. I wanted to write about street life, but not in the usual way -- merely reciting a litany of horrors -- because that had been done before. And because I don't traffic in despair.
I wanted to write about the exceptions.
Every page of this book was a joy to construct. Writing BILLY STRAIGHT permitted me to explore the resilience of the human spirit within the framework of what I hope is an entertaining and gripping thriller. For, despite the sometimes dismal state of the world, I remain a stubborn optimist.
I know life can't be tied up neatly. I always strive to avoid pat endings to my novels.
But there are heroes out there. And I'm one of the lucky guys who gets to tell some of their stories.
I hope you enjoy reading BILLY STRAIGHT as much as I enjoyed writing it.
Sincerely,
Jonathan Kellerman
“Taut, compelling . . . Everything a thriller ought to be. The writing is excellent. The plotting is superior. The characters ring true.”
—USA Today
“JONATHAN KELLERMAN HAS JUSTLY EARNED HIS REPUTATION AS A MASTER OF THE PSYCHOLOGICAL THRILLER. . . . The writing is vivid, the suspense sustained, and [he] has arranged one final, exquisitely surprising plot twist to confound the complacent reader.”
—People (Book of the Week)
“[A] TENSION-FILLED THRILLER . . . A COMPELLING READ . . . KELLERMAN MAKES YOU CARE DEEPLY FOR THIS CHILD.”
—San Francisco Examiner
“RIVETING . . . NOBODY EVOKES LOS ANGELES BETTER THAN JONATHAN KELLERMAN.”
—Los Angeles Times
Interviews
On Wednesday, January 13th, barnesandnoble.com welcomed Jonathan Kellerman to discuss BILLY STRAIGHT.
Moderator: Welcome, Jonathan Kellerman! Thank you for joining us online this evening. How are you doing this evening?
Jonathan Kellerman: Great to be here. Thanks for having me. We writers operate in isolation, so it's always fun to get in touch with those kind enough to read our books.
Pearl from New Jersey: Where do you get inspiration for your particularly evil characters? I'm thinking of THE BUTCHER'S THEATER specifically, but in BILLY STRAIGHT too. Do you ever manage to scare yourself?
Jonathan Kellerman: I guess I have a warped mind. Actually, like many crime writers, I'm a bit of a coward, and I write about things that frighten and upset me. Yes, I definitely scare myself. I figure if my book's not keeping me up at night, it won't keep my readers up.
Martha from Metaire, LA: How has your past experience in child psychology influenced your writing? Is that too broad a question to answer?
Jonathan Kellerman: I struggled for many years to get published as a novelist and I believe that my experiences as a psychologist were what finally helped me succeed. Though I'd never, ever write about patients -- or real people, in general, for that matter -- because of my oath of confidentiality, I'd like to think that my clinical experience helps lend an air of authenticity to my novels.
Grady from Santa Monica, CA: Hello, Mr. Kellerman. How are you doing tonight? What to you are the most alluring things to write about when you have a setting of Los Angeles?
Jonathan Kellerman: Doing fine, thanks. I consider L.A. an actual character in my books. It's not a coincidence that some of the finest crime novels ever written were set in L.A. The discrepancies between rich and poor, the air of unreality brought about by the -- increasing -- influence of the film business, and the weather that allows more leisure time in which to get into trouble, all combine to create the ideal setting for murder and mayhem. I've lived in L.A. for most of my life, and the material never seems to run out.
Marhkie from Ft. Meyers, FL: Are you currently working on bringing any of your writing to the big screen? I would love it if you became a bit of an Elmore Leonard-esque author. (By the way, "Out of Sight" was the best movie adaptation of a good novel I have seen in a while.) Which brings me to my next question: What to you was the best movie adaptation of a good novel?
Jonathan Kellerman: I wish I could say that Hollywood's beating a path to my door, but the powers-that-be at the studios don't seem to feel that my books lend themselves to film adaptation. The most frequent problem cited is too much complexity. Nothing would please me more than having a first-rate director -- my choice would be the Coen brothers -- do one of my novels. I did have a multibook deal with Francis Ford Coppola to do TV movies, but it fell through. "Silence of the Lambs" seems to me to have been an ideal situation: terrific book adapted as terrific film.
Bradley from Albany, NY: I really like how both you and your wife strayed from the path of series and both conquered with what I believe is both of your best fiction to date(MOON MUSIC and BILLY STRAIGHT). Did you and Mrs. Kellerman decide to do this together?
Jonathan Kellerman: Thanks a lot for your kind words -- because some readers seem to resent it when one strays from the expected. Actually, it's quite strange that Faye and I each wrote nonseries books, because we never discuss projects before we begin. Also, both of us must be on some sort of ten-year cycle, as a decade ago Faye published THE QUALITY OF MERCY, and I published THE BUTCHER'S THEATER. I'd certainly like to bring Petra Connor back, in addition to trying out other nonseries ideas. Can't speak for Faye, because as I noted, we don't discuss unwritten works. But she is a highly imaginative and adventurous person, so it wouldn't surprise me if she felt the same.
Pac87@aol.com from New Jersey: Who in your opinion is the best thriller writer out there these days?
Jonathan Kellerman: I really can't single anyone out, and I always hesitate to list favorites, because there's always someone who'll be left out. There's a ton of talent out there. I've always admired James M. Cain, Ross MacDonald, John D. MacDonald, Elmore Leonard, Ruth Rendell, James Ellroy, Lawrence Block. Thank God I truly love my wife's writing -- I mean, I could love her but detest her writing, and that would make marriage a little difficult, eh?
Nita from Boston, MA: Mr. Kellerman, do you keep an Orthodox household? I can only assume that your familiarity with the customs is personal....
Jonathan Kellerman: Yes, we do.
Maureen from Ft. Collins, CO: Are you very competitive with your wife, in terms of writing?
Jonathan Kellerman: Not at all. Faye and I were married 13 years before either of us got published, so our relationship was pretty set -- and satisfying. In the beginning, it was a little rough for Faye. I struggled for a long time but when I got published, the books were bestsellers -- thank you, thank you, beautiful readers. Faye sold her first novel, but her ascent was a bit more gradual, so she had to deal with a few "Oh, you write, too?"s. However, love triumphs over all. Faye and I are best friends, and it's really terrific to live with someone who understands the idiosyncratic aspects of this business.
Bobbie from Grand Rapids, MI: How do you think your writing has changed over the years? Do you think there has been an evolution of sorts from the first novel?
Jonathan Kellerman: Tough question, because I don't go back and read my books. I'd like to think I've improved -- I do know that each book is harder to write than its predecessors, because one strives to stay fresh. If anyone out there wants to comment on my evolution/devolution, please feel free to pipe in.
Brownlie from Hiawatha, IA: Hello! Dr. Kellerman, I love your books but have yet to read BILLY STRAIGHT. It does sound great. Alex Delaware is one of my very favorite people. In fact, after I read the first book, I thought if I could just sit down to talk to him he could tell me what I needed to know about me, and I would have great understanding of myself. When I read about the koi pond I decided to build one for myself, except I put it in my living room.
Jonathan Kellerman: Thanks. One of the great things about writing Dr. D is I get to rewrite. So he comes across a lot more sensitive, intelligent, insightful, etc. than I could ever hope to, myself. Congrats on the koi. I have some, too, and they continue to grooow.
Lynn from Chicago, IL: First, thanks for getting your newest books out in January most years. My birthday is the 12th, and it makes it very easy for my husband in terms of "what to get." He knows all I want is your latest book each year. Second: Is Alex Delaware finally going to get a new car? The Seville is getting a bit long in the tooth, and the newer ones are so nice. He deserves a new car, don't you think?
Jonathan Kellerman: January seems to be a good pub date for me. During Christmas, people don't want to deal with crime, etc. Then they spend some time with their families and change their minds. Re: the Seville, my philosophy is, if it ain't broke, don't fix it. Remember Travis McGee's Miss Agnes? Interestingly, when NBC did the 1986 Movie of the Week of WHEN THE BOUGH BREAKS, they gave Dr. D. a BMW. I thought that was a bit slick, but the car was donated by a dealer, and budget is all.
Gretchen Kass from Vermont: How often do you come across writer's block? What is the Jonathan Kellerman remedy for writer's block?
Jonathan Kellerman: Never, probably, because I spend three to six months structuring and outlining before I actually write the book. My advice would be to do the same, so that you know where you're going. Even if the end product deviates from the outline, the act of outlining lends structure and confidence. Also, never think about writing a novel -- too monumental a concept, way too scary. My goal is to write five decent pages a day. And I always begin by rewriting the previous day's work. That makes for a better book, and it improves the narrative flow -- so that you end up with a coherent body of work rather than a collection of five-page segments.
Paul from Denver, CO: What inspired you to step back from Alex Delaware for a novel?
Jonathan Kellerman: It wasn't a matter of stepping back, it was that this particular story -- and the character of Billy Straight, himself -- had been resonating for a long time. I've completed another Delaware novel. Entitled MONSTER, it's due out in a year. And I'm about halfway through the next one. Believe it or not, I don't write quickly. But I do write steadily -- more tortoise than hare.
Paul from New York City: What to you is the most important element of a good thriller?
Jonathan Kellerman: I think the same rules apply to all good fiction: an interesting story featuring characters about whom we care. A good thriller should also be scary in the sense that it transports the reader, in a semihypnotic manner, to a darker world that he/she might not otherwise be able to access. Personally, I like to get into the minds of characters -- good and bad -- in order to explore motivation.
Barbara from Philadelphia, PA: Looking forward to reading BILLY STRAIGHT, but a question on Alex. I find him to be unusual in his awareness of past mistakes in relationships. Is this a facet of your own personality or just something you feel is important to his character? It is a highly unusual trait for a mystery novel character in my experience.
Jonathan Kellerman: Thank you. I suppose it comes out of my psychological background. When I conceived A.D., I was rebelling against the prevailing stereotype -- the alcoholic, highly psychopathologic antihero. I wanted to create a protagonist with at least a semblance of adjustment. Sometimes I'm criticized because Alex seems too "perfect," but at the time (1981), he was quite a revolutionary guy. The ability to deal with one's errors is crucial for successful relationships, wouldn't you say? I've certainly learned this after 26.5 years of marriage and four kids.
Marvin from Boston, MA: How much do you write every day? Can you tell me a little bit about your creative process?
Jonathan Kellerman: As noted, I aim for 5 good pages a day. Sometimes I manage 3, sometimes 20. During my early days, I practiced psychology full-time and wrote from 11pm to 1am in my garage, as well as between patients. Now, I prefer to write in the morning. No particular tricks or gimmicks. I sit down and start typing. I think it's important to deromanticize the process and not to get puffed up about one's abilities. Writing fiction's the greatest job in the world, but it's still a job. All the successful novelists I know share two qualities: talent and a good work ethic.
Chris from Chris22@aol.com: I have yet to read the book, but I can't wait. But I want to chat about Alex Delaware. What would you say is the number one inspiration behind him? Do we see a lot of Kellerman in Delaware?
Jonathan Kellerman: It's kind of a Walter Mitty fantasy. Delaware's better looking than me, more fit, and he gets into way more trouble than I could handle as -- basically -- a married guy with kids. We do share interest in guitar playing, good food, and, of course, psychology.
Lenea from Lenea734@aol.com: Do you know of any up-and-coming authors in your genre that you think we should keep a lookout for?
Jonathan Kellerman: There's always talent out there -- very gratifying to see. I just read the advance galley of a first novel entitled DARKNESS PEERING that was first rate. Forgot the author's name.
Anton Floyed-Jackson from Southfield, MI: How you got the idea of BILLY STRAIGHT?
Jonathan Kellerman: Billy fulminated in my head for several years. I wanted to see if I could write from the perspective of a child -- as well as from the POV of a woman (Detective Petra Connor, introduced in SURVIVAL OF THE FITTEST). Billy's my homage to OLIVER TWIST, although this week's People magazine likened the book to HUCKLEBERRY FINN. No problem, here, comparing me to Mark Twain. But like I said, it's dangerous to believe your own publicity, so tomorrow morning I'll be back typing.
Deb from Upstate New York: Any chance of you and your wife working together on a book? Maybe combining the main characters and having them meet each other?
Jonathan Kellerman: We will not collaborate on a novel, because writing books is our only privacy. We may publish an anthology of our short fiction and essays -- Faye's stories, in particular, are first rate. Occasionally, we do have our characters brush up against one another, but never in any way that would intrude.
Mark Weinberg from New York City: Just wanted to say that I picked up BILLY STRAIGHT this weekend and thoroughly enjoyed it. Have to admit I missed Dr. Delaware, but I'm sure he'll reappear soon, right? By the way, can you say if Mrs. K. is writing another Decker novel, and when we should look for it? Thank you for so many years of reading pleasure.
Jonathan Kellerman: MONSTER will be published in January of -- shudder -- the new millennium. Faye's JUPITER'S BONES will be out this August. Thank you for your kind words.
Lydia from Oak Forest, IL: I am in awe of your writing and have read almost every book you have created. SILENT PARTNER remains in my mind as your finest creation. The intricacies of the plot and the complex personalities of the characters were unequaled by any author that I have had the pleasure to read, and I read a lot, not being a TV fan. Thank you for making my reading life so fantastically enjoyable. I'm looking forward to reading your latest.
Jonathan Kellerman: Once again, thanks. SILENT PARTNER grew out of my desire to explore Delaware's personality in some depth, after it became apparent that I was going to continue writing books in which he starred. Three of my novels, in particular, have featured A. D. as a direct protagonist, rather than merely as an observer/therapist/detective. They are WHEN THE BOUGH BREAKS, SILENT PARTNER, and BAD LOVE. Every so often, we need to check in and see how the doctor's doing.
Pam from Chicago, IL: Most of your novels are A. D. novels. For a new reader of your works, do you think they should start at the beginning? Where would be a good book to start for a new reader?
Jonathan Kellerman: I try to write the novels so that a new reader can pick up any book in the series and be comfortable and not offended by in-jokes while, at the same time, a faithful fan can enjoy the comfort of the familiar. I suppose it makes sense to begin with the first one -- WHEN THE BOUGH BREAKS -- and if you like it, keep going in order. BILLY STRAIGHT and THE BUTCHER'S THEATER stand alone.
Heath from California: Petra Connor kicks butt. How do you come up with these characters? Is she based on any people you know?
Jonathan Kellerman: Thanks. I don't really know how I come up with characters. I like to say that I get paid for doing what used to get me in trouble as a kid -- spacing out in class and making up stories. I think most novelists have hyperactive imaginations.
Martha from Metaire, LA: Is there an "Oath of Confidentiality" when it comes to fiction?
Jonathan Kellerman: If you're referring to the fictionalization of patients, there certainly is. Apart from the fact that the main fun of writing novels is making stuff up, I'm extremely careful not to violate the trust of my patients. The funny thing is, back when I was practicing psychology and writing novels, my patients never came into the office asking if I was putting them in the books. I'd like to think that was because they trusted me. However, kids would ask, "How does the book get from your computer into the binding?" That was one I really couldn't answer.
Paul from New York City: Do you prefer being a psychologist or an author? Do you ever see yourself going back to child psychology?
Jonathan Kellerman: I'm still a professor of pediatrics and psychology, and I teach occasionally -- mostly at the graduate school and medical school level. Right now, I really love writing novels and intend to keep doing it as long as the ideas flow and people buy the books. What the future holds...who knows? I never say never.
Moderator: Thank you, Jonathan Kellerman! Best of luck with BILLY STRAIGHT. Do you have any closing comments for the online audience?
Jonathan Kellerman: My pleasure, and thanks for having me. I do want to say -- without being corny -- that I really appreciate the response my books have received. I was a failed writer with a good day job for 14 years -- wrote nine novels that never got published. Even after WHEN THE BOUGH BREAKS was bought, it was as a very small novel. My advance came out to three bucks an hour. It was only when word-of-mouth caused readers to go out and buy the book that it became a bestseller. So I owe all you good folks out there a tremendous debt. I'd like to think the best way I can pay you back is to do my best. Thanks, again. Jon Kellerman