Mary Jane Clark - Dying for Mercy

Puzzles are tangled and twisted and take time to solve. For me, at least, the writing process is like that. The ideas dont come in a straight line. Things that happened many years ago can come to the fore, finding expression in the present.

Growing up near Tuxedo Park, I was fascinated whenever we drove past the guarded entrance and wondered about the secret world beyond the gates. As an adult, Ive had the chance to go inside and discover that what truly exists there is even more majestic and magical than the version conjured by my youthful imagination. I became haunted by the thought of evil lurking in this protected and idyllic place.

Tina McEvoy and Pam Graetzer shared their understanding of Tuxedo Park, showing me around and revealing one curious and marvelous location after another. It was with them that the story began to really come alive as I began to imagine my characters moving through that unique world. Many thanks as well to Jim Jospe, who very generously lent me his extensive collection of books about Tuxedo Park.

Inspiration also came from the other side of the Atlantic Ocean. Trips to Italy aroused an interest in the life and death of St. Francis of Assisi along with an appreciation of all things Italian. While I was viewing the magnificent architecture, sculptures, frescoes, and ceramics in that fabulous country, the puzzle began to loosely take shape.

In brainstorming sessions, Father Paul Holmes shared his passion for Italy and extensive knowledge of religious history. Initially, the idea of suicide by stigmata took his breath away, but he seized on it with enthusiasm. If not for his reaction, I dont know if I would have felt secure enough to continue with the concept. Throughout the writing of this book, he offered wonderfully creative ideas, exacting research, and unflagging encouragement. Tante, tante grazie, Paolo, for all that you do.

Criminal defense attorney Joseph Hayden graciously answered some last-minute questions about the legal ramifications of my characters dastardly deeds. I owe you and Katharine a dinner, Joe.

Fortunately, Carrie Feron is my editor. She did an expert job of trimming, tightening, and making the manuscript better. The story is stronger and more suspenseful because of her considerable talent and skill. Once again, Carrie and her trusted assistant, Tessa Woodward, carefully shepherded the book through all its stages. Their professionalism is greatly appreciated.

Maureen Sugden copyedited with exacting care. Her notes were a joy to read and consider. Thanks to Mary Schuck and Richard Aquan for designing an enticing cover. Im very grateful for the support of everyone at William Morrow, including Liate Stehlik, Lynn Grady, Sharyn Rosenblum, Nicole Chismar, Bobby Brinson, and Virginia Stanley.

Beth Tindall designs and runs maryjaneclark.com, while Colleen Kenny produces the much-commented-on movie trailers. Thanks to them for making it possible for me to enjoy the benefits of all their hard work.

Jennifer Rudolph Walsh and Joni Evans are still guiding my writing career. Between them, they offer the best of everything: experience, business acumen, pragmatism, wisdom, and sage editorial advice. It is an invaluable asset to be able to call on them.

And finally, my boundless thanks to Peggy Gould. She knows why.

It Only Takes a Moment

When Day Breaks

Lights Out Tonight

Dancing in the Dark

Hide Yourself Away

Nowhere to Run

Nobody Knows

Close to You

Let Me Whisper in Your Ear

Do You Promise Not to Tell?

Do You Want to Know a Secret?