HOSS & FLETCH
Behind The Scenes
On the 25th of March 2019, I sat at my desk to begin work on the then titled “Thriller 1”, completing a first draft by May. This was to become Never Seen, book one in the Hoskins & Fletcher series. Books two and three quickly followed, and by April 2020, the initial trilogy had been published, and the two protagonists firmly established on the page.
Ironically, with book seven due for release in 2026, almost seven years since the characters made themselves known to me, I thought it was about time I shared a closer look behind the scenes of how the series has evolved. So let’s begin with the most obvious question…
Ironically, with book seven due for release in 2026, almost seven years since the characters made themselves known to me, I thought it was about time I shared a closer look behind the scenes of how the series has evolved. So let’s begin with the most obvious question…
How did Hoskins & Fletcher come about?
In 2019, I was publishing my first ever books, the Hidden Sanctuary trilogy. I had written short stories and had them published, but these were my first novel-length projects, and I’d thrown myself into them wholeheartedly. I hadn’t stopped to think for too long over marketplace or genre or audience – instead I wrote from the heart, following my gut instinct about what I felt, as a reader, I would like to read.
I was pleased with the result, and still am. But once the books were ready to publish, I found myself at a loss with the marketing and promotion. Were they dystopian fiction, or were they something else? How was I supposed to categorize them?
So when it came to brainstorming my next series, I made the conscious decision to target a specific genre and audience prior to writing, in the hope I could more accurately place the books in a clear category when they were complete. But more on that later...!
It might surprise you to know that, though it’s Hoskins who dominates a lot of the narrative, Fletcher was the one who arrived on the scene first.
For me, a new book or series always starts with the characters, never the storyline. So in the process of playing around with ideas, I was looking for characters who would fit the genre (crime), but who would also intrigue me enough that I would want to spend an enormous amount of time with them, most likely over an extended series.
As always happens, it was while I was away from my desk that the idea for Cass first formed. I was on a long car trip, of which I was a passenger, staring aimlessly out the window while mentally sifting through possible character concepts. Suddenly I could see a woman who had alienated herself from society, living alone in the forest, strong-willed and self-sufficient. From there, I was curious to know what had driven her to that lifestyle, and why she was so adamant to be alone. Once I could “see” Cass, I could ask her those questions, and get to the bottom of her story.
How Hoskins came to me is less clear now after almost seven years, but I knew I wanted more than one main character; and seeing as Cass had all but abandoned society, I needed someone who would be the bridge back to the world she’d come from, and who would carry the crime story until that time. I also knew Cass would be particularly stubborn about rejoining her old life, so it would take a certain kind of individual to bring her out of the forest again…
As with Cass, I didn’t want just anybody. I wanted someone who stood apart, and who would somehow build a rapport with Cass, albeit one she would hold at a distance. Thus came Hoskins, with his arrogance and confidence and extroversion and humour, all of course a cover for deeper rooted vulnerabilities and issues, predominantly surrounding his relationship with his father. He was so unlike Cass, he was perfect!
After that, once the characters began talking to each other in my head, they took over, graciously showing me who they were, and letting me know by that point I couldn’t change them even if I wanted to. They became very clear to me, very quickly, making me laugh but also showing me the complexity of their relationship – where they would clash, and where they would come together as a team.
As odd as it sounds, they make the books almost easy to write. By now it feels as if I didn’t create them at all – they just appeared there one day, waiting for me to get my act together.
I was pleased with the result, and still am. But once the books were ready to publish, I found myself at a loss with the marketing and promotion. Were they dystopian fiction, or were they something else? How was I supposed to categorize them?
So when it came to brainstorming my next series, I made the conscious decision to target a specific genre and audience prior to writing, in the hope I could more accurately place the books in a clear category when they were complete. But more on that later...!
It might surprise you to know that, though it’s Hoskins who dominates a lot of the narrative, Fletcher was the one who arrived on the scene first.
For me, a new book or series always starts with the characters, never the storyline. So in the process of playing around with ideas, I was looking for characters who would fit the genre (crime), but who would also intrigue me enough that I would want to spend an enormous amount of time with them, most likely over an extended series.
As always happens, it was while I was away from my desk that the idea for Cass first formed. I was on a long car trip, of which I was a passenger, staring aimlessly out the window while mentally sifting through possible character concepts. Suddenly I could see a woman who had alienated herself from society, living alone in the forest, strong-willed and self-sufficient. From there, I was curious to know what had driven her to that lifestyle, and why she was so adamant to be alone. Once I could “see” Cass, I could ask her those questions, and get to the bottom of her story.
How Hoskins came to me is less clear now after almost seven years, but I knew I wanted more than one main character; and seeing as Cass had all but abandoned society, I needed someone who would be the bridge back to the world she’d come from, and who would carry the crime story until that time. I also knew Cass would be particularly stubborn about rejoining her old life, so it would take a certain kind of individual to bring her out of the forest again…
As with Cass, I didn’t want just anybody. I wanted someone who stood apart, and who would somehow build a rapport with Cass, albeit one she would hold at a distance. Thus came Hoskins, with his arrogance and confidence and extroversion and humour, all of course a cover for deeper rooted vulnerabilities and issues, predominantly surrounding his relationship with his father. He was so unlike Cass, he was perfect!
After that, once the characters began talking to each other in my head, they took over, graciously showing me who they were, and letting me know by that point I couldn’t change them even if I wanted to. They became very clear to me, very quickly, making me laugh but also showing me the complexity of their relationship – where they would clash, and where they would come together as a team.
As odd as it sounds, they make the books almost easy to write. By now it feels as if I didn’t create them at all – they just appeared there one day, waiting for me to get my act together.
So did writing in a specific genre for a specific audience work out?
Well, here’s the thing. I’ve never been one to toe the line for long.
While I was conscious of remaining loyal to the tropes of a crime novel that readers are used to and enjoy, at some point, from the very first book, the characters and plot took over and went in their own direction. Given that writing a novel-length piece of fiction is an arduous slog at times, I consciously included some interesting twists on the usual themes to keep me motivated to write; such as the serial killer’s victims being young men, who are killed painlessly. Once I knew who the victims were and how they were killed, I only needed to figure out why the killer would take lives in this way – and thus everything slowly emerged by itself.
A lot of the feedback I tend to get, on all of my books, is some variation of, “It’s different, but it’s good.” And this is the way the rest of the Hoskins & Fletcher series has played out. If I were to try to force the stories into a particular shape, I would fail miserably.
For better or worse in terms of the Sisyphean task of marketing, I have to write the story as it wants to be told – i.e. from the heart. And with such strong characters like Hoss and Fletch, it’s impossible to do anything else. I give them the outline of a series of events, and they take it in their own direction, trope or no trope!
While I was conscious of remaining loyal to the tropes of a crime novel that readers are used to and enjoy, at some point, from the very first book, the characters and plot took over and went in their own direction. Given that writing a novel-length piece of fiction is an arduous slog at times, I consciously included some interesting twists on the usual themes to keep me motivated to write; such as the serial killer’s victims being young men, who are killed painlessly. Once I knew who the victims were and how they were killed, I only needed to figure out why the killer would take lives in this way – and thus everything slowly emerged by itself.
A lot of the feedback I tend to get, on all of my books, is some variation of, “It’s different, but it’s good.” And this is the way the rest of the Hoskins & Fletcher series has played out. If I were to try to force the stories into a particular shape, I would fail miserably.
For better or worse in terms of the Sisyphean task of marketing, I have to write the story as it wants to be told – i.e. from the heart. And with such strong characters like Hoss and Fletch, it’s impossible to do anything else. I give them the outline of a series of events, and they take it in their own direction, trope or no trope!
Why are the books set in the US when you yourself are British?
Some of this was tied in with those decisions I mentioned about writing for a particular market. But that aside, there were other motivations that made setting the series in the US an attractive prospect. One is that I have always, since very young, felt an affinity with North America, including its fiction. But also it allows me to put distance between the stories and my own reality, my own life (a whole ocean of distance, in fact), in order that I can give my imagination and creativity free rein, and to indulge in what fiction was made for – stepping into someone else's shoes.
Have I sometimes regretted that decision? Absolutely; when it became apparent there were far more differences between the UK and US than I was aware of, particularly when it came to the English language. Many of you though, my American friends and readers, stepped in to help when I sent out a cry for assistance, for which I learned a lot and am far more careful now about what I include or fail to include. Although, I’m sure the odd “Britishism” still slips in occasionally.
Using fictional places in the series instead of real ones has also been a regret at times. To the point where, after Never Spoken, I sampled exchanging the fictional place names for the ones on which they were based, i.e. Oregon for Belwall, the city of Medford for Pinefort, etcetera, but weirdly it just didn’t feel right. I was too far into the series to make such a huge change – the characters and places cemented in my mind by that point.
So why use the fictional place names to begin with? Flexibility, when writing about places I haven’t directly experienced. In other words, to avoid making errors that might annoy readers, whether that be locals or, in this case, entire police departments.
For the record, a large portion of the settings in the book are based on real places I’ve researched and visited virtually. And everything relating to police departments and the sheriff’s office is based on extensive research and their real-life equivalents, to make them as realistic and plausible as possible.
Have I sometimes regretted that decision? Absolutely; when it became apparent there were far more differences between the UK and US than I was aware of, particularly when it came to the English language. Many of you though, my American friends and readers, stepped in to help when I sent out a cry for assistance, for which I learned a lot and am far more careful now about what I include or fail to include. Although, I’m sure the odd “Britishism” still slips in occasionally.
Using fictional places in the series instead of real ones has also been a regret at times. To the point where, after Never Spoken, I sampled exchanging the fictional place names for the ones on which they were based, i.e. Oregon for Belwall, the city of Medford for Pinefort, etcetera, but weirdly it just didn’t feel right. I was too far into the series to make such a huge change – the characters and places cemented in my mind by that point.
So why use the fictional place names to begin with? Flexibility, when writing about places I haven’t directly experienced. In other words, to avoid making errors that might annoy readers, whether that be locals or, in this case, entire police departments.
For the record, a large portion of the settings in the book are based on real places I’ve researched and visited virtually. And everything relating to police departments and the sheriff’s office is based on extensive research and their real-life equivalents, to make them as realistic and plausible as possible.
What is your writing process for each Hoskins & Fletcher book?
Something like the collage above...!
Prior to writing any book is the planning stage. This is when I’m brainstorming – floating ideas until I have one strong enough to develop into the full length of a book. Once that happens I put together what is effectively a digital storyboard, with place-markers sketching out what might happen when, from which I slowly build out the story, adding in side plots and of course character development. At this point, I’m thinking about where Hoss and Fletch are at in their lives since the last book, and how their current state of mind might affect the events in the new storyline.
This stage is as fun as it is frustrating. A blank page is hard to fill, but once the ideas start flowing (and the characters start talking), it’s a rush to get it all down, and also exciting to puzzle how the different elements might fit together. Once I have a fairly solid chapter by chapter outline in place, with a lot of room for flexibility, I start writing.
The first draft is about getting the shape of the story on the page, putting down a complete manuscript in whatever form it comes, some days easier than others, but with the intention of continually moving forward in increments. It’s important not to dwell on the mammoth task ahead (80,000 words or more; a book readers will love, preferably as good as the previous or better), or risk being overwhelmed and grinding to a halt.
The outline I will have sketched is essential for getting the brain running first thing in the morning when the page would otherwise be tumbleweeds, but most often the story takes itself in a different direction once I’m into the writing of it. When it does, I continually adjust the outline so I stay on track and don’t get lost later on.
An example of a deviation from the outline might be an unexpected character appearing, i.e. Red (Erin Fisher) in The Violet Hour, who literally came out of nowhere and bowled Hoss over! Or dialogue between characters that move in a more natural direction than I had planned. Or even events themselves unravelling in a more authentic way and changing the ambience of the story for the better. More intriguing, more compelling, more unique.
Once I have a complete first draft, in one regard I can sigh with relief. I have a story. Now all I need to do is make it good. And so follow the many stages of editing.
While the first draft is in most regards the hardest, editing is where you make or break the book. Ideally you want the story to be as strong as it can be, and this might involve rearranging chapters, adding scenes, removing scenes, or even cutting large swathes. Never Seen had all of these! At one point the entire book was rearranged, the emphasis switching from Cass to Hoskins because I needed the crime element to shine the brightest, and he was still a detective with the sheriff’s office at that point.
A lot of extraneous scenes were cut from Never Seen. I had meandered too far into the details of Cass’s life, adding unnecessary weight to what was meant to be a fast-moving crime story.
How long from first ideas to publishable book?
On average, one month to brainstorm and outline, two months to write, another two months to edit and polish. So five to six months is a self-imposed generous schedule in which I can ensure I’ve got a book worth readers’ time and money, while also tight enough that it requires me to work consistently to a set timeline. Sometimes life stuff happens and the schedule might change – but experience has taught me that those periods where I can work without interruption produce the books I’m most satisfied with.
Prior to writing any book is the planning stage. This is when I’m brainstorming – floating ideas until I have one strong enough to develop into the full length of a book. Once that happens I put together what is effectively a digital storyboard, with place-markers sketching out what might happen when, from which I slowly build out the story, adding in side plots and of course character development. At this point, I’m thinking about where Hoss and Fletch are at in their lives since the last book, and how their current state of mind might affect the events in the new storyline.
This stage is as fun as it is frustrating. A blank page is hard to fill, but once the ideas start flowing (and the characters start talking), it’s a rush to get it all down, and also exciting to puzzle how the different elements might fit together. Once I have a fairly solid chapter by chapter outline in place, with a lot of room for flexibility, I start writing.
The first draft is about getting the shape of the story on the page, putting down a complete manuscript in whatever form it comes, some days easier than others, but with the intention of continually moving forward in increments. It’s important not to dwell on the mammoth task ahead (80,000 words or more; a book readers will love, preferably as good as the previous or better), or risk being overwhelmed and grinding to a halt.
The outline I will have sketched is essential for getting the brain running first thing in the morning when the page would otherwise be tumbleweeds, but most often the story takes itself in a different direction once I’m into the writing of it. When it does, I continually adjust the outline so I stay on track and don’t get lost later on.
An example of a deviation from the outline might be an unexpected character appearing, i.e. Red (Erin Fisher) in The Violet Hour, who literally came out of nowhere and bowled Hoss over! Or dialogue between characters that move in a more natural direction than I had planned. Or even events themselves unravelling in a more authentic way and changing the ambience of the story for the better. More intriguing, more compelling, more unique.
Once I have a complete first draft, in one regard I can sigh with relief. I have a story. Now all I need to do is make it good. And so follow the many stages of editing.
While the first draft is in most regards the hardest, editing is where you make or break the book. Ideally you want the story to be as strong as it can be, and this might involve rearranging chapters, adding scenes, removing scenes, or even cutting large swathes. Never Seen had all of these! At one point the entire book was rearranged, the emphasis switching from Cass to Hoskins because I needed the crime element to shine the brightest, and he was still a detective with the sheriff’s office at that point.
A lot of extraneous scenes were cut from Never Seen. I had meandered too far into the details of Cass’s life, adding unnecessary weight to what was meant to be a fast-moving crime story.
How long from first ideas to publishable book?
On average, one month to brainstorm and outline, two months to write, another two months to edit and polish. So five to six months is a self-imposed generous schedule in which I can ensure I’ve got a book worth readers’ time and money, while also tight enough that it requires me to work consistently to a set timeline. Sometimes life stuff happens and the schedule might change – but experience has taught me that those periods where I can work without interruption produce the books I’m most satisfied with.
Would you consider writing a Hoskins & Fletcher spin-off series?
There are many unique and complex characters in the Hoskins & Fletcher series, some of whom have carried over into other books. I enjoy nothing more than to bring a character from the past into a new book; such as Clive Leonard, once captain now sheriff, who appears sporadically throughout the series, and Aaron "Buck" Rogers (from free novella Not The Type) who returned with a starring role in Better The Devil.
For a time I considered a novella spin-off series featuring Jimmy Rosedale’s daughter Vivian, and actually wrote her character in The Violet Hour with that idea in mind. Hence if you read carefully, you’ll notice she has some interesting foibles owing to her upbringing as the daughter of a gangster. So watch this space, that may still be a possibility at some point. Currently, I have a rough outline for how the series might go, but nothing strong enough yet that’s compelling me to write it.
For a time I considered a novella spin-off series featuring Jimmy Rosedale’s daughter Vivian, and actually wrote her character in The Violet Hour with that idea in mind. Hence if you read carefully, you’ll notice she has some interesting foibles owing to her upbringing as the daughter of a gangster. So watch this space, that may still be a possibility at some point. Currently, I have a rough outline for how the series might go, but nothing strong enough yet that’s compelling me to write it.
Which has been your favourite book to write?
I’m not sure I have a stand-out favourite, but of the six currently published, I’m most pleased with The Violet Hour and also Better The Devil. Those books came together well, each with multiple interwoven storylines and thoroughly intriguing characters I couldn't wait to explore.
In The Violet Hour, I particularly loved bad guy Jimmy, and the relationship he developed with Hoss was unexpected but also intriguing and highly influential to Hoss’s character development (which, by the way, I hadn't seen coming). In some ways, Hoss's interactions with Jimmy made him tougher, more confident, and less likely to question himself, as evidenced by his actions towards the end of the book (you could say Jimmy became something of an alternative father figure – though Hoss certainly wouldn't say that!).
In Better The Devil, it was harrowing but in a fun way (as only a writer can say) to explore what it really means, and what it really takes, to engage in an undercover operation with highly dangerous criminals. On the one hand, we have Buck who goes undercover while still recovering from injuries sustained in a previous operation – and on the other we have Hoss, who is mentally tougher and more confident about getting justice served than he has been in any other book in the series. Just that premise alone made the book compelling to write, and the storyline all but wrote itself.
With each new book, I try to keep things fresh and interesting by putting the two main characters in situations they’ve never experienced before. When an idea comes, I’ll look for ways I can make it unique and unpredictable, to both readers and the characters themselves. That way, readers can always expect more of the same but different, and the characters can continue to grow and be challenged.
In The Violet Hour, I particularly loved bad guy Jimmy, and the relationship he developed with Hoss was unexpected but also intriguing and highly influential to Hoss’s character development (which, by the way, I hadn't seen coming). In some ways, Hoss's interactions with Jimmy made him tougher, more confident, and less likely to question himself, as evidenced by his actions towards the end of the book (you could say Jimmy became something of an alternative father figure – though Hoss certainly wouldn't say that!).
In Better The Devil, it was harrowing but in a fun way (as only a writer can say) to explore what it really means, and what it really takes, to engage in an undercover operation with highly dangerous criminals. On the one hand, we have Buck who goes undercover while still recovering from injuries sustained in a previous operation – and on the other we have Hoss, who is mentally tougher and more confident about getting justice served than he has been in any other book in the series. Just that premise alone made the book compelling to write, and the storyline all but wrote itself.
With each new book, I try to keep things fresh and interesting by putting the two main characters in situations they’ve never experienced before. When an idea comes, I’ll look for ways I can make it unique and unpredictable, to both readers and the characters themselves. That way, readers can always expect more of the same but different, and the characters can continue to grow and be challenged.
Are you anything like either Hoskins or Fletcher?
To be clear, I certainly haven’t consciously written myself, or anyone I know in real life, into any of my characters – the idea just doesn't appeal to me. But digging deeper, I’d probably be closest to Fletcher. She’s bolder than I am, and calmer – but her preference for solitude and connection to something more spiritual, in her case the forest, definitely comes from a part of my own psychology. If only I had a cabin in the woods, my life would be complete!
As for Hoskins, he’s far more arrogant and outwardly confident than I would ever be. Yet his irritability with enforced duty (those things society expects him to do), is something I can relate to; and also his humour is (unsurprisingly) very much my idea of humour, or at least it’s a part of my humour that fits his character well. I imagine that despite his confident, outgoing veneer, he’d be a comfortable person to have a drink with – even for this introvert!
As for Hoskins, he’s far more arrogant and outwardly confident than I would ever be. Yet his irritability with enforced duty (those things society expects him to do), is something I can relate to; and also his humour is (unsurprisingly) very much my idea of humour, or at least it’s a part of my humour that fits his character well. I imagine that despite his confident, outgoing veneer, he’d be a comfortable person to have a drink with – even for this introvert!
Finally, the big question – how many Hoskins & Fletcher books will there be?
When I began that first book in 2019, I had aspirations of only writing this series and nothing else, publishing as many books as I could – 20, 30, who knows? Then after only three books I took a break and wrote a British police drama series instead, feeling that perhaps I wasn’t qualified to write in the US vernacular after all (a couple of scathing reviews will do that to a writer). Which in hindsight was a shame, because I’d thoroughly enjoyed writing them.
But then I had help from some of you, and that was a boost of confidence, realizing that the books weren’t too far off the mark, and with a little bit of tweaking I could make them agreeable to both a US and UK (and worldwide) audience. After this, came the next three books before I paused again to take a break from writing, then wrote a standalone book, In Between The Gaps (ironically titled!), as something of a palate cleanser.
Having published that book earlier this year, I dove nervously into book seven, worried it might take me a while to get my head back into Hoss and Fletch's world. But in no time at all I was hitting the ground running as if I’d spent time with the characters only yesterday, and thankfully it’s been a smooth ride so far.
It would be wrong to say the books are easy to write - no book is. But aside from Never Seen, which I spent a lot of time trying to perfect (the impossible task!), every other book in the series has come together reasonably well. Meeting my daily word quota is generally not a problem, and the first drafts are written without too much struggle and always with surprising results.
So how many books will there be?
As long as I can create compelling storylines that readers enjoy, and continue to develop the characters in new and interesting ways, I’ll continue to write them. For the immediate future... an intriguing storyline for book eight is already coming together!
But then I had help from some of you, and that was a boost of confidence, realizing that the books weren’t too far off the mark, and with a little bit of tweaking I could make them agreeable to both a US and UK (and worldwide) audience. After this, came the next three books before I paused again to take a break from writing, then wrote a standalone book, In Between The Gaps (ironically titled!), as something of a palate cleanser.
Having published that book earlier this year, I dove nervously into book seven, worried it might take me a while to get my head back into Hoss and Fletch's world. But in no time at all I was hitting the ground running as if I’d spent time with the characters only yesterday, and thankfully it’s been a smooth ride so far.
It would be wrong to say the books are easy to write - no book is. But aside from Never Seen, which I spent a lot of time trying to perfect (the impossible task!), every other book in the series has come together reasonably well. Meeting my daily word quota is generally not a problem, and the first drafts are written without too much struggle and always with surprising results.
So how many books will there be?
As long as I can create compelling storylines that readers enjoy, and continue to develop the characters in new and interesting ways, I’ll continue to write them. For the immediate future... an intriguing storyline for book eight is already coming together!
Last Thoughts
Writers can spend a lot of time fretting over whether readers like their books or not. But the truth is, reading is subjective. The same book can mean different things to different readers, and that’s the beauty of this pastime we love. When we read alone, the experience is personal – we may enjoy it, we may not; we may love one author’s novel and be thoroughly bored by their next. Being able to choose how we feel about a story, whether it resonates or not, is what makes the experience unique to each of us and also wonderful.
As a writer, this is something you learn over time. I can no more write a book I’m certain will please thousands of readers than the most popular and bestselling authors can. I can only follow my heart, follow the characters, and write a story well enough that it pleases me, amuses me, and most importantly moves me – and then hope it does the same for some of you too.
As a writer, this is something you learn over time. I can no more write a book I’m certain will please thousands of readers than the most popular and bestselling authors can. I can only follow my heart, follow the characters, and write a story well enough that it pleases me, amuses me, and most importantly moves me – and then hope it does the same for some of you too.
Thank you for joining me on the Hoskins & Fletcher journey. We're not done yet...
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CATCH UP ON THE SERIES SO FAR:
Not The Type | Never Seen | Never Heard | Never Spoken | Missing Piece | The Violet Hour | Better The Devil |
The Most Murderous Time of the Year
CATCH UP ON THE SERIES SO FAR:
Not The Type | Never Seen | Never Heard | Never Spoken | Missing Piece | The Violet Hour | Better The Devil |
The Most Murderous Time of the Year
