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William Kent Krueger Cover

Dear readers,

Joseph Borden here with our latest edition of Killer Nashville Magazine—and I couldn’t be more proud of the content we have lined up for you this month.

March’s theme is “Literary Suspense,” which might have some of you scratching your heads and asking, “What, exactly, is that?” If that’s the case, you’re asking the right question, because that’s what this edition seeks to do—explore the possibilities of the written word and call into question the paradigms/assumptions we structure around genre/popular fiction, particularly in opposition to “high-art” or the literary.

In short, this edition seeks to bring the merits and downfalls of both forms of literature to light—to squash the beef, so to speak.

Keeping with this theme, we’ve got some killer content inside this edition.

To start, check out our cover story interview with suspense writer William Kent Kreuger. Kreuger is the perfect example of a writer who works within a genre, and simultaneously defies it. This cover story, in all honesty, reads less like an interview and more like an in-depth exploration into the craft of writing.

In our “From the Classroom” column, writer and former creative writing director, Wayne Thomas, shares his thoughts on pedagogy and popular fiction vs. “high art.” There’s lessons to be had for writers across the board here.

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Publisher: Clay Stafford
Editor: Joseph Borden
Contributing Editor: Emily Eytchison
Content Manager/Graphic Designer: Will Chessor


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In “Under the Microscope,” mystery/thriller author, Steve Bradshaw recounts working a case for the Dallas County Medical Examiner’s Office. This whole piece is a lesson in literary suspense disguised as a forensics article.

And, of course, we’ve still got your favorite columns.

In “The Writer’s Life,” author Jaden Terrell gives another excellent lesson for you beginning (and seasoned) writers out there—this one tackles that pesky first draft.

Erik Deckers, in “Marketing,” explores a common philosophical argument among writers: the importance of marketability on the content of your work. Get your soapboxes ready.

I could go on and on, but I’d prefer you get the experience first-hand.

As always, I’d like to extend a huge “thank you” to all those that make this magazine possible: Jaden (Beth) Terrell, Erik Deckers, Tom Wood, and Julie Schoerke, to name a few.

Also, the awesome Killer Nashville staff.

There’s Will Chessor, our resident design and technology wiz, Emily Eytchison who expertly coordinates our social media and various other outreach endeavors, and our founder, Clay Stafford, who is forever working toward building Killer Nashville as an indispensable resource for writers across the board.

I hope this month’s magazine is as revelatory for you as it was for me.

Feel free to write and let us know what you think, or what you’d like to see in the future. First and foremost, this magazine is for you, dear reader. 

Thanks again for having me.

Joseph Borden


William K Krueger

Killer Nashville Exclusive: William Kent Krueger On the Art of Literary Suspense

Literary suspense is a term tossed around as a genre, but it’s not really; literary suspense is more of a writing technique. It is an expansive term that goes across genres and, sometimes, no genres at all. It is a style of writing that cares as much for the way a sentence is framed, as it does for plot and character.

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