Helen Nielsen war eine gefeierte Autorin von Kriminalromanen und Drehbüchern für beliebte Fernsehserien. Ihre Erzählungen, die häufig vor der Kulisse der kalifornischen Küste spielen, sind bekannt für ihre komplexen Handlungsstränge und scharfen Charakterzeichnungen. Vor ihrer Karriere als Schriftstellerin entwickelte sie ihre Präzision in technischen Bereichen, eine Fähigkeit, die ihre sorgfältige Erzählweise prägte. Ihre Romane, von denen einige von neuen Lesegenerationen wiederentdeckt wurden, bieten fesselnde und intelligent konstruierte Spannung.
In a gripping narrative, the protagonist embarks on a transformative journey of self-discovery and empowerment. Faced with personal challenges and societal expectations, they navigate complex relationships and confront their past. Themes of resilience, identity, and the struggle for autonomy are explored as the character learns to reclaim their voice and agency. The story intertwines moments of humor and heartbreak, ultimately leading to a powerful resolution that underscores the importance of embracing one's true self.
SING ME A Ty Leander stages his “suicide” in the same apartment where young Mary Brownlee was found murdered. It’s not that he harbors any desire for self-destruction. He’s trying to leave a clue, to draw attention. Ever since his wife—the famous singer, Julie San Martin—was found dead, the victim of a canyon fire, Ty has become obsessed with the strange connection between the two women, who looked so much alike. His lawyer, Cole Riley, is representing the accused murderer of Miss Brownlee. Does he know something more about Mary’s death than Inspector Janus, who is convinced that the lawyer is trying to free a guilty man? And why do all the clues keep leading back to Julie?FALSE A World War II freedom fighter is writing his memoirs, and it’s Mark Grant’s job to take a ship to Norway to get the contract signed for his publisher. That’s where he meets schoolteacher Ruth Atkins and Otto Sundequist, a Stockholm industrialist, both fellow travelers. But on their first excursion in Bergen, Grant suffers a weird hallucination. He sees a young lady being strangled by a man in a raincoat. He is the only one to witness this scene. In fact, there is no murder at all. When the three of them miss the boat and are forced to accept the temporary hospitality of one of Sundequist’s old friends, Mark meets Sigrid—the very same blond he had witnessed being strangled. Is Grant going crazy, or has he been given a vision of what is to come?
