From Artillery Carriages To Crime Fiction, A Journey Through History, Craft, And Storytelling
Vince Nakovics discusses how his US Navy career and blacksmithing expertise inspire his crime novels, blending international settings, folklore, and intricate character dynamics into compelling mysteries.
Vince Nakovics is a man of many talents, each chapter of his life more intriguing than the last. From his distinguished career in the US Navy to his meticulous work as a blacksmith crafting artillery carriages for historical reenactments, Nakovics has always been drawn to the art of creation—whether through metal or words. As the founder of the Artist Blacksmith Group of Tidewater and a prolific newsletter editor, he has spent years documenting the craft and stories of blacksmiths worldwide. His transition to writing non-fiction and, later, crime novels has allowed him to weave his rich experiences into gripping narratives that resonate with authenticity and depth.
In this exclusive interview for Reader’s House Magazine, Nakovics opens up about the influences that shape his storytelling. From the disciplined structure of naval life to the creative chaos of the forge, he reveals how these worlds have shaped the themes and characters in his crime novels. He also shares fascinating insights from his interviews with blacksmiths across the globe, highlighting the cultural nuances that define their craft. Delving into his latest work, Briarwood Manners, Nakovics discusses the challenges of crafting a multi-layered mystery, the allure of international settings, and the unexpected role of folklore in his storytelling. His ability to blend meticulous research with a flair for suspense makes this conversation a must-read for fans of crime fiction and historical craftsmanship alike.
How did your experiences in the US Navy and as a blacksmith influence the themes and characters in your crime novels?
The US Navy, the best job I ever had, afforded me the luxury of traveling to many places. I’ve been in homes or settings that provided unique experiences away from touristy areas. Blacksmithing came after my naval career, but it has been just as rewarding. Such an eclectic group of artists from every walk of life, engineers, laborers, doctors, and NASA rocket scientists with one goal, perfecting the ancient mysteries of manipulating molten metal. Remember, a horse shoe should always point up, unless spilling its good fortune into a smithy for the Smith to pass on through his work. It won’t take long for anyone who knows a writer they may find their nuanced behaviors in part or whole entwined in a story. People are fascinating and I have been lucky to experience a wide swath of personalities and cultures to help tell a story.
Can you share any memorable stories or insights from the over 100 interviews you conducted with blacksmiths around the world?
The most interesting thing to discover was the significant difference in the way American blacksmiths approached work compared to European and other areas. American artists were looking to use old world techniques as opposed to the use of welding, etc. Many call it ‘forgery joinery.’ A play on words meaning to fake a fire forged joint. It is a debate almost as old as blacksmithing itself. Europeans have always used welders without reservation.
What inspired you to set the story of “Briarwood Manners” across multiple international locations, and how did you approach the research for these diverse settings?
I had recently returned from a visit to Northern Ireland and developed a story line using Dundrum as a location. Prior to this, a friend of mine requested I include Ohio in my next story. I said I would try, and it took off from there.
My writing style is of a pantser and having visited many locales gives me an insight into various areas, even if some of those have changed dramatically since my visit. I do most of my research as I go. Probably 90/95% of which doesn’t appear anywhere in my book(s). Why is that? It’s fascinating to dig up colloquial sayings, or customs, of an area. Every area has them. So you can’t go wrong with reading too much, so long as you don’t use it as an excuse to procrastinate. I suspect 70% of the saved articles and books on any subject I’ve not read in their entirety because I search for specific information to help me move my story along. It is too easy to lose your way on the information highway. I have a deadline, self-imposed, but a deadline. This process works for me.
The novel features a complex web of characters and a long-spanning investigation. How did you develop the plot to maintain suspense and keep readers engaged throughout the story?
Briarwood Manners was written in order. I tried to end every scene, every chapter with a question or a direction. This helps me to move the story along. Of course, in my head I have a version of the story, but it can change, as they often do. To start, I have a beginning and an end, but I am not locked into any single version. If I can find a twist at any point and especially for the ending, all the better. Real criminal investigations take time, and I tried to reflect this in Briarwood. I don’t have a timeline, that’s too extensive for me. I try to jot down important points, to save me from searching the entire book later on, much as a detective may do for a long-spanning investigation. Proving something, you know, is a real frustration investigators face. Many of my or your readers have experienced this. The criminal’s view is different, and it is revealed along the way.
How did you come up with the intriguing concept of using a murder of crows as a central element in the mystery, and what role does folklore or local legend play in the story?
To be murdered by a murder of crows. The idea wrote the title, Crows of Monserrata. They are interesting, crows. Even though they are scavengers, crows are intelligent. People have trained and kept them as pets for centuries. I have a family of crows living on my wife’s property in Albania. They watch me and I watch them. They have come to understand I mean them no harm. Crows are integral to so many legends and folk stories it simplified injecting them into this story. Most villages have legends and it enriches the sense of the setting to include them.
What challenges did you face in portraying the dynamics of a small, insular village community, and how did you ensure authenticity in the interactions between the villagers and Inspector Dario Deigo?
I grew up in New York City, and nothing is insular about that. Inspector Dario has crossed this bridge before, but it’s never easy as an outsider. Having worked in the historic restoration and renovation fields, provided an appreciation of old processes. Not that villagers are old, but they hold dearer established ways of conducting life’s business. It’s not good or bad, unless it is. Reading, watching, and listening are essential when attempting to convey colloquial nuances. It is a challenge, but worth the effort.
