#Interview w/ Dean C. Moore, Author of LOVE ON THE RUN

Title: Love On The Run 
Author: Dean C. Moore 
Publisher: Mark Freeman Enterprises 
Genre: Mystery, Suspense, Humour, Romance
Release Date: March 29th, 2014
Length: 433 KB / 275 pages 
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Husband and wife thieves are on a mission. Just not the same one. He’s out to pay for her cancer therapy–at any costs. She’s out to humanize him, and make him less of a self-absorbed jerk.

The fast-talking, fast-acting, adrenaline seeking duo pick up a few on-again off-again sidekicks along their way, despite staunch protests from Zinio. But with all they’re up against–not the least of which being one smart, hound-dog of a lady detective–the question is: Can love conquer all?

“The story is smart and funny.” R. D. Hale, Sky City: The Rise of an Orphan

“For the booklover that doesn’t like having his or her time wasted.” Jack Heath, Remote Control

“This would make a brilliant movie or TV series.” Demelza Carlton, Ocean’s Gift

“Reminded me of The Thomas Crown Affair, down to the whip-cracking humor, the snazzy plot turns, and the character dynamics between the leads and the hotshot female detective on their tales.” Rhys Jones, The Whispering Void

“Only if you want an action packed read with fully developed and interesting characters.” Victor Longshanks, One Big Problem

To follow the tour and comment;
the more you comment, the better your chances of winning.
The tour dates can be found here: 

Do you have plans for a new book? Is this book part of a series?

All of my books are meant to be read as stand-alone novels, but at the same time I’m always thinking of what the next installment will be. In the case of Love on the Run, I’d like to pick up where the story leaves off and take their adventures into the Caribbean, particularly Trinidad, where I grew up as a young child. Having lived there, I suspect I can add a lot of local flavor and authenticity that you can’t get any other way. And I’ve been itching for an excuse to get back to my roots as it were. Of course all that depends on the success of the franchise and of this first installment, hence my belated efforts to take the book on tour. Sadly I’ve ignored the marketing ends of things to my detriment. Now that I’ve gotten religion on the subject, fans of fast paced comedy dramas slash heist stories like The Thomas Crown Affair with Pierce Brosnan, and Fun with Dick and Jane, the Jim Carey film, who love this kind of stuff, can help me hugely by getting the word out on it, purchasing copies for themselves, their friends, their dogs and cats (at least the audiobook versions when they become available. My guy has an alternatingly invigorating and soothing voice that is very amenable to cats and dogs, I assure you!)

Where do you see yourself in five (5) years?

Hopefully writing my books from the deck of a cruise ship. Right now I couldn’t afford a paddle boat. That lack of emphasis on the marketing end of things I was speaking about earlier. Though I notice my joints locking up these days the way they do with bed-ridden patients who have no range of motion in their legs. (Standing too long at the keyboard in my case.) So maybe the better wish is for a treadmill that can support a laptop. If I could not just walk but jog while I write, that might keep me in the game a bit longer.

As to what I see myself writing, I like to constantly stretch myself, and sometimes that means straying into new genres and new genre hybrids. As much as I love writing paranormal fantasies and sci-fi, I’d like to try some metaphysical books, some futurism (of the nonfiction variety, to leverage having my head in the future so much), maybe even do some collaborations. I think that’s one of the perks of being an indie author that you don’t have when you’re more mainstream and they expect you to write the same book over and over again, because God forbid you tweak the formula for your success. If it weren’t for my tendency to stray, I couldn’t bring you Love on the Run, which is one of my personal favorites, as much as it’s possible to love one of your children over another. (Let’s keep this between us; I’m afraid if the characters in my other stories found out they’d bail on me, and there goes those franchises, as I’m entirely lost when they’re not dragging me around by the nose.)

If you could live anywhere in the world, where would it be?

I’d like to spend each month in a different city, frequenting the ones with the most eye candy (artists are very scenic-sensitive, I find). While beauty is in the eye of the beholder, for me that would put a lot of foreign cities on the agenda, as sadly the U.S. doesn’t seem to build with the same desire to balance aesthetics with practicality (though I was always a big fan of San Francisco, Portland, Boulder, and New York). Cities like London, Paris, Prague, Sydney, Rome, Florence would likely be on the “regulars” list. But then writers need their quiet too, so some castles in the South of France or in Scotland or Whales would suit me fine. Maybe J. K. Rowling can fit me in as a permanent guest in one of the rooms in her castle. I mean, there’s no harm with dreaming big while also be
ing immensely practical and budget-sensitive.

For me the tension to resolve of where to live has always been between the two extremes of urban culture on the one hand and natural beauty (being a huge environmentalist) on the other. Usually the locations that resolve that dilemma here in the U.S. (at least for me) are primarily on the West Coast from Northern California up trough Washington and Vancouver.

So what am I doing living in rural South Carolina? Don’t ask. Though I must say it has been quite the boon to my writing. Something in the drinking water perhaps because you can’t throw a stone out here without hitting a writer tucked away in a cabin somewhere.

What do you think makes a book a really good/bestseller ?

I know “formula fiction” gets a bad rap, but if you study the bestsellers, almost to a fault, they’re all following very tight, age-old formulas that work for story plotting and structuring and character development. One of the best books I’ve found on this subject, ironically, is not targeted at novelists but at screenwriters. It’s called Save the Cat, by Blake Snyder. His seventeen beats are distilled from years of studying the best movies in Hollywood. I find what he isolates is equally true of novels. I keep his book close and check it against my early drafts to this day. “Literary” fiction on the other hand, follows no such rules and expectations, and I greatly admire the people who can pull it off, but they are truly rare. Because you’ve got nothing but the power of your mind and the charm of your narrative voice to propel the reader forward. These “character driven” stories as they’re sometimes called are still popular in Europe. But Americans seem to have less of a taste for them, and though strictly speaking I wasn’t born in this country either, I’ve been Americanized enough to feel the need for a bit more structuring.

If you are a fan of “literary” – I keep putting it in quotes because I think what qualifies can vary greatly from person to person—I’d recommend a good friend of mine, and my favorite literary author to date, Alex McGilvery, who recently penned and released a wonderful book entitled, Playing on Yggdrasil. It’s a bit of a genre bender, but you could never go wrong reading anything from Alex. We edit one another because we find coming at writing from such entirely different traditions brings the kind of fresh outlooks that benefit us both. Alex is very European in his sensibilities, though he lives and writes from Canada.

Have you ever suffered from a "writer’s block"? What did you do to get past the "block"?

I write from an altered state of consciousness that has been described by Mihaly Csikszentmihalyi as “Flow” state. In the language of peak performance athletes, it’s called being in “the zone.” It’s quite the natural high to spend hours at a time there. But when I can no longer sustain the state (perhaps owing to exhaustion) and I collapse out of it, it’s a bit like electrons releasing their quantum of light to drop to a lower energy state. And I feel like the moronic, dim-witted fool who must first summon the “alter” within him before he can write again. We’ll call this alter Xavier. When Dean is in control (as opposed to Xavier) there are all kinds of anxiety, of never being able to be good enough to edit what’s on the page, of never being able to write another line. He’s like Freud’s anima or shadow self (or is that Jung, perhaps I’ve forgotten too much of my college psychology to cite my references correctly.)

By now you probably realize I’m being somewhat tongue in cheek, but I would never want to minimize the horror of being booted out of “flow” state into normal waking consciousness. Think of those hyperspace drive starships in Star Wars and Star Trek suddenly getting stuck in real space-time moving at sub-light speeds, and well, it’s the same “stuck in the mud” feeling. This waking terror, this withdrawal state (which I imagine is like coming off of heroin, but I DO NOT speak from experience) can only be cast aside with the courage to put one’s fears aside and the sense to ignore the demons which feast on mortal men. The “demon haunted mind” I’m convinced is what most people call normal waking consciousness, and I’ve never had much of a taste for it.

What was your favourite chapter (or part) to write and why?

In Love on the Run, it was without a doubt the first bank robbery, which comes in chapter two, where we’re exposed to Zinio and Delaney for the first time, before we’ve had a chance to acclimate to the shock and awe campaign that’s being in the presence of these two. In the middle of robbing a bank they’re having the biggest marital spat ever, shamelessly exchanging barbs that by all rights should never make it before prying eyes. It helps establish the tone of the novel early on as whip-crackingly funny while also being intensely dramatic and romantic, and fast-paced. Seeing how they interact with “normals” is part of what’s priceless about the sequence, as these guys’ minds work so fast, they’d need dual brain aneurisms to slow down to the pace of normal life.

And I think what I just said about them speaks to the theme of the novel; what do people do who can’t accept life unless it’s lived at the level of art? Of course, that impetus which drives them to shine so brightly also invites all kinds of trouble for them. And that’s part of the fun of the book, alternating between learning from them how we too can elevate ordinary life into something fit for the movies, and asking ourselves, “hmm, can this state truly be sustained indefinitely?” I guess it’s my effort to take that “flow” state I described above and condition my mind (and hopefully the reader’s as well) to function in it twenty-four seven. In the real world we do occasionally run into characters like this, who are “always on stage” like Chris Pine’s character in the movie, This Means War.

What has been the toughest criticism you’ve been given as an author? What has been the best component?

That I’m not light, end-of-day reading, that requires little or no concentration. I was devastated by this because practically speaking, who isn’t in that state anymore when they get around to flipping pages in their favorite pieces of fiction? Most people come to relax their minds in their short-list novels at the burnt out cigarette butt end of their days. I thus envy writers who are extremely easy reading and you can let your mind wander from the page for paragraphs or pages at a time, then slip right back into the story as if nothing’s happened. Good luck doing that with one of my novels. There’s just too much going on and it’s coming at you fast and furiously. You have to slow down and concentrate more to take it all in. I also have a severely economic writing style that comes from writing screenplays for so many years where you can’t afford to waste a word.

I don’t mind people levying this not-exactly-easy-reading criticism against my bigger books (my epics), which are undoubtedly headier. They continuously flip between piercing psychological and philosophical insights into human nature and
fast-paced action. But my shorter books, designed to be pure entertainment, are as close to easy reading as you get with me. So, until further notice, I’m in therapy regarding this issue, or possibly until the “issue” itself is in remission.

Just so I don’t scare off the very people I’m trying to win over, think of walking away from a fast paced thriller you’re watching, going to the bathroom, coming back five minutes later, and expecting to slip right back into the movie as if nothing has happened and you haven’t missed a key plot point or two. If you can appreciate why not hitting pause before you leave the room is probably a bad idea, you can feel free to embark with an open mind and heart into one of my stories.

On the flipside, one of my favorite complements came from a professional Hollywood gatekeeper and editor (back when I was writing screenplays). He said I have a true narrative voice which is extremely rare among writers; you’re lucky if one in a hundred have it. We won’t discuss what it says about me that I had his statements bronzed, put under bulletproof glass, and mounted on the wall at the entrance to my home. There are also a couple trained Dobermans who sit beneath it, their eyes forever on the lookout for anyone who’d dare gaze at it the wrong way. Should the eyes of the unworthy stray, no evidence of their bodies will ever be found, at least not pre-digested evidence.

What do you do to unwind and relax?

I believe this is something “normals” do along with having a life. (I did have a life once, though with time, the memories are slipping way.) Per my comments above about being in Flow state when writing and undergoing withdrawal when not in that altered state of consciousness, “fun” really doesn’t compute. “Relaxation” as Dean (the moron mutant alter in control of me when I’m not “Xavier”) involves deep breathing exercises he calls hyperventilating. I go on extended missions away from home so I can have friends and I’m actually able to enjoy time with them because I lose myself in them. Some people would call this love or perhaps Zen-mind, where I cease to be just Dean or “Xavier” and am pure consciousness. But once I’m back inside my own head, the only real escape and the only real vacation is writing.

“Any big ideas, bright guy?” Delaney said, holding the broken rearview mirror in her hand to check out what was going on overhead, to avoid giving those inside the chase helicopter the satisfaction of her looking up.

“Just drive straight into the ocean.”

“Please tell me you’re joking.”

“Why would I be joking at a time like this?”

“Okay, fine, I’m sorry for picking on you so much. I know you’re doing the best you know how. There, I said it. You happy?”

“I’m not depressed, Delaney. I just need you to drive into the ocean.”

“A psychotic break? Is that it? You picked now for a psychotic break? Why not all those times I chewed off your male appendage, metaphorically speaking—not to make myself out as a man-eating black widow?”

“You dragged along the equipment I asked you to, right?”


“So, you get it now?”

“Yeah, duh. God, that just makes so much more sense in context.”


Kerry looked up from the photos of the couple to the big screen again. Her jaw dropped as she watched Delaney drive the convertible Thunderbird straight into the ocean. They made no attempt to get out of the vehicle; they let the sea swallow them up along with the car.

“Are we finally rid of them?” Carter said.

Kerry started chuckling slowly. The guffawing grew into a geyser of loud laughter, which finally subsided. “No, Carter, not yet.” She glanced back up at the screen. “God, that’s clever.”

Dean will be awarding a $20 Amazon GC to a randomly drawn winner via rafflecopter during the tour.

a Rafflecopter giveaway

Blood Brothers: Escape to Creeporia

The Warlock’s Friend: The Crystal Spears

Escape From the Future

The Hundred Year Clones: The Holy Wars and the Resurrection of the Knights Templar

The Hundred Year Clones: The Warlords of Andromeda

The Hundred Year Clones: The Four Sectors Wars

Renaissance 2.0: Carnival of Characters, Crusades, and Causes

Renaissance 2.0: Karma Chameleon

Renaissance 2.0: The Renaissance Comes of Age

Renaissance 2.0: Into the Godhead

Renaissance 2.0: Reckoning

Note: Books 1-5 of volume 1 of Renaissance 2.0 (listed above) are actually parts of one big book that has been broken up into manageable pieces averaging about 350 pages each (so you don’t need a crane to lift the book). Accordingly, they need to be read in sequence, as they are 5 acts in the overall drama. To cue readers, chapter and page numbering continues from the prior installments.

I write sci-fi, fantasy, action-adventures and thrillers, or some combination thereof—usually with a strong vein of dark humor. Though, my works are dramas first; the humor is there to take the edge off as with the Raiders of the Lost Ark, Transformers, and Jurassic Park franchises.

I wrote screenplays for a while, and while enjoying them, I found them a bit confining. After a while you just need the extra page count to flesh out characters better and do additional world building, especially when considering doing anything epic in scope. I also took a run at future forecasting and trend tracking, being as I always had my head in the future, things like Alvin Toffler’s Future Shock. I also relished this, and can certainly see myself releasing a few titles accordingly in the nonfiction area. But since delving into novels, short and long, I’ve definitely found my home and my voice. For the first time I feel the restraints have been taken off of my imagination. I suppose all mediums have their limits, so I may end up doing a mix of things, but I suspect I will continue to spend most of my time with novels. Series add an additional dimension, allowing for even more depth and development both in the character and world building departments. But I remain at heart a divergent thinker, so, no surprise, I seem to have more series going than follow up installments at this point. That too may change over time; we’ll see. Until then, it may be best to just think of these books as one-offs if you’re fond of my writing style and some of the themes I work with.

My current catalog of twelve books represents a little over five years’ worth of work. I’m currently averaging a couple books annually. Of my existing franchises with multiple installments, The Hundred Year Clone books can be read in any order, while the 5 books of Renaissance 2.0 must be read in sequence as they form part of a singular story arc (much as with A Game of Thrones.)

I live in the country where I breed bluebirds, which are endangered in these parts, as my small contribution to restoring nature’s balance. When I’m not writing, or researching my next book, I may also be found socializing with friends, or working in my organic garden.


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  1. Thanks for hosting me! It’s a joy to be here.

    I’d also like to thank anyone who might be stopping by and leaving comments or questions for me (perhaps based on the answers to some of my interview questions). I’ll be in and out throughout the day to interact with readers.

    One question I have for folks: What are some of your favorite romantic comedies that are also crime stories?

  2. Thanks for hosting!

  3. Dean, your writing is great… you deserve the cruise.

    1. Ha-ha, Ken! In this distressed economy, I think we all deserve a cruise!

      Thanks for stopping in and taking a second to enjoy the Q&A. For those of you who don’t know Ken, he has a trilogy that kicks off with Dark Tidings, a sci-fi/fantasy mix that is well worth checking out. His sense of humor is rather similar to mine. As with Love on the Run, the cheeky one liners are a defining feature.

    • Rita Wray on November 6th, 2014 at 10:12 am

    I enjoyed the interview.

    1. Thanks, Rita, for the comment and for following along with the tour!

    • Alex Grove on November 6th, 2014 at 4:14 pm

    Romantic comedy crime stories… that’s a tough one. I’m thinking through movies, not books. There was Bounty Hunter with Jennifer Aniston and Gerard Butler. But that’s the only one I can think of so it hardly counts as a favorite. There must be more but I’m blanking!

    It seems to be a relatively small niche, though it seems that Love on the Run fits right into it. I guess the challenge inherent in this niche would be that crime stories tend to revolve around the tension of planning and executing the crime, whereas rom-coms easily deflate under that much real tension. How did you pull it off in Love on the Run?

    I like the excerpt — nice hook there.

    • SHELLEY S on November 7th, 2014 at 2:26 am


    • Mary Preston on November 7th, 2014 at 2:29 am

    Thank you for the informative interview.

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