Created by John Wilder
Santa Barbara dick MICHAEL DRAYTON is pushing fifty, has an office in Westwood, a daughter he wishes he saw more of and a checkered past that includes biracial parents and stints as a stunt man and a cop. He gets drawn into the investigation of a nasty double homicide involving Jeremy Thomas, a major, Oscar-winning movie star, and Ken Chernak, a struggling, unknown actor -- the nobody of the title -- in a much ballyhooed debut, Nobody Dies in Hollywood (2015).
Chernak's father hires Drayton because he fears the official investigation of his son's murder will be overshadowed by the superstar's fame, and that the police aren't keeping him in the loop. So he hires Drayton, because he's heard that he "knows people in Hollywood, he knows how to get answers."
But -- SURPRISE! -- Drayton's parallel investigation sets in motion a chain of events that pries off the lid of Tinsel Town, letting us all see what's squirming just beneath the surface.
With its short chapters (over seventy of them), crisp dialogue, punchy characterizations, fast action and Snap! Crackle! Pop! dialogue, there have been several comparisons already to Robert B. Parker. We'll see.
Nobody Dies in Hollywood may be the author's first novel, but his day job certainly sounds like fun -- he's an award-winning writer, producer and director for television whose credits include James Michener's Centennial, Return To Lonesome Dove, Spenser: For Hire and The Streets of San Francisco. His day job may also explain the stream of A-list and moneymen blurbs he's received from outside the genre, from assorted big shot producer types
-- Anne Rice
-- John Jakes
--Howard Gordon, executive producer of 24 and co-creator/executive producer of Homeland
-- J.F. Freedman
-- Alex Gansa, Emmy-winning co-creator/executive producer Homeland
-- the editor
Report respectfully submitted by Kevin Burton Smith.
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