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WORK TITLE: Revelation
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE: 1970
WEBSITE: http://carterwilson.com/
CITY:
STATE: CO
COUNTRY:
NATIONALITY:
http://carterwilson.com/carter.php
RESEARCHER NOTES:
LC control no.: nb2014022466
LCCN Permalink: https://lccn.loc.gov/nb2014022466
HEADING: Wilson, Carter (Novelist)
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046 __ |s 20
053 _0 |a PS3623.I57787
100 1_ |a Wilson, Carter |c (Novelist)
370 __ |a New Mexico |c United States |e Colorado |2 naf
372 __ |a Fiction |2 lcsh
374 __ |a Novelists |2 lcsh
375 __ |a male
377 __ |a eng
670 __ |a The boy in the woods, 2014: |b t.p. (Carter Wilson) inside back cover (born in New Mexico; lives in Colorado; debut novel was Final Crossing)
PERSONAL
Born 1970, in NM; children: two.
EDUCATION:Attended Cornell University.
ADDRESS
CAREER
Novelist.
AWARDS:International Book Awards (mystery/suspense), 2015, for Comfort of Black; 10th Annual National Indie Excellence Award (suspense), for Comfort of Black; Foreword Reviews’ INDIEFAB Book of the Year, 2015, for Comfort of Black; Colorado Book Awards, 2016, for Comfort of Black.
WRITINGS
SIDELIGHTS
Born in New Mexico in 1970, Carter Wilson grew up in Los Angeles and settled in Boulder, Colorado. He writes novels with psychological tension and paranoia, winning the Colorado Book Award twice. He also contributes short fiction to literary publications and anthologies. Wilson’s debut novel, The Boy in the Woods, describes teenage boys in 1981 who witness a murder and remain silent about it. Thirty years later, one of the boys boy, Tommy Devereaux, is a best-selling author who describes the killing he saw but disguises it as one of his novels.
The Comfort of Black
Wilson published the multiple award-winning The Comfort of Black in 2015. In the story, Hannah Parks can’t let go of the memories of her violent childhood, the beatings from her father and hopelessness of her mother who died young. Now Hannah is married to Seattle Internet millionaire entrepreneur Dallin who loves her but who has started talking in his sleep about sadistic sex acts. After Dallin catches her snooping around in his computer, they separate. She’s horrified to learn that Dallin has tried to have her abducted, but into her life comes an ex-con named Black who helps people disappear. As she is conflicted on whether she can trust Black, she learns that nothing is as it seems.
“Revelations in the final pages may strain credulity, but never mind. Getting there is great fun,” noted Booklist contributor Don Crinklaw, who added that the book is a thriller that thrills and a mystery that mystifies and leaves the reader feeling like he is the last one to know what’s really going on. Good at “creating a series of shattering, Philip K. Dickian revelations that would rock anyone’s personal security,” Wilson, according to a writer in Publishers Weekly, has written an outstanding paranoid thriller.
Revelation
In 2016, Wilson published the thriller, Revelation, set in the late 1980s. College student Harden Campbell awakens on a dirt-floor cell after having been knocked out. In the room with him are the body of his good friend, Derek, with his throat cut, plus an antique typewriter and a stack of paper. On one of the sheets of paper are the words: “Tell me a story.” Campbell knows this is the diabolical work of his sociopathic roommate, Wiley “Coyote” Martin. Coyote has used a story Campbell wrote for class as the foundation for starting his own extremist religion. Campbell had been working with the FBI in trying to stop Coyote from destroying lives. Now Coyote’s prisoner, Campbell must carefully write a story about Coyote’s “divinity” for his clueless followers. The book intersperses Campbell’s story with his attempts to flee captivity. “This is a sledgehammer of a novel, slamming away at the foundations of modern cult religions,” declared Don Crinklaw in Booklist, adding that the grimness, torture scenes, and intensity may turn off some readers. Calling the book enthralling, a Publishers Weekly reviewer, who gave Revelation a starred review, added that Wilson “infuses his terrifying plot with intricate twists and turns, all totally credible.”
Discussing his inspiration for the book with Mark Stevens on the Mark H. Stevens website, Wilson explained: “I was musing about how difficult it would be to start a modern-day religion, and how only a group of college kids would have the hubris to try.” About religion and cults in general, Wilson commented: “I do think there is a human need to believe in something larger than ourselves, and there’s a true sense of community in seeking out like-minded individuals searching for the same answers. But it doesn’t take much to turn one person’s desperation into another person’s power.” In a review of the book, Stevens observed: “Coyote’s erstwhile religion has a Seinfeld-like surrealism to it and some accompanying visual trickery (the myth-making), but there’s no laugh track here. Wilson ratchets the suspense with each brisk chapter and, as Coyote’s megalomania comes into full bloom.”
BIOCRIT
PERIODICALS
Booklist, August 1, 2015, Don Crinklaw, review of The Comfort of Black, p. 32; November 1, 2016, Don Crinklaw, review of Revelation, p. 33.
Publishers Weekly, June 22, 2015, review of The Comfort of Black, p. 122; October 3, 2016, review of Revelation, p. 100.
ONLINE
Carter Wilson Website, http://carterwilson.com (November 1, 2017), author profile.
Mark H. Stevens, https://markhstevens.wordpress.com/ (December 13, 2016), Mark Stevens, author interview, review of Revelation.
Carter Wilson | Thriller Author
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USA Today and #1 Denver Post bestselling author Carter Wilson explores the depths of psychological tension and paranoia in his dark, domestic thrillers. Carter is a two-time winner of the Colorado Book Award and his novels have received critical acclaim—including multiple starred reviews from Publishers Weekly and Library Journal.
Born in New Mexico in 1970, Carter grew up primarily in Los Angeles before attending Cornell University in New York. He lived in Pittsburgh, San Francisco, and Miami before moving to Boulder, Colorado in 1996. Throughout his life, Carter has journeyed the globe for both work and pleasure, and his travels have been a constant source of inspiration in his fiction.
Carter’s writing career began on a spring day in 2003, when an exercise to ward off boredom during a continuing-education class evolved into a 400-page manuscript. Since that day, Carter has been constantly writing, and his highly anticipated fifth novel, Mister Tender’s Girl, will be released in February 2018 by Sourcebooks Landmark. He has also contributed short fiction to various publications, and most notably will be featured in the R.L. Stine young-adult anthology Scream and Scream Again, releasing Halloween 2018 from HarperCollins. Carter currently lives outside Boulder in a spooky Victorian house.
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← Q & A #53 – Susan Mackay Smith, “Conan the Grammarian”Ted Conover, “Immersion” →
Q & A #54 – Carter Wilson, “Revelation”
Posted on 12/13/2016 | 1 Comment
revelationCarter Wilson’s Revelation launches today with considerable national buzz behind it.
In a starred review, Publisher’s Weekly called Revelation “an enthralling thriller” and Booklist declared the book “a sledgehammer of a novel … a powerful story … an intense experience for those who can take it.”
The launch of Revelation comes on the heels of Wilson’s third book, The Comfort of Black, which garnered several awards including the 2016 Colorado Book Award in the thriller category.
A full review follows this e-mail exchange with Wilson about his writing and the dark idea that sparked Revelation.
Denver-area readers should note that Carter Wilson has a launch event scheduled at The Tattered Cover on Friday, Jan. 13 (7 p.m. at the Colfax store).
++
Question: Where in the heck did you get the idea for Revelation? What was the point of inspiration?
Carter Wilson: Oh, I was musing about how difficult it would be to start a modern-day religion, and how only a group of college kids would have the hubris to try. But really it all started with the opening scene—Harden in a cell, alone with a body and a typewriter. I thought of those images and asked myself, what does that mean? The story grew from trying to answer that question.
Question: Wyland University—based on anything from real life? Where did you go to college and did you encounter any characters like Coyote?
Carter Wilson: There are definitely some similarities in the college aspect. I went to school at Cornell University in upstate New York, in the same time Revelation is set (late-eighties). And, like the book, I had three roommates my senior year, but no one was Coyote. I did draw on some aspects of Coyote’s intellect from one of my roommates, but not his evil.
Question: Do you have something you’d like to get off your chest about cults and the power of myth-making? What is the difference between a cult and “a church of people who believe in themselves more than anything else”? Is it a human need to “turn to something greater for guidance”? Can you get “people” to believe in something new?
Carter Wilson: I definitely have strong opinions about organized belief systems, whether you call them religions or cults. I do think there is a human need to believe in something larger than ourselves, and there’s a true sense of community in seeking out like-minded individuals searching for the same answers. But it doesn’t take much to turn one person’s desperation into another person’s power. There’s nothing new to believe in, but there are tried and true appeals to people hopes and fears that can turn any kind of leader into a demagogue. Looking back on this book, there are a lot of parallels between Coyote’s rise and Trump. Both men are wealthy, bored, egomaniacs who feast on the loyalty and devotion of others. Both also scare the shit out of me.
Question: For Harden, how did you go about developing his character? He seems to capture that perfect college-age vulnerability and yet also is forced to make some very tough choices (to say the least) as the story progresses. Did you know to what extent you were going to punish him when you started Revelation?
Carter Wilson: The core of much of what I write is subjecting a “normal” person to an extraordinarily bad set of circumstances, and then see how they deal with it. I wanted Harden to have to survive by his wits, not his physical strength. But I also wanted him to draw from his own past as a victim of abuse to get to the point where he overcomes what he perceives as weakness and turn it into his own power. This is a profound metamorphosis for someone his age, but I liked the fact he had to make that change, because his only other option was death.
I don’t think I did know how much abuse Harden was going to receive in this book when I set out, but I wanted to keep testing his limits to force him to look at things differently. I wanted to push him to the point of horror where he entered almost a meditative state, a place where his mind could open to new possibilities.
carter-wilson-2-largeQuestion: Are you an outliner or seat-of-the-pants writer? Did you know where this was all going to end when you started writing?
Carter Wilson: I am the quintessential pantser. In fact, just knowing I wanted to write about a group of college kids trying to start a religion on campus was more of an outline than I usually have. I had that general idea, and then I wrote the opening scene with no idea who anyone was, and developed the story as I went along. I never have an idea about the ending ahead of time, and often not long before I’m to the point of actually writing. Not knowing is what makes the whole process of writing fun for me. It also makes for lots of revisions.
Question: How do go about approaching the violence? How do you know when enough is enough?
Carter Wilson: That’s a tough thing to judge, because every reader has their own limits. I certainly can think of books where the violence was too much for me (I have a surprisingly low personal limit for violence in other author’s books). Sometimes it’s based on feedback from my agent or by members in my critique group.
That being said, violence is one of the most powerful tools I have in my books. My stories are about everyday people, and everyday people experience little to no personal violence throughout the course of their lives. So when extreme violence does occur, it’s a profound and life-altering moment. That’s the impact I’m going for. I’m not so interested in writing violence for the sake of it, but rather forcing the reader to truly feel how would I feel if this happened to me?
Question: What are you reading? What writers do you respect? Or do you care to mention any overlooked writers you like but most of us don’t know?
Carter Wilson: I certainly don’t read as much as I’d like to, and my reading is usually limited to bedtime. That being said, I read every day, and I’m not limited to any one genre. On my nightstand right now I have So, Anyway…, which is John Cleese’s memoir (I was always a huge Python fan), and also Cyber World, a cyber-punk anthology published by Hex Publishers and edited by Josh Viola and Jason Heller.
I’ll read anything new by Stephen King and enjoy any book that’s just different. I always appreciate mainstream fiction that surprises me, like Gone Girl or Defending Jacob.
Question: The Comfort of Black won the Colorado Book Award this year. What did that mean to you?
Carter Wilson: Truly thrilling and a hell of a surprise. I’m very honored to be included with some of the great Colorado authors.
Question: What’s in the pipeline? What’s next?
Carter Wilson: I recently sold a book to Sourcebooks Landmark, which will be coming out in February 2018. Honestly, I think it’s the best story I’ve ever written, and I’m pleased to have an editor who is very excited to get it on the market. It’s loosely based on a story of two teen girls who stabbed another girl over an obsession with a graphic novel character. It takes a look at the victim fourteen years after the crime and examines who she is now and how she deals with the horrors of her past suddenly coming back into her life.
++
Carter Wilson’s website.
++
REVIEW:
Opening line: “Harden opened his eyes to blackness just as something began crawling into his mouth.”
From there, in the brisk few pages that comprise the harrowing opening chapter of Carter Wilson’s Revelation, things get worse.
First, Harden hurts just about everywhere. He’s lying on the “cold hardness of scratchy earth.” He can only see the kind of darkness that comes “from the inside of a coffin buried deep in the ground.”
In this dark space, Harden Campbell uncovers a fair amount of harsh and horrific reality, including the dead body of his friend, Derek.
In his painful and confusing situation, Harden realizes that “Coyote” is involved in his predicament, but he can’t quite get his around all the details except he knows it’s all tangled up with what Coyote and one of his key sayings: The hard part isn’t believing in a god. The hard part is choosing the right one to follow.
And then Harden discovers a simple table with a typewriter. Someone has left a four-word message on the stack of a blank pages: Tell me a story.
We soon flip back nine months, to September 1989, when Harden Campbell meets Coyote thanks to an errant Frisbee that whacks Harden in the face and knocks out a tooth. We’re at bucolic Wyland University and what unfolds between a more innocent version of Harden, a well-off, BMW-driving Wiley “Coyote” Martin, and a young woman named Emma with “bright green eyes.”
The Harden-Coyote contrast is stark. Coyote is from privilege, Harden from a blue-collar family. Harden “accumulated just enough scholastic and philanthropic achievements” in high school “to make a ripple on Wyland’s application.” Coyote, on the other hand, buys hundred-dollar shirts and never irons them. “Coyote circled the periphery of society, around and around, trying to decide if he wanted in or out.”
And then Coyote comes up with an idea based on something Harden wrote about religion and soon we are off in an interesting exploration into belief systems, myth-making, the power of persuasion, and the power of storytelling in forming religious organizations. (As homework prep for Revelation, consider a twin-bill of the documentaries “Religulous” and “Going Clear: Scientology and the Prison of Belief.”)
Harden, from his cell, must write a story that is his ticket to freedom. The story he produces must recount one guy’s ability to build a religion around, well, nothing other than the power of story. So Revelation flips back and forth from the burgeoning relationship between Coyote and Harden to Harden’s efforts to extract himself from his trap.
Coyote’s erstwhile religion has a Seinfeld-like surrealism to it and some accompanying visual trickery (the myth-making), but there’s no laugh track here. Wilson ratchets the suspense with each brisk chapter and, as Coyote’s megalomania comes into full bloom, anyone who has been to college will recognize this out-size, self-important, cock-sure character who enjoys building a loyal flock of hangers-on or, in this case, would-be worshipers.
Revelation relies on a credible bad guy and Coyote is just that. He’s not a guy you want to cross, as Harden discovers in quite wicked fashion. But don’t worry. Harden will be fine. As long as he come up with the right words.
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ONE RESPONSE TO “Q & A #54 – CARTER WILSON, “REVELATION””
Jenny Milchman | 12/13/2016 at 6:48 am |
Congrats on the hot new release, Carter, and thanks for the review, Mark. I’m interested in your forthcoming YA, too! Have fun at The Tattered Cover 🙂
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10/2/2017 General OneFile - Saved Articles
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Print Marked Items
Revelation
Publishers Weekly.
263.40 (Oct. 3, 2016): p100.
COPYRIGHT 2016 PWxyz, LLC
http://www.publishersweekly.com/
Full Text:
* Revelation
Carter Wilson. Oceanview (Midpoint, dist.), $26.95 (368p) ISBN 978-1-60809-218-5
[ILLUSTRATION OMITTED]
Harden Campbell, the hero of Wilson's enthralling thriller, awakens in pitch darkness lying on a dirt floor, unaware of
how he got there. Feeling his way around, he bumps into a dead body. Then a light suddenly goes on, and he sees that
he's in a locked room with the body of Derek, a friend with whom he recently celebrated his 21st birthday. Derek's
throat is cut. Harden also sees a table with a typewriter; on top of a stack of paper is a sheet with the message: "Tell me
a story." Harden suspects that his psychopathic college roommate, Wiley "Coyote" Martin, is responsible for his
captivity, angry that Harden was cooperating with the FBI to obtain information for the agency on Coyote's shady
activities. Harden types out a mesmerizing tale describing how Coyote took inspiration from a short story that Harden
wrote for a class to create and build an extremist religion, which Coyote uses for nefarious purposes, including ruining
the lives of innocent people. Wilson (The Comfort of Black) infuses his terrifying plot with intricate twists and turns, all
totally credible. Agent: Pam Ahearn, Ahearn Agency. (Dec.)
Source Citation (MLA 8th
Edition)
"Revelation." Publishers Weekly, 3 Oct. 2016, p. 100. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA466166577&it=r&asid=fbdfaaa22913c40981def6e77fe7d8e9.
Accessed 2 Oct. 2017.
Gale Document Number: GALE|A466166577
---
10/2/2017 General OneFile - Saved Articles
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Revelation
Don Crinklaw
Booklist.
113.5 (Nov. 1, 2016): p33.
COPYRIGHT 2016 American Library Association
http://www.ala.org/ala/aboutala/offices/publishing/booklist_publications/booklist/booklist.cfm
Full Text:
Revelation. By Carter Wilson. Dec. 2016. 368p. Oceanview, $26.95 (9781608092185); e-book (9781608092192).
This is a sledgehammer of a novel, slamming away at the foundations of modern cult religions until nothing is left but
rubble to be carted away. "There's no revelation," says one of the evil people. "It's all power of suggestion." A group of
friends at a tony eastern university is centered around a charismatic youth named Wiley, nicknamed Coyote after the
animal in the Road Runner cartoons. His story is told by a writer wannabe named Harden, whose loyalty is rewarded by
being tossed into a dank cell and commanded to write a worshipful account of Coyote's ascendancy. His narrative is the
bulk of the novel, intercut with chapters detailing Harden's attempts to flee the hellhole. It's a powerful story, perhaps
too much so, with page after page of unrelieved grimness. Suspense is here, and live-wire action, just as one expects
from a thriller, but readers might find the torture scenes too sadistic, and the overall mood too glum, to live in for nearly
400 pages. An intense experience for those who can take it. --Don Crinklaw
Source Citation (MLA 8th
Edition)
Crinklaw, Don. "Revelation." Booklist, 1 Nov. 2016, p. 33. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA471142833&it=r&asid=9c7ffdcce51c4d8460db75c6b5958f21.
Accessed 2 Oct. 2017.
Gale Document Number: GALE|A471142833
---
10/2/2017 General OneFile - Saved Articles
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The Comfort of Black
Don Crinklaw
Booklist.
111.22 (Aug. 1, 2015): p32.
COPYRIGHT 2015 American Library Association
http://www.ala.org/ala/aboutala/offices/publishing/booklist_publications/booklist/booklist.cfm
Full Text:
The Comfort of Black. By Carter Wilson. Aug. 2015. 272p. Oceanview, $26.95 (9781608091294); e-book
(9781608091478).
Here's a thriller that thrills, a mystery that mystifies. And it confirms your sense that everyone but you knows what's
really going on, and your best friend is awaiting the proper time to insert the knife. Hannah Parks had a troubled
childhood--a brutal father and a mother who died of hopelessness--but things have smoothed out. Her millionaire
husband adores her. So why has he taken to ranting in his sleep about sadistic sex? Shocked, Hannah sneaks a look at
his computer files. What she sees is followed by something worse: he catches her looking. They separate and suddenly
Hannah is encountering men in black who know a lot about her. Do they wish to help? Why? And why must help
involve gunfire, even killing a cop? Midway through, a layer of reality is peeled away and we, along with Hannah, must
distrust everything we see. More illusions appear and vanish, until somehow Hannah is reliving her miserable
childhood. Revelations in the final pages may strain credulity, but never mind. Getting there is great fun.--Don Crinklaw
Crinklaw, Don
Source Citation (MLA 8th
Edition)
Crinklaw, Don. "The Comfort of Black." Booklist, 1 Aug. 2015, p. 32. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA428997804&it=r&asid=32c416d2969325108da978164b17a9dd.
Accessed 2 Oct. 2017.
Gale Document Number: GALE|A428997804
---
10/2/2017 General OneFile - Saved Articles
http://go.galegroup.com/ps/marklist.do?actionCmd=GET_MARK_LIST&userGroupName=schlager&inPS=true&prodId=ITOF&ts=1506976139270 4/4
The Comfort of Black
Publishers Weekly.
262.25 (June 22, 2015): p122.
COPYRIGHT 2015 PWxyz, LLC
http://www.publishersweekly.com/
Full Text:
* The Comfort of Black
Carter Wilson. Oceanview (Midpoint, dist.), $26.95 (272p) ISBN 978-1-60809-129-4
[ILLUSTRATION OMITTED]
Hannah Parks, the heroine of Carter's outstanding paranoid thriller, is the tightly wrapped and semi-alcoholic but
nevertheless determinedly happy wife of Dallin, a rising Seattle Internet-security entrepreneur--until Dallin mutters
words in his sleep that suggest he's a sadistic murderer. Then everything falls apart. None of the certainties in Hannah's
life can be trusted: all the people around her are potential traitors, and she isn't safe anywhere. She even suspects that the
personable and ultracompetent man who calls himself Black may have come to her rescue a bit too conveniently.
Hannah's brutal childhood makes her believably vulnerable, and Carter (The Boy in the Woods) is extremely good at
creating a series of shattering, Philip K. Dickian revelations that would rock anyone's personal security. The explanation
for all the devious plotting, perhaps inevitably, is somewhat anticlimactic, but readers still will be absorbed by Hannah's
struggle to understand what has been done to her and to recreate a sane life. Agent: Pam Ahearn, Ahearn Agency.
(Aug.)
Source Citation (MLA 8th
Edition)
"The Comfort of Black." Publishers Weekly, 22 June 2015, p. 122. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA419411616&it=r&asid=5837675bec75eac759b345b36cd8594f.
Accessed 2 Oct. 2017.
Gale Document Number: GALE|A419411616