{"id":263380,"date":"2026-07-14T14:32:30","date_gmt":"2026-07-14T11:32:30","guid":{"rendered":"https:\/\/1kitap1.com\/en\/how-to-kill-a-crime-writer-sarah-lotz-1\/"},"modified":"2026-07-14T14:32:30","modified_gmt":"2026-07-14T11:32:30","slug":"how-to-kill-a-crime-writer-sarah-lotz-1","status":"publish","type":"post","link":"https:\/\/1kitap1.com\/en\/how-to-kill-a-crime-writer-sarah-lotz-1\/","title":{"rendered":"How To Kill A Crime Writer – Sarah Lotz (1)"},"content":{"rendered":"
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I couldn\u2019t use my mother\u2019s fingerprint to unlock it for obvious reasons, and I wasn\u2019t a competent hacker, so I had no choice but to play password roulette. I tapped in my name. Nope. Then I tried \u2018Brian\u2019. Then \u2018Brian the Cat\u2019. Then, reluc-tantly, \u2018Leah Rebecca Overton\u2019. Nope. Ha! After ten minutes of winging it with variations on names and dates, I gave up and just typed in PASSWORD. Which worked. FFS. I\u2019d expected the laptop to be frozen in time \u2013 it had been months since it had last been updated \u2013 but the tech goddesses were on my side, and my mother\u2019s email account came straight up.<\/p>\n

But because it was the most likely repository of secrets I\u2019d rather not know about, I decided to leave it till last. I wasn\u2019t sure what kind of secrets, because being a woman, and not in a relationship, it was unlikely that she\u2019d been harbouring a second family (a double domestic load for a start, and how would she have hidden the pregnancies?)<\/p>\n

But also, there was something deeply melancholic and lonely about seeing it still open, blithely going about its business, which made me think about all the other orphaned accounts that must be out there, living on after their owners had died. A digital graveyard, only unlike free spirit Thelma\u2019s neigh-bourhood, this virtual world of the dead wasn\u2019t restful, seeing as it was kept alive by relentless spambots and desperate scammers.<\/p>\n

I delved into the documents and folders, none of which were password- protected, and mirroring the analogue stuff, were all neatly labelled. The MacBook was fairly new, and because my mother had been crap at backing anything up (she\u2019d distrusted the Cloud in a very Leah-esque way), the contents were relatively sparse.<\/p>\n

I clicked on one entitled, NEW LEAH. At least I\u2019d now get to see what she \u2013 and presumably, Leah \u2013 had been working on. Up came the title page, Over It: A PI Leah Rebecca Overton Thriller, which made me smile, because \u2018Over It\u2019 was exactly how I felt about pretty much everything except for Brian and cake, and perfectly encapsulated my thoughts about \u2018The Case of the Missing Ladder\u2019. Then, as I scrolled down, I stopped smiling because this was all it consisted of: It\u2019s three a.m.<\/p>\n

and the night and the city belong to Leah Rebecca Overton. She prefers to run when the world is sleeping; thinks of the city\u2019s shadowy alleyways as her playground.<\/p>\n

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First published by HarperCollinsPublishers Ltd 2026 Copyright \u00a9 Sarah Lotz 2026 Cover design by Ellie Game\/HarperCollinsPublishers Ltd Cover photographs: Shutterstock.com Sarah Lotz asserts the moral right to be identified as the author of this work. A catalogue copy of this book is available from the British Library. This novel is entirely a work of fiction.<\/p>\n

The names, characters and incidents portrayed in it are the work of the author\u2019s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental. Without limiting the exclusive rights of any author, contributor or the publisher of this publication, any unauthorized use of this publication to train generative artificial intelligence (AI) technologies is expressly prohibited. HarperCollins also exercise their rights under Article 4(3) of the Digital Single Market Directive 2019\/790 and expressly reserve this publication from the text and data mining exception.<\/p>\n

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.<\/p>\n

Source ISBN: 9780008464059 eBook Edition \u00a9 December 2025 ISBN: 9780008464073 Version: 2026-01-20 OceanofPDF.com Note to Readers This ebook contains the following accessibility features which, if supported by your device, can be accessed via your ereader\/accessibility settings: Change of font size and line height Change of background and font colours Change of font Change justification Text to speech Page numbers taken from the following print edition: ISBN 9780008464059 Certain portions of text this ebook are set in a specific font type to make it easier to distinguish between the different types of content in the book.<\/p>\n

It may not be possible to change the font for these pieces of text. OceanofPDF.com Dedication For Charlie Martins, Tadeusz Bradecki and Joe Vaz. And for everyone who loved them.<\/p>\n<\/blockquote>\n

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.<\/em><\/p>\n

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