Tess Gerritsen published her first novel back in 1987 - a
romantic thriller entitled 'Call after Midnight'. There followed a
further eight successful novels in that genre, even though some
darker strands were starting to appear. Ten years later, in 1997,
she published her first medical thriller 'Harvest' which hit the
New York Times best-sellers and was closely followed by
further medical thrillers 'Life Support', 'Bloodstream' and the
near SF tale 'Gravity'.
She burst onto the UK Crime Scene last year with the hardcover
release of the visceral and nightmare serial killer tale 'The
Surgeon'. The novel is a rare beast, a cautionary peep into the
dark recesses of the mind and motivations of a serial killer, and
a deep probe into the characterisation of his pursuers. It was
launched with enthusiastic words from such diverse talents as Mo
Hayder, Stephen King and Tami Hoag.
On the eve of her follow-up, 'The Apprentice', Shots eZine
decided to delve underneath the surgical mask to find out exactly
who the hell is Tess Gerritsen? And what life is like when your
imagination turns over some pretty rancid rocks and reveals the
nature of a serious evil.
Thanks Dr Gerritsen for taking time from your hectic
schedule to talk to Shots eZine.
The pleasures all mine.
Firstly, how's 'The Apprentice' doing in the US? As I guess
it's been out for a few weeks now?
It's now in its fourth week on the New York Times bestseller
list -- my fastest selling title so far.
You have a pretty hectic tour ongoing promoting the book in
the US, can you tell us a little about the touring process? And
its contrast to the solitary existence required in creating a
I'm traveling to about twelve cities, and I actually quite enjoy
it. I'm rather a solitary person, yet on tour I'm required to show
my "public" side, which can be stressful and exhausting
for me. Also, I'm not accustomed to putting on makeup each
morning, since I'm a jeans-and-sneakers kind of gal. I maintain my
sanity while on tour by always reserving at least a little time to
myself, and by treating myself to at least one nice meal every
day. I'm the daughter of a chef, and one of my greatest pleasures
in life is discovering a new restaurant in an unfamiliar city.
Book tour certainly offers opportunities to dine in places I'd
normally not visit!
Going back in time, you graduated from Stanford and then
obtained your M.D. in 1979 from the University of California. Can
you tell us about that period? And were you writing during this
I have always been a writer, ever since I could put pencil to
paper when I was six years old. (My first book was about my dearly
departed cat). But when I got to medical school, at the University
of California at San Francisco, I had no time to write. My most
vivid memories of medical training were of exhaustion. I was so
busy cramming in facts that by the end of each day, I'd feel my
head was bursting. For comfort, I turned to books - in particular,
I recall reading quite a bit of science fiction as well as the
Lord of the Rings trilogy during those years. It wasn't until my
years of post-graduate training, as a resident in internal
medicine, that I began to write again, and only because I went on
maternity leave for a few months.
Your first job as a physician was in Honolulu, Hawaii, so
why did you leave the mainland USA?
My husband Jacob was from Hawaii, and he wanted very much to
return there. So we applied as residents to the University of
What area of medicine did you practise?
Internal medicine. My job involved the non-surgical care of
I believe you started writing seriously during this period.
Could you tell us when you felt that the writing started to
take-over your life?
It became an instantaneous passion. As soon as I began writing
my first short story, I knew I was a writer. In truth, I've always
known I was a writer, and there I was, with a baby at my feet,
while I scribbled away, feeling quite driven about completing the
story. My husband didn't understand it, and it's taken him years
to adjust to the fact I'm so often distracted by people who don't
even exist. Add to that the stress and strain of both of us being
doctors and young parents - well, you can imagine how chaotic our
household was in those early years!
I believe your first short story was published in Honolulu
Magazine as a result of a competition. Could you tell us about
the story and how you came to write it? And what it meant to you,
to win that prize?
At that time, no one believed I was a writer. I had to prove
myself, and when I saw the fiction contest advertised in Honolulu,
I thought this was one way to show that, yes, I could tell a
story. The prize was publication and $500 - it seemed like a lot
of money at the time! When I sat down to write my story, strangely
enough, I adopted the voice of a young man, looking back at a
childhood with his difficult mother. I think I was exploring my
conflicts with my own mother, and taking a male point of view
seemed to give it a safe enough distance so that I could talk
about some painful personal issues - for instance, my mother's
repeated suicide attempts. It was only through fiction that I was
finally able to deal with my own childhood turmoil. When I got the
call that I had won first prize, I felt: at last, I've proved it.
I'm a writer.
Your first ten years as a writer was in the Romantic
thriller genre, like Tami Hoag. Can you tell us about that period?
I wrote nine romantic suspense novels for Harlequin and Harper.
It's a genre I've always enjoyed reading, and it seemed natural to
write it as well. Romance is very much "comfort fiction",
and while I was working as a physician, I needed that comfort. I
feel it gave me the grounding I needed to be a better writer,
whatever the genre. Romances emphasize character and relationships
and conflict - the very core of what makes any good novel - and
writing them gave me the chance to develop my own voice. Also, I
learned quite a bit about the publishing industry during those
years, and picked up a readership that followed me when I moved
into mainstream suspense.
Who inspired you to take up writing? And who would you cite
as influential writers for you?
My first influences, as a reader, were in science fiction. Isaac
Asimov and Ray Bradbury taught me that fiction can move beyond our
everyday world, and that the imagination knows no bounds. J.R.R.
Tolkien taught me that a good writer can pull us into worlds so
vivid and enthralling we never want to escape. And later, romantic
suspense author Victoria Holt taught me that a love story can
heighten the excitement of a mystery.
When did it become clear to you that the writing would
overtake your medical career?
After I sold my second book. Mind you, I was not making much
money yet (it's almost impossible to live only on the income of a
Harlequin author) but after that second book, I realized that I
could make a go of it. That if I just applied myself and wrote
faster, I could combine a career and still be home with the
children. They were my first priority.
Did you have any apprehension in putting down your medical
bag, and picking up the word-processor full-time?
Oh, yes. It took me a year of agonizing before I finally made
the decision to quit. I thought: if I walk away from being a
doctor, I might never be able to come back. Medical advances move
on so quickly, and skills become rusty after a very short time.
But by then, I had two toddlers in the house, and a promising
writing career, and so I finally made the break. I remember waking
up that next morning and feeling so completely happy. And free.
Were your colleagues in medicine aware of your literary
They did notice that every so often I'd suddenly start
scribbling notes, when a particularly clever sentence would occur
to me. But I didn't really talk about it all that much. I think
the fact I was writing romance might have not have gone over too
well with my male colleagues.
What about your husband Jacob? What were his feelings with
regard to your literary career - I've noticed a special thank you
acknowledgement in your books to him?
My husband Jacob has gone through a major evolution during our
marriage. At first, he did not understand what on earth I was
thinking. He had married a physician, and suddenly, he found
himself with a writer! He resented the hours late at night when I
ignored him, because I was too busy pounding away on my electric
typewriter. He felt I could be contributing a lot more to the
household income as a doctor. He thought I had my head in the
clouds. There were some serious conflicts back then, in which I
felt my dreams were being squelched, and he felt I was being
irresponsible. But just as our marriage reached a crisis stage, he
suddenly came to the conclusion that our being together was all
that mattered to him, and that he would try to respect my drive to
write. We've been married twenty five years now, and we've both
evolved. We couldn't be closer.
You wrote an original screenplay, 'Adrift', that was filmed
and aired in 1993 as a CBS movie of the week. How did this come
about? And any plans to return to screen-writing?
For a while, I flirted with the idea of becoming a screenwriter.
I've actually written three scripts, and managed to sell the one
that became "Adrift". The whole process was not a
particularly pleasant experience, as I discovered that
screenwriting is in many ways a committee project. Everyone
involved wants to make a change here, a change there, until the
writer feels his creation is no longer his. I decided, after that,
to simply write books, where I could be the master of my own
How did you feel when 'Harvest' vaulted into the NY Times
As though I'd walked into a fantasy. After all those years of
writing romances, to suddenly find myself a "big" author
was astonishing. It was also a bit frightening. I didn't know if I
could maintain the quality in my next books. I didn't know if I
could justify all the hoopla, or would simply vanish from sight
You live in Maine in New England. This area has always
seemed to have been an interesting back-drop for horror/crime
writers such as Stephen King, Michael Kimball and John Connolly,
as well as Boston featuring heavily in work by Dennis Lehane and
Robert B. Parker. Have you any thoughts on why this is so?
Many, many writers live here, and we simply write about the
places we know. Also, the weather is conducive to writing (as
there's not much else to do when the snow is flying!). I find that
my most creative months are the cold ones. New England has such a
long tradition of literature, particularly dark literature, and I
suspect it's because of the long nights and long winters. I would
find it hard to think of dark plots if I was sitting on a beach in
Stephen and Tabitha King are big followers of your work from
as early as your Techno-thriller period, and, as you reside in the
same state, have you ever met or corresponded with them?
I've met them both. In fact, I was a guest musician with King's
band, the Rock-Bottom Remainders, when they played in Bangor. I've
always been a big admirer of their writing (Tabby writes as well),
even more so after I met them. I believe that Stephen King is the
smartest man I know, with a brain that moves at light-speed.
Your Techno-thrillers were very well received in terms of
critical acclaim as well as being commercially successful. Can you
tell us about this period in your writing career?
My first really "technical" thriller was "Gravity",
about the International Space Station. It was the first time I had
to do massive amounts of research outside my own area of
expertise, and I suspect that my enthusiasm for the topic is what
made that book stand out as one of my best. And yet, I was
terrified while writing that book, because I didn't know if I
could pull it off. When it came out, to critical praise, I think I
gained a great deal of confidence. I also picked up a number of
male readers, which I'd never had before. So this period in my
career, tackling new and unfamiliar topics, spreading my wings, is
one of continued challenges and growth. I always want to be
growing. And I always want to be able to indulge my curiosity in
whatever topic catches my attention.
How do your editor, agent and publishers feel about you
genre-hopping both in the US and overseas?
I've had the good luck to have had a terrific agent and terrific
editors every step of the way. Almost every project I've wanted to
write has been greeted with enthusiasm. I think they understand
that I love to do new and different projects, and that I'm not one
to stick to one theme for book after book.
What are your thoughts about genre classifications?
They're useful primarily for booksellers. They need to know
where to shelve them, how to market them. Writers simply want to
write the books that interest them, without worrying about which
genre it might fit into.
So how come you decided to write an out-and-out crime novel
like 'The Surgeon'?
It was a reader who suggested it to me. At a booksigning for "Gravity",
she told me she had no interest in the space program, and wanted
me to write about her favorite topic: "Serial killers and
twisted sex." Taken aback, I asked her what she did for a
living. She told me she was a third grade teacher. I thought, if
third-grade teachers are hungry for serial killer books, then
these books must have some kind of universal appeal. I began to
think of ways to turn the tried-and-true serial killer book into
something with a medical twist, something that I was uniquely
qualified to write. That's when it occurred to me: wouldn't it be
creepy if the killer was choosing his victims because of something
to do with their blood tests - that's how "The Surgeon"
Where did the thought process come from? Were you toying
with venturing into the crime genre?
Not at all. I had a number of medical thriller ideas floating
around in my head. But when the plot of "The Surgeon"
suddenly came to life, that was the book I knew I had to write.
Were you nervous producing such a visceral work? And what
attracts you to the dark side of the human condition?
Yes, I was nervous. In all my books prior to this, I've never
really dealt with the nature of pure evil. I was always dealing
with villains who had believable motives - greed, jealousy, etc.
Not cruelty for its own sake. Suddenly I was writing about a
killer The Surgeon - who tormented women for enjoyment. It
made me a little queasy. The only way I could approach it was by
wearing the thinking cap of the police and forensic scientists who
try to solve the crime. I never show acts of violence on the page
- what I show are the police walking in afterwards, looking at the
crime scene, and trying to reconstruct it. I assume the role of
scientist, and that's just enough of a buffer for me to be able to
stomach what happens.
British female crime writers who write visceral or
psychologically disturbing work such as Mo Hayder, Val McDermid,
Denis Mina, Ruth Rendell - to name just a few - seem more accepted
than perhaps their US counterparts do - even Patricia Highsmith
left the US and came to Europe. Do you have any thoughts on this
I do think there's a certain amount of sexism involved here in
the U.S. Men may write brutally violent fiction, but critics seem
to accept that as men simply being noir, while women who write
realistically about violence are criticized for being "over
the top." Meaning, I suspect, that it's "over the top"
for nice ladies. But I am a physician. I've stood in operating
rooms and watched patients bleed to death. When I write about
blood, it's what I know, what I've experienced, and I try to be as
unflinchingly realistic as I can be. It's honest fiction, but it's
also brutal at times.
Do you feel that perhaps a woman is better placed to write
visceral material featuring the horrors of rape/torture, than
perhaps a man would be? And what are your thoughts on writing
material that features such depravity and evil?
I don't believe that either men or women have a superior claim
on any particular topic, unless it's something that they can't
possibly have experienced (like the pain of childbirth.) We all
bring our own unique and valuable perspectives. As for writing
material that features such evil, I chose to do it because I do
not understand evil. I have lived a happy and un-traumatized life.
I have never brushed up (to my knowledge) against evil on a
personal level. I wanted to explore this new landscape, perhaps so
that I could understand it better. And the only way I could wrap
my mind around it was to take on the perspective of a lion, or a
wolf, hunting for prey. Completely amoral, without any sense of it
being right or wrong to kill that prey. It reduces evil not to
some supernatural, horrifying force, but rather to a simple matter
of inborn nature. It is the nature of The Surgeon to kill.
Do you ever feel that there is any line that you wouldn't
cross as a writer? Or do you feel that it's a writers job to
push out the boundaries within their chosen genre, even if it
means delving into the darkness?
I won't cross over into what I see as sexual or violent
exploitation. I may try to understand my villain's fantasies, but
I won't allow him to indulge in his acts on the page. My focus is
on the work of law enforcement - on what the police see and think
Are you at all apprehensive in meeting your fans considering
the dark emotions that your books reveal? As writers such as
Thomas Harris remain forever reclusive.
While I've certainly met a few odd fans during my book tours, I
have never met anyone who actually frightened me. Perhaps it's
because I'm not easily frightened, or perhaps it's because the
readers who enjoy this sort of fiction are actually quite
mild-mannered. I enjoy meeting readers, even when they tell me all
the reasons they didn't like the latest book!
What are you like as a person when you are in full-flow
writing, say 'The Surgeon' or 'The Apprentice' and deep into the
minds of both antagonist and protagonist? I saw you had put some
nice words (in the acknowledgements of 'The Apprentice') about how
difficult it is for your husband to put up with being married to a
I'm very difficult! I'm distracted, uncommunicative, and don't
like having my train of thought interrupted. My husband knows to
be quiet at those times, because he understands that there's a
whole host of people talking in my head, and I have to listen to
Do you allow anyone to read a 'work-in-progress' for
reaction? Or do you wait until you're at the final draft stage?
And then who are your trusted advisors?
I don't allow anyone to see the work in progress. Only when I
deem it finished do I allow my husband to read it. And then it
goes straight to my agent.
Your plots in both 'The Surgeon' and 'The Apprentice' are
very intricate, but also very character-driven. Can you tell us
your thoughts on character and plot? And the process you employ in
writing a novel?
Each book is different. For "Gravity", plot took
precedence. The premise was driven by the theme "Titanic in
space," and the main "character" of that book, so
to speak, was the International Space Station. With "The
Surgeon", it was character that took precedence - the
characters of the villain and of Catherine Cordell, the
traumatized yet coolly self-contained surgeon. The interplay
between them, the battle of wits, the game of terror, was all
driven by the sorts of people they were, and how they reacted to
So how long does it take to carve out one of your novels?
And what are your thoughts on re-drafting?
It takes me about a year from start to final polish, but that's
only because it's all the time I'm allowed. My publisher wants a
book every year, so I have to work within that time-frame. I can
usually finish a first draft in about seven months, and then I
take several months for revisions. Sometimes it will take three or
four re-writes before I'm satisfied. I've learned that my first
drafts are always very rough, so I try not to get too
panic-stricken when I read them and think: "This is terrible."
I have confidence that I can fix whatever needs fixing.
When you finished 'The Surgeon' did you feel that the story
had run its course? Or did you feel that the strands left required
At first, I thought that I was done with those characters. I
even started work on a totally different project. But I never
stopped thinking about the villain. I'd almost hear his voice
whispering, "Don't you want to know what I'm up to? Don't you
want to know what I'm planning next?" He almost demanded
another book. That's when I set aside my other project and started
work on a sequel "The Apprentice".
Was it difficult to re-enter the world of the serial killer
with 'The Apprentice'?
Not at all. I felt he had never really left me. That I was just
taking up where I'd left off, the way you take up a conversation
with an old friend.
I read that the trigger for 'The Apprentice' was a vacation
in Italy. Would you care to elaborate?
My travels in Italy weren't so much a trigger as a confirmation
that the killer was still very much on my mind. And on my
husband's mind as well! We'd passed a billboard advertising the
Torture Museum in San Gimignano. My husband looked at me and said,
"You know who wants to go there, don't you?" I knew
immediately who he was talking about. It's as if the Surgeon was
sitting beside us, talking to us both. When a character is that
vivid, it's hard not to write about him.
There is a conspiracy at the heart of 'The Apprentice'
(which is not revealed until the climax) so are you a
'grassy-knoll' type of person?
Not really. Most of the time I think conspiracies are nothing
more than the fabrications of paranoid minds.
You use the paranoia of what Thomas Harris called 'The Damp
Floor of the Internet' to good effect in 'The Apprentice' without
going all 'Blue Nowhere'. Could you tell us what your thoughts are
on this media? And what you use it for?
I use the internet for communication as well as research. I use
it to hunt down obscure medical journal articles. I've also found
it a great place to search out obscure topics. Some of the details
on human sacrifice in "The Surgeon" (the Aztec method of
heart extraction, for instance) are results of online searches. I
try, wherever possible, to back up internet nuggets with printed
sources. The internet has made techno-thriller writing much easier
than it ever was before.
What books do you read and which writers to you in the Crime
genre give you a buzz? And what are you reading on tour?
Historical fiction! Whether mysteries or not. One book that
stands out as a favorite is "The Dress Lodger" by Shari
Holman. While on tour, I read Fidelis Morgan's "The Rival
Queens", another historical novel. I was very sorry when the
Fremont Jones series (by Dianne Day) was recently discontinued.
Even though I write contemporary thrillers, I don't particularly
care to read many of them!
You use quite an array of professional detail in the
technical/procedural side of your books but ensure that your work
doesn't become a textbook on forensics which seems to be a trend
with some writers. What are your thoughts on this point, in a
genre that sometimes veers toward the C.S.I. approach?
I do enjoy the technical aspects of homicide investigation, and
use forensic detail when it's vital to the plot. But I try to
stick with forensic details that inspire some sort of emotion -
horror, dismay, disgust - and not just details for their own sake.
For instance, in "The Apprentice", I spend quite a bit
of time on the autopsy of a woman's corpse found several days
after her death. The point of that scene isn't just to show the
autopsy. The point is to reveal a rather shocking finding: that
there's fresh semen inside her, which reveals a vital aspect of
her killer's practices. A great deal of attention is paid to the
collection of the swabs, etc., - a procedure which might otherwise
be boring. But that revelation of motile sperm makes the routine
suddenly turn horrifying.
I liked the way you had Detective Thomas Moore as this
clean-cut, almost 'Jack Crawford' character (with a dead wife in
tow), and then you subverted it with him falling in love with
Catherine, and a divide with his partner Jane Rizzoli. Would you
care to talk about subverting convention?
I'm not aware of doing anything for a literary reason. I made
Thomas Moore the way he was because that's simply the way he was.
A good, decent man who tries to stick to the straight and narrow,
and is that much more disturbed when he can't stick to it. I like
decent men, and he fulfilled my image of the sort of man I could
admire and fall in love with.
Jane Rizzoli is an interestingly flawed character, and
starts (in my opinion) as a 'chip-on-the-shoulder'/driven-loser,
but manages to redeem herself in 'The Surgeon' and even more so in
'The Apprentice' - transforming into a hero of sorts. Would you
care to talk about the genesis of her character? And her
development? And will we ever see her again?
I started off disliking Rizzoli quite a bit! But as "The
Surgeon" progressed, I found more and more of myself starting
to appear in her. In particular, her sense of being the outsider.
I'm of Asian descent, and I was the only Chinese girl in my
elementary school. I remember vividly how much I wanted to be
accepted, how much I wanted to be like everyone else. And I
remember how angry it made me to be called names because of my
race. In a way, I poured out my own frustrations and hurts into
Jane Rizzoli, and what resulted was a woman who is more than just
smart and aggressive - she's also hurt and vulnerable. By the end
of the book, I came to care about her, and I wanted her to have
some sort of happy ending. She finally got one, in "The
You will be seeing more of her in the next book, but she pulls
back to a secondary role. The medical examiner I introduced in "The
Apprentice", Dr. Maura Isles, will take center stage.
I thought Detective Kosak was a bit of an asshole initially
at the start of 'The Apprentice', but he became funny, and then
there was a turn/twist that really made me think about him (as a
person) but you were careful when it came to ladling out the
pathos. At the end of the novel his character to me seemed like a
metaphor for the impotence of some men when facing a greater
force? Would you care to comment on this point? Or am I totally
Like the character of Thomas Moore, Korsak was just who he was -
I did not plan out his role, but simply let him walk onstage and
act the way he wanted to act. If it seems as though my characters
get away from me, then it's true - they sometimes do! I saw him
immediately as a basically decent but uncouth guy with a real
sadness at his core, a man who knows he'll never achieve
everything he dreamed, who sees his life as one big
disappointment. A man with regrets, who now has to face the terror
of his own mortality. A very lonely man who has done the best he
can. I felt very sorry for him. At the same time, he was a
hilarious character, but those wise-cracks were a cover-up for his
sense of inferiority.
The opening of 'The Apprentice' features the dismembered
body of an illegal immigrant being found after falling from an
aircraft. It is only at the conclusion, that I thought that this
too was a metaphor in the story. Without giving away the ending of
the book, would you care to comment?
Ah yes - that was, indeed, a metaphor, one I didn't recognize
until later in the book. I opened the story with "Airplane
Man" because I thought it was a riveting way to throw Rizzoli
straight into the action, to show her on the job. But as the book
progressed, I began to see "Airplane Man" as a symbol of
futility. He represented all the dreams we'll never see fulfilled.
By the end of the book, his role in the story seemed almost poetic
- a role that only developed later. It's an example of how we, as
writers, sometimes don't recognize the reasons why we've written
something until long after we've put the words to paper.
I guess for our generation, people will always recall where
they were, and what they were doing when the planes crashed on
September 11th. So where were you on that awful day? And what are
your thoughts now a year on?
I was on book tour for "The Surgeon". I woke up that
morning in Seattle and turned on CNN, and saw the twin towers
burning. My first reaction was: "I want to go home. I want to
be close to my family." Then they shut down all the airports,
and I was stranded in Seattle, at the other end of the country
from Maine. I spent six surreal days far from home, wandering in a
daze, questioning my role as a novelist. It felt like the most
irrelevant of professions, in a time when the world was coming
down around us.
Now, a year later, I have come to realize that writers are
absolutely vital to society. Readers have told me that reading "The
Surgeon" was the only thing that gave them any relief and
comfort after 9/11. Imagine that - taking comfort from a serial
killer book. But yes, there is comfort in reading a mystery in
which good can defeat evil, in which justice prevails, unlike the
With 'The Apprentice' coming to the UK soon, are you
planning to tour here? And if so will you feature tour dates at
I believe I'll be coming to the UK in February on book tour. I
will certainly feature my tour dates on my website.
Are you going to remain in the Crime genre? Or are you
contemplating yet another genre-change? Maybe a childrens
book?? So what's really next for Tess Gerritsen?
I can only see ahead to the next book, which I'm now in the
progress of writing. For now, I'm still intrigued by forensic
medicine, and that will be the focus of my next novels.
Your hobbies are reported as gardening and playing the
fiddle, could you tell us about them?
I have a large garden with many winter-hardy roses. Come June,
the place is bursting with blossoms and lovely scents. I also am a
fiddler, and have my own band, "Ballywick". We play
Irish music at various restaurants around town. I often think that
if I ever retire from writing, I'll just spend the rest of my
years fiddling away.
Finally, can you give any advice to other writers who juggle
writing in their spare time as well as holding down responsible
jobs and families?
I would tell them to be patient, but persistent. You won't be
able to write as quickly, because other people need you, but in
every day there's at least a few spare moments in which you can
write a sentence, a paragraph, maybe even a page. Very young
children simply need attention, and for a few years, it may not be
possible to devote much time to your writing. But kindergarten
comes around sooner than you expect, and then you'll have a bit
more time to work. Real writers find the time.
Dr Gerritsen it has been a pleasure having the opportunity
to discuss your work, and from all our readers at Shots eZine, a
big thank you, and we wish you great success on the UK launch of
'The Apprentice' as it is one gripping and dark ride!
Thank you and all the Shots readers for their support!
This interview was recorded mid-September 2002
Ó SHOTS Magazine