Chapter 16: Hero complex

Sunday, February 5, 2012 at 10:05pm
By Lyda Phillips

In Jaden Terrell’s debut novel, Racing the Devil, private investigator Jared McKean is drinking away his blues in a seedy Nashville biker bar, when he spots a damsel in distress: “Even in the dim light of the bar, I could see the bruises,” he notes. With Pavlovian predictability, his hero complex kicks in. To protect and comfort her, he lets the battered woman pick him up, take him to a run-down motel, and ride him until dawn.

Two days later he wakes from a drugged stupor to find that his truck has been stolen and returned with a stash of kiddie-porn hidden under the seat. A woman whom he has never met or even heard of has been shot to death, and he is the main suspect. After all, his gun, his fingerprints, and his DNA were found at the murder site. Only his roommate, his horse, his ex-wife, and their son believe in him. Through the rest of this page-turner of a debut thriller, McKean races both time and the devil to extricate himself from the almost-perfect frame-up, prove his innocence, and protect his family.

Prior to her appearance at Parnassus Books in Nashville, Jaden Terrell answered questions from Chapter 16 via email.

Jared McKean is an ex-cop turned PI, who has a gay roommate, a son with Down syndrome, and a couple of horses. He is a man with a hero complex, prone to violence, but ultimately rather sweet and able to roll with the punches, even forming a relationship with his ex-wife’s new husband. How did you develop this character? How do you feel about him?

I was sitting in a movie theater watching Saving Private Ryan — that incredible scene where the ocean is awash in blood and those young men keep getting out of the boats, knowing that only a few will make it to shore and that only a few of those will make it across the beach — and I thought, “My God, this is what we ask our men to do. We ask them to go through this, then come home and be good fathers, good friends and loving husbands. And they do. Almost all of them do.” Later, when I started the series, I wanted Jared to be that guy. The one who walks into danger so we don’t have to. He comes out of it changed — maybe even damaged — but still a good man.

I started asking myself questions about him, and as I answered them, he came into focus. I gave him my dog, a 12-year-old Akita, and my horse, an elderly palomino quarter horse (he’s 37 now!). I gave him a son with Down syndrome because I was a special-ed teacher for 12 years, and I thought having a son with a disability would bring out a gentleness in him that would offset the mental toughness that comes from investigating homicides and doing undercover work for the vice squad. The decision to make his housemate and landlord a gay man with AIDS came about because I had lost a close friend to the disease. I wanted to explore how such a friendship would influence a straight man raised in a conservative Nazarene family in the middle of the Bible Belt.

A pattern started to emerge. Jared is a man who never gives up what he loves. He will find a way to make it work, even if it’s difficult, even if he has to rethink the parameters of a relationship and his role in it. He’s the guy who, three years after you break up with him, will help you move your furniture. Can you tell how much I love him?

The novel opens with a clever setup that frames Jared for a murder he didn’t commit. How did you work out that intricate scheme? Did it come first and then the rest of the plot follows?

When I started plotting, I knew Jared and a lot of the supporting characters, but I had no idea what the story was. He needed to be so invested in the case — whatever it was — that he couldn’t walk away from it. A frame-up seemed like the ideal place to start, since he would have no choice but to press on, regardless of how dangerous or frightening it got. Since he’s a man with a lot of friends and connections, the case against him had to be rock-solid, so I started with that. Someone could plant hair or fingerprints at a murder scene, but those things wouldn’t be conclusive, so I came up with the most iron-clad case against him I could and then worked out what steps the villain would have to take to create that situation. Then I had to figure out who would have a motive to do such a thing. The hardest part was figuring out what would motivate Jared to go to a motel with a woman he’d just met. He’s a good-looking guy (can I say “hot” here?), but he’s not a player. I had a hard time getting him to walk into the trap until I realized she had to play to his weakness, which is his Galahad complex. It grew from there.

You are a graduate of Nashville’s Citizen Police Academy. How important was that training to becoming a crime novelist?

Very important. I really wanted to write about this character, but I knew nothing about police procedure or what it’s like to be in law enforcement. That saying “write what you know” really means “write what you’re passionate about and find out what you don’t know.” The Citizen Police Academy not only helped me learn some of the nuts and bolts of police work, it gave me some contacts on the police force I can call on when I need to. Since then, I’ve been to the FBI and the TBI Citizen Academies and Lee Lofland’s Writers Police Academy in Greensboro, N.C. I recommend it to anyone whose writing involves law enforcement procedure, even tangentially.

Racing the Devil has had a long trajectory through self-publishing and then a micro-press before reaching its present incarnation from Permanent Press, represented by a literary agent. How did you survive the ups and downs of that journey?

I sometimes wish it had happened faster, but I had a lot to learn, and if I’d gotten a traditional contract right off the bat, I might not have had the opportunity to recover from all the mistakes I’ve made. The publishing world can be unforgiving, so I’ve been fortunate to have so much support from friends who are published writers and also from agents and publishers. Even those who didn’t take me on were generous with their time and encouragement. My writing career has moved forward in baby steps, but I’m grateful for every one of them, because each one gave me a chance to learn something — and a chance to make the book better.

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