It's been twenty long years since a hit man killed Fiddler's Uncle Jake in the Mexican desert, but when an anonymous phone caller offers to turn over the murderer for $50,000, Fiddler realizes that his desire for revenge hasn't cooled with time. Against Fiora's wishes, he arranges to meet the mysterious caller on L.A.'s Venice Beach. Jake packs up the cash and Uncle Jake's old .45, and heads out. Thus begins Murder Hurts, the most thrilling installment to date in A. E. Maxwell's series featuring Fiddler and ...
It's been twenty long years since a hit man killed Fiddler's Uncle Jake in the Mexican desert, but when an anonymous phone caller offers to turn over the murderer for $50,000, Fiddler realizes that his desire for revenge hasn't cooled with time. Against Fiora's wishes, he arranges to meet the mysterious caller on L.A.'s Venice Beach. Jake packs up the cash and Uncle Jake's old .45, and heads out. Thus begins Murder Hurts, the most thrilling installment to date in A. E. Maxwell's series featuring Fiddler and Fiora, the crime-solving couple whom Kirkus Reviews dubbed "the Nick and Nora of the nineties." This new mystery takes the couple from Hollywood's elite circle of power brokers to the depths of the Mexican underworld to solve the twenty-year-old murder. In the early seventies Fiddler's Uncle Jake was in the business of smuggling along the Mexican border - not for the profit, but for the adventure. But the adventure ended one day with a bullet in Jake's head and one that nearly killed Fiddler as well. Now, with the help of Fiora, Fiddler has to unravel the mystery of who wanted his uncle dead. As they edge closer to the truth, it becomes clear that the murderer will kill again in order to throw Fiddler and Fiora off the trail.
Southern California's stylish PI team of Fiddler and Fiora returns in their eighth adrenaline-propelled adventure. Hard-driving, gun-toting Fiddler is seduced by the possibility of avenging the death of his beloved Uncle Jake, a small-time drug dealer and smuggler who was gunned down south of the border years before. Fiddler, who was there at the time, shot one of the killers; now he gets an anonymous call offering information about the other. Fiddler encounters the second ``executioner'' and barely escapes a manslaughter charge. But important questions are raised about Jake's last job and his former associates as Fiddler receives some old photos showing his uncle with sundry Tinseltown powers who are now expiring at an alarming rate. As the body count climbs to double digits, Fiora, a sexy financial maven who talks horny and dresses like a hooker, occasionally rescues Fiddler, who drives exotic cars, uses exotic firearms, waxes hardboiled and existential and is, in the end, pretty much of a doofus. Maxwell, a husband-and-wife team, also wrote Just Another Day in Paradise. (Sept.)
Elizabeth Lowell has written a variety of genres under a variety of names, some with her husband Evan Maxwell and some on her own. But it is her romance novels -- starring the romantic, swashbuckling Donovan family -- that have been her biggest solo success.
Extensive and versatile, Elizabeth Lowell's résumé of titles (in almost every genre) is as long as the list of her various pen names. She's written science fiction, mystery and romance. She's also penned historical fiction and collaborated on a movie novelization. So prolific is Lowell that she and her husband, Evan Maxwell, have had to create a whole raft of pseudonyms for her books.
Her earliest work, from the 1970s, is science fiction and is written under her actual name, Ann Maxwell. The romances she and her husband began writing together in the early '90s are under the same name, because their publisher wanted a female author’s name on the cover. Their Southern California mystery series featuring the divorced lovers Fiddler and Fiora are written under A. E. Maxwell (Ann and Evan), while their joint novelization of the 1992 Val Kilmer movie Thunderheart is under the name Lowell Charters (his middle name and her maiden name.)
Her biggest solo success, the romance novels that have taken her repeatedly to The New York Times bestseller list, are credited to Elizabeth Lowell -- a combination of the couple’s middle names.
Lowell’s romances are noted for their sass and, of course, their sex. But her characterizations, particularly, draw high marks. "Elizabeth Lowell's talent is enormous," wrote The Romance Reader in its review of 1984's Forget Me Not. "She has made a well-deserved name for herself by crafting likable, plucky heroines and enigmatic but intelligent heroes." And, in 1996 the Chicago Tribune wrote, "The protagonist she has chosen for her hardcover debut, Winter Fire could give a Navy SEAL lessons in survival."
Lowell embarked on a popular series in 1997 with the publication of Amber Beach, which introduced readers to the Donovan family, titans in the menacing world of precious gemstones who must dodge murderers, thieves, and power-hungry governments to protect their business. Of the first in the series, Kirkus Reviews wrote, "A romance that offers all the sexual tension, adventure and squishy clichés that fans of the genre could possibly want."
When Lowell was getting started as sci-fi writer Ann Maxwell, she was writing on legal pads while caring for her two young children. Evan was a reporter for the Los Angeles Times, covering international crime. In the early 1980s, after he had already collaborated on three mystery novels with Lowell, Maxwell decided to quit daily journalism and write fiction full-time.
The couple has since become a cottage industry of genre fiction operating out of their Seattle-area home. They collaborate on some projects, go solo on others. Lowell has described a seven-day-a week work packed with deadlines, an organized effort that starts out with book outlines that typically take about a month to draft as well as character sketches. Then the writing begins.
"My fiction deals with problems of strength rather than problems of weakness," she told Contemporary Authors. There is no appeal or purpose for me in reading -- or writing -- fiction that portrays incessant, excruciating, and pointless pain in the lives of characters."
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Readers are surprised to find out that the books Lowell writes with her husband are true collaborations. "In fact, a lot of people, once they know, say, 'Oh, I know who did this in the book, and I know who did this,' and they're almost invariably wrong," she told the Los Angeles Times.
Two of the most intriguing time periods for Lowell are medieval England and the post-Civil War period in the American West. "In both cases it was a time of expanded possibilities for individuals, regardless of birth or heritage, to create a better life and, ultimately, a better world, from chaos," she told Contemporary Authors.