Daniel Stuelpnagel Help Me Kill

ISBN 13: 9780985916503

Help Me Kill

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9780985916503: Help Me Kill
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Rebellious French party girl Sabrina Dunand and Swiss doctor Erich Kestenholtz conspire to kill wealthy entrepreneur Konrad Albrecht, so that Erich can steal his identity, along with twenty million euros in rare art works. This taut, suspenseful and poetic story captures the sex, romance, cynicism and violence of a peculiar slice of the European demimonde.

With Interpol agents just minutes behind them, the fugitives flee through France for the south coast of Spain in Konrad's Bentley, the stolen art works in the trunk. The police pursuit gathers momentum from all points of the compass, yet Erich and Sabrina make it safely to Granada to fence the paintings through a Spanish conspirator, growing closer together in their unified flight from the law, from reality, and from their dark past lives.

A high-speed, eight-car chase takes villains and heroes to the final showdown within sight of Gibraltar, where Sabrina and Erich plan to escape by boat. Erich's wife, Brigitte, and Sabrina's boss, Lorenzo, are destined to become rail meat on this tumultuous voyage, a kinetic story of a madman addled by more than one dark force.

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From the Author:

  The initial inspiration for this story was an image from a dream.  This has happened several times when I am working on screenplays, I'll wake up with a very vivid but tiny fragment of an image that seems like part of a larger story.
 
  In this case, it was a scene of a skier getting evacuated off the mountain, presumably after having an accident.
 
  In writing the screenplay, I used this as part of the main premise, to investigate the circumstances of this action.  What would happen next?  The guy goes to the hospital.  And then, what if, instead of just a doctor taking care of him, there were two doctors, a good one and a "bad" one.  Maybe they argue about the patient.  A life or death situation.  So that expanded into the premise where Doctor Erich Kestenholtz saves the life of Olympic skier Konrad Albrecht, and then hatches a plot to steal his identity.
 
  Escalating action comes from that one initial nugget of inspiration, a scene from a dream.  And then choosing the settings in Switzerland and western Europe really challenged me to create characters who can play their roles in the story but also bring in various archetypes and inhabit certain aspects of our perspective on different European cultures.  The book has a broad and intricate web of character relationships, and it's exciting to see that that can be developed from such a basic starting point.
 
  After more than a decade as a visual artist, I guess I have developed a certain visual vocabulary, inspired by looking at many thousands of images.  I have a sense from painting of the importance of editorial decision-making, and I think painting has helped me to be fairly ruthless in editing my own work, which is crucial for writing the novel, to be able to delete at least half of everything you write in favor of keeping the best parts.
 
  One part of fiction writing that is especially useful with screenplays but equally so with the novel is the craft of choreographing action.  My sense of this is informed as much by cinema as by static visual art, but certainly the painting has led me into the other forms, so I think when you're creating and analyzing a painting, your mind's eye sort of travels around the picture plane again and again, seeking that choreography of action that makes it exciting and entertaining.
 
  The main thing is, for me I have always stayed with abstract painting, so there was a relentless pressure that built up in my creative mind to do something representational, and this whole body of work in screenplays and writing has been in response to that need, to create something that can be shared with a broader audience because the content and form are much more accessible.
 
  This was the first time I built a novel on the basis of one of my screenplays.  The previous scripts are a bit more contained, concise, with fewer characters and subplots, which is generally preferred in the film industry.  With Help Me Kill, as soon as I completed the screenplay, I had a sense that it could be expanded even further, there are numerous characters and subplots, I really was very attached to the story and wanted to spend more time with it.
 
  The benefits are substantial, in that once you have a 15,000-word screenplay based on a rigorous outline, the story is solid, so you can break out of the tight constraints of the screenplay format and really get into the flow of writing, there are still plenty of chances to be taken but you are pretty much committed to the central plot.  Although I did extend the story into a completely new third act, in which Sabrina escapes in North Africa and then with Perista's help, returns to the continent to pursue Arthur and exact revenge for Erich's murder.
 
  The really fun part is being able to delve more deeply into the characters' psychological states, even in the midst of so much continuous action.  So many elements came alive in writing the novel, I now have a great deal of new material to bring back to the screenplay for a major revision.
 
  As far as problems with writing the novel, it is a daunting climb in the sense of just being somewhat intimidated, doing it for the first time, believing that I could actually come up with that much additional material.  I wrote an average of about a thousand words a day for three months, I basically did nothing else the whole summer.  But it was a good trajectory, I didn't get blocked or anything, I think it would be a lot tougher if you're trying to do something highly literary and more than six hundred pages or whatever, at 255 pages this book is very concise and a fast read.  I'll probably try to make each subsequent book just slightly longer, now that I proved to myself that I can do it.
 
  I absolutely am looking forward to converting my other screenplays into novels, I've already started on the next one, called Happy Hour, it's a revenge-on-the-road thriller set in central California, though different in several aspects, the main characters are less heroic, more ironic, the police forces cooperate instead of competing, it's quite a different story, based on the psychological impact of an experience that the protagonist has in his childhood.
 
  After that, I have another exciting piece called The Lawyer's Confession, set in Caracas, Venezuela, the most dangerous city in the world with the highest murder rate.  Caracas makes Baltimore look like Palm Springs.
 
  This one features a family man who is called upon by his boss to bribe a judge, it's largely about his struggle to maintain his moral compass under the scrutiny of his family, and it's another action-packed thriller, with car chases, romance, sex and intrigue.
 
  A significant focus of my efforts in writing this recent book has been to try and integrate the cinematic elements of the thriller genre with more literary and dramatic concerns to attempt to develop a story that satisfies many different imperatives.  Which is to say, I love writing straight entertainment and pulp fiction-style material, inspired by the likes of Dashiell Hammett, Raymond Chandler and Quentin Tarantino, but I am also striving to ensure that the stories work on a level of subtle character psychology, an intricate web of themes and relationships, and many intriguing twists and turns.  It will certainly be up to the reader to decide how much of that has been achieved.
 
  The paintings kind of led me into a cinematic visual framework, and now when I work on a screenplay outline, I always develop a visual diagram on a large sheet of paper that ends up as a collage, with plotlines, magazine photos, multi-colored doodles and such, it is definitely a manifestation of my visual art experience that has become essential to my writing process.
 
  The Baltimore Book Festival is a very diverse event that's been happening for more than fifteen years.  This year for the first time they have a significant connection with Center Stage, so there will be a great deal of programming between Mt. Vernon and Calvert Street, this is an expansion from the Mount Vernon Square area and should be a very exciting new venue to investigate.
 
  There are many authors, readings and booths at the festival, I will be on the north/east side of Mt. Vernon Place, across from Peabody, and I'll be reading chapters from my book, handing out cards to promote sales of the paperback, and I will have sample copies for people to look at. The paperback is available from Amazon for $ 9.99, just search "Help Me Kill" and there it is.
 
  I'm hoping to welcome a lot of local friends and artists to sit around, drink coffee and have kind of a salon environment at my booth and just talk about literature, poetry and art, it should be a really fun weekend.

From the Inside Flap:

  Early one October morning on the north side of the Alps, in the small city of Interlaken, Switzerland, Doctor Erich Kestenholtz performs heart surgery at the hospital, with the aging chief surgeon Arthur Zurbriggen looking over his shoulder.  Former Olympic skier and wealthy local resident Konrad Albrecht starts the day with his normal routine, but later goes on a high-speed run down the mountain and crashes into a tree, falling into a frozen coma and lying badly injured in a ravine.  Erich continues his work day, with an unexpected twist.  He steals pharmaceutical-grade heroin from the hospital to get a fix for his habit, then skips out early to go party at the local casino by the river, his dark secret revealed.  When he goes home late that night, his wife Brigitte has had the locks changed and has finally thrown him out.  Erich reacts by catching a late-night flight to Paris and continuing his debauchery.  He invites a beautiful party girl named Sabrina back to his hotel, and ultimately brings her to Interlaken with him, not knowing that she killed her boss in order to get a passport and failed to cover her tracks.  The police find the body but she does not tell Erich about the murder.  Conflict arises between Arthur and Erich at the hospital, but when Konrad's body is found and brought in for emergency surgery, Erich saves his life.  He later asks Sabrina to help him kill Konrad the wealthy entrepreneur so that he can steal his identity, and certain valuable assets.  With numerous police agencies pursuing them for two different crimes, Erich and Sabrina raise the stakes by killing both Konrad and Brigitte and disposing of the bodies, then fleeing through France for the south coast of Spain in Konrad's Bentley, with two priceless art works in the trunk.  The police pursuit gathers momentum from all points of the compass, yet Erich and Sabrina make it safely to Granada to fence the paintings through a Spanish conspirator, growing closer together in their unified flight from the law, from reality, and from their dark past lives.  Arthur convinces an Interpol agent to bring him along on the pursuit, and a high-speed, eight-car chase past Marbella takes villains and heroes to the final showdown within sight of Gibraltar, where Erich and Sabrina plan to escape by boat.  Arthur, the grizzled veteran, witnesses the carnage and mayhem that take place when addiction causes a formerly solid citizen to go completely insane.

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Daniel Stuelpnagel
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Book Description Sequence3, United States, 2012. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.Rebellious French party girl Sabrina Dunand and Swiss doctor Erich Kestenholtz conspire to kill wealthy entrepreneur Konrad Albrecht, so that Erich can steal his identity, along with twenty million euros in rare art works. This taut, suspenseful and poetic story captures the sex, romance, cynicism and violence of a peculiar slice of the European demimonde. With Interpol agents just minutes behind them, the fugitives flee through France for the south coast of Spain in Konrad s Bentley, the stolen art works in the trunk. The police pursuit gathers momentum from all points of the compass, yet Erich and Sabrina make it safely to Granada to fence the paintings through a Spanish conspirator, growing closer together in their unified flight from the law, from reality, and from their dark past lives. A high-speed, eight-car chase takes villains and heroes to the final showdown within sight of Gibraltar, where Sabrina and Erich plan to escape by boat. Erich s wife, Brigitte, and Sabrina s boss, Lorenzo, are destined to become rail meat on this tumultuous voyage, a kinetic story of a madman addled by more than one dark force. Seller Inventory # AAV9780985916503

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Book Description Sequence3, United States, 2012. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. Rebellious French party girl Sabrina Dunand and Swiss doctor Erich Kestenholtz conspire to kill wealthy entrepreneur Konrad Albrecht, so that Erich can steal his identity, along with twenty million euros in rare art works. This taut, suspenseful and poetic story captures the sex, romance, cynicism and violence of a peculiar slice of the European demimonde. With Interpol agents just minutes behind them, the fugitives flee through France for the south coast of Spain in Konrad s Bentley, the stolen art works in the trunk. The police pursuit gathers momentum from all points of the compass, yet Erich and Sabrina make it safely to Granada to fence the paintings through a Spanish conspirator, growing closer together in their unified flight from the law, from reality, and from their dark past lives. A high-speed, eight-car chase takes villains and heroes to the final showdown within sight of Gibraltar, where Sabrina and Erich plan to escape by boat. Erich s wife, Brigitte, and Sabrina s boss, Lorenzo, are destined to become rail meat on this tumultuous voyage, a kinetic story of a madman addled by more than one dark force. Seller Inventory # AAV9780985916503

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Book Description Sequence3. Paperback. Condition: New. 262 pages. Dimensions: 8.9in. x 6.0in. x 0.7in.Rebellious French party girl Sabrina Dunand and Swiss doctor Erich Kestenholtz conspire to kill wealthy entrepreneur Konrad Albrecht, so that Erich can steal his identity, along with twenty million euros in rare art works. This taut, suspenseful and poetic story captures the sex, romance, cynicism and violence of a peculiar slice of the European demimonde. With Interpol agents just minutes behind them, the fugitives flee through France for the south coast of Spain in Konrads Bentley, the stolen art works in the trunk. The police pursuit gathers momentum from all points of the compass, yet Erich and Sabrina make it safely to Granada to fence the paintings through a Spanish conspirator, growing closer together in their unified flight from the law, from reality, and from their dark past lives. A high-speed, eight-car chase takes villains and heroes to the final showdown within sight of Gibraltar, where Sabrina and Erich plan to escape by boat. Erichs wife, Brigitte, and Sabrinas boss, Lorenzo, are destined to become rail meat on this tumultuous voyage, a kinetic story of a madman addled by more than one dark force. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Seller Inventory # 9780985916503

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