Biography
Although Suzanne Brockmann can't remember a time when she wasn't scribbling something (one of her earliest masterpieces was an action-packed radio play called "Mice on Mars"), she didn't begin to write seriously until she was married with young children. She spent several years trying to break into the super-competitive field of screenwriting before deciding to try her hand at genre fiction; and, it was only after months of intensive research that she finally homed in on Romance. In June of 1992, she sat down to write her first book. By year's end, she had completed ten manuscripts, and in August of 1993, she sold her first book, the contemporary romance Future Perfect.
Brockmann's first novels were stand-alones. But as her career progressed, she noticed that romance mini-series, with their opportunities for character development and intersecting story lines, had become extremely popular. Seeking to increase her readership, she decided to write a mini-series of her own. She found her "hook" in a magazine article on Navy SEALs and, in 1996, she released Prince Joe, the first novel in her Tall, Dark and Dangerous series. The alpha males of Brockmann's fictional SEAL Team 10 proved to be the perfect romantic heroes, and the series was an immediate hit with readers. Four years later, she launched a second series of military/romantic thrillers centered on the friendships, romances, and working relationships among a team of Navy SEALS and members of an elite security agency called Troubleshooters, Inc. Starting with The Unsung Hero in 2000, the Troubleshooters books have catapulted the author to the top of the charts.
Brockmann is known in the industry as a risk-taker, having written stories around such sensitive topics as interracial romance and homosexuality, In 2004, she garnered attention for her eighth Troubleshooters novel, Hot Target, which involved one of her most popular recurring characters, openly gay FBI agent Jules Cassidy, in a romantic subplot. Brockman, who dedicated the book to her gay son Jason, was not sure how readers would respond. To her surprise, the reaction from gay and straight alike proved positive. She stated on her website: "I love the fact that the world I've created in my books -- a diverse American world filled with the same variety of people who live in my urban American neighborhood -- has been so enthusiastically embraced by readers."
Brockmann's distinctive literary blend has come in for its fair share of praise. Writing in the Chicago Tribune, veteran Booklist reviewer John Charles stated: "Brockmann strikes the perfect balance between white-knuckle suspense and richly emotional romance." And USA Today has called her "[t]he reigning queen of militaray suspense." As further proof of her mainstream appeal, she remains one of a handful of Romance novelists to have made the leap from mass market paperback to hardcover.
Good to Know
In an interview with the online magazine All About Romance, Brockmann says: "I started reading when I was three (my first 'real' book was Beverly Cleary's Here Comes the Bus -- I remember this because no one believed that I was really reading it and I got really upset when my older sister took it back to the school library before I'd finished it!)."
A serious history buff from her youth, Brockmann has read widely on WWII and has been known to incorporate stories from that era into the books of her Troubleshooters series.
Brockmann loves music. She attended Boston University as a film major with a minor in creative writing but dropped out to perform with a rock and roll band. She also sang with and served as music director for a Boston-based a cappella group called "Serious Fun" and produced its first and only CD in 1998.
Brockman is married to novelist Ed Gaffney.
The mother of an openly gay son , Brockmann is a proud member of PFLAG (Parents, Families & Friends of Lesbians & Gays).
In her writing, Brockmann employs a device she calls Deep Point of View. She explains it in an interview with the online writers' journal Writers Write: "In my books, I use subjective point of view, but I'm not satisfied with merely showing the reader what that camera sees from its perch atop a character's head. I bring the camera down, inside of that character's head, so we see the world through that character's eyes. We hear things through his ears. We smell what he smells, feel what he feels, think what he think. With deep POV, I write using words that that character would use. I tell the story with that character's voice."
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