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Teaser by Burt Weissbourd: Promo and Teaser!

Saturday, February 14, 2015


Teaser, the sequel to Inside Passage, takes Corey and Abe into the interconnected worlds of private school kids and the runaways who roam Seattle's streets. Billy attends the Olympic Academy, where two friends, Maisie and Aaron, are experimenting with sex and drugs. They've become close to Star, a streetwise seductress who leads them down a treacherous path. Despite the best efforts of Abe and Corey, Maisie is abducted by the diabolical “Teaser,” a man determined to take revenge on her father, his former cellmate. Teaser is a mystery to everyone except Abe and Corey, who alone realize what they must do to rescue Maisie. They contrive a plan that shocks even them.



Minos, the third work in the Corey Logan Trilogy. The title derives from the mythical king of Crete who every year condemns seven Athenian youths and seven maidens to be eaten by the ferocious Minotaur. Minos begins at the Olympic Academy, where Billy's friend Sara has just carved a magic circle in the hardwood bathroom floor with an ancient double-edged dagger. She twirls inside her circle calling on the Oracle of Apollo to help her find a modern-day Theseus, the reincarnation of Athens' “hero of all heroes” who slew the Minotaur. Lost in her magical dance, she knocks over a candle, sets fire to the curtains, and is suspended from school. She is sent to Abe for treatment. Abe discovers that Sara has patched together an entire mythological universe and language with which she tries to make him see that lives are at stake. It is not easy to convince the authorities. But Corey knows that runaways are indeed being murdered, and soon Sara's dire warnings begin to make sense. But who is the modern-day descendant of Minos? The key is inside Sara's head.

I’d love to do a long form TV series of the Corey Logan Trilogy. Many actresses could play Corey including Reese Witherspoon, Amy Adams, Archie Punjabi, Charlize Theron


My favorite thing about writing Teaser was getting inside Teaser’s head—learning to think like Teaser, learning what it was like to be Teaser. I had to do this so that I could write character, but just as important, so that I could help Corey get inside his head to save thje children.


Yes, my background in psychology helps me provide my characters with an inner narrative. This inner narrative, this self awaremess is a conscious choice. I describe what I write as character-driven thrillers

Further, I am fascinated by high stakes situations filled with eccentric characters. By giving these characters a rich, inner life, we are inside their heads a lot and can enjoy their quirks, their decision making, their perceptions, and their humor.

I am an avid, passionate fly fisherman. Since 1987, I’ve fished 30-50 days a year in Montana with my children. Some of this found its way into my last novel, In Velvet.

Book three in the Corey Logan Trilogy (actually my fourth book) should be out in late 2015 or early 2016. It will be followed by a stand alone thriller The Bronze Pig, sometime in late 2016.

Synopsis:
Teaser, the sequel to Inside Passage, takes Corey and Abe into the interconnected worlds of private school kids and the runaways who roam Seattle's streets. Billy attends the Olympic Academy, where two friends, Maisie and Aaron, are experimenting with sex and drugs. They've become close to Star, a streetwise seductress who leads them down a treacherous path. Despite the best efforts of Abe and Corey, Maisie is abducted by the diabolical “Teaser,” a man determined to take revenge on her father, his former cellmate. Teaser is a mystery to everyone except Abe and Corey, who alone realize what they must do to rescue Maisie. They contrive a plan that shocks even them.

Bio:
Burt Weissbourd writes character-driven thrillers. Reviewers describe his work as “brilliantly detailed, evocative … thrillingly suspenseful.” “His descriptions are luscious.” “An incredibly strong and intelligent female protagonist.” “[His] dark characters rank with some of Koontz’s and King’s worst imaginaries.”
Burt began his career producing movies, working closely with screenwriters, then writing his own screenplays.
A newcomer to Hollywood, he approached writers whose movies he loved — movies such as “Klute,” “Two for the Road,” and “Ordinary People” — and worked with those writers and others, including working with Ross Macdonald, a legend in crime fiction, on his only screenplay.
This was the “New Hollywood” (1967 – 1980), and he found writers whose work grabbed viewers viscerally, not with explosions but with multi-dimensional characters who would draw you into a deeply moving story.
Savvy actors wanted to play finely drawn characters in compelling stories, and before long, Burt was developing screenplays, working directly with Robert Redford, Lily Tomlin, Goldie Hawn, Sally Field, and Jill Clayburg, among others.
As a producer developing a screenplay, he looked for stories with strong, complex characters and a “rich stew” — that is to say, a situation with conflict, emotional intensity, and the potential to evolve in unexpected ways. This is exactly what he tries to create for the books he writes.

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