Beau L’Amour joins Brook and Sarah to discuss his father’s writing and finishing works he left unfinished when he died. Their latest collaboration is Skyring Water.
Discussed
Skyring Water (2026) Beau L’Amour and Louis L’Amour
No Traveller Returns
Yondering (1980) Louis L’Amour
About Beau L’Amour
About Louis L’Amour
For more information
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Transcript
This transcript is generated by a computer and there may be some mis-spellings and strange punctuation. We try to catch these before posting, but some things slip through.
| Sarah | Welcome to a Clued in bonus episode. I’m Sarah. |
| Brook | And I’m Brook, and we both love mystery. |
| Sarah | Hi, Brook. |
| Brook | Hi, Sarah. We’re interrupting our summer sabbatical for a special author interview with Beau L’Amour. Would you like to introduce him for us? |
| Sarah | Absolutely. Beau L’Amour is a writer, art director, and editor. He has written and produced several films, including the USA Network’s The Diamond of Giroux. Since 1988, he has been the manager of the estate of his father, Louis L’Amour. Welcome, Beau. |
| Beau L’Amour | Hi, thank you for having me in this special session. I didn’t realize it was special, so I feel kind of honored. |
| Brook | Yeah, we’re really happy to have you here. And we’re just going to launch right in and ask you to tell us some basic information about your dad. I don’t know if anyone doesn’t know who Louis L’Amour is, especially in the U.S., but just in case, we’d love for you to kind of tell us about his background as well. |
| Beau L’Amour | Just in case, Dad was one of the highest selling authors of the 20th century. He mostly wrote Westerns, but also wrote a number of other, in and in a number of other genres. This particular story we’ll eventually be talking about is one of those. |
| Beau L’Amour | I think probably the most important thing about it is, Dad passed away 38 years ago and we are still year-on-year. Um, maybe the 12th bestselling author at Random House and, one of the 50 bestselling authors in the in the world and that’s that’s pretty astounding. I mean through through his you know Through his career until now, I think Dad sold maybe 330 million books, but that given the length of his career, that’s not nearly as impressive as the fact that we’re still ah you know we’re we’re still ah a best-selling author brand. |
| Brook | Yeah, that is fantastic. I was telling Sarah that as a little girl, I like everybody’s mostly in my era, it was their grandpa had a shelf of Louis L’Amour books, right? Just like the whole lineup. um And even at my family cabin right now, um that’s an extended family, we have like that section of the bookshelf. So it’s it’s really exciting to be talking to you. |
| Beau L’Amour | It’s good to be here. |
| Brook | So the process of picking up what then became Skyring Water and you know how that came about. |
| Beau L’Amour | Before my dad passed away, I had taken over certain aspects of the business working with the art directors at Bantam Books and then Random House and working with the Bantam Books and then Random House audio publishing departments. |
| Beau L’Amour | So I was kind of integrated with his business anyway. And when dad died, we had to reorganize the business to do to do different things that had always been organized organized around the new book that he was coming out with. And we worried that there wouldn’t be any new books, we’ve we’ve been able to put out quite a few additional titles since he passed away. Skyring Water is one of them, but ah we had to create what they call kind of a backlist publishing program, which is where you’re you’re really looking at all the stuff you’ve already produced and you’re finding ways of promoting the entire catalog all at the same time. |
| Beau L’Amour | And so I got involved in doing that. And oh quite a long time ago, right before I started working for my my dad, kind of semi full-time, I had been working for a movie producer. |
| Beau L’Amour | And he had, at some point I had said, you know, Bill, you have to tell me, you know what what exactly does a movie producer do? And he gave me this kind of flat look and he said, whatever it takes. And so in publishing, that’s kind of what I do. |
| Beau L’Amour | And sometimes that’s are producing a comic book or an audio or writing a book like this, producing a movie. In the one case you mentioned, writing and producing a movie, it can be different. It can be different things depending on on how it goes. So I have kind of a ah a background in all sorts of media, doing doing little pieces of all sorts of media and trying to figure out how to do it the the best I possibly can and what the market needs at the time and things like that. |
| Sarah | So it sounds like you’ve got a fairly um broad sense of of the publishing industry. Can you tell us a little bit about ah you know taking your father’s notes and and completing completing a book based on them? Because I know this isn’t the first one that you’ve done, um but maybe you could tell us a bit about that and and how this book, how you decided that this was the next book that you were going to to finish. |
| Beau L’Amour | Well, first off, this is the next book because this is the the last book that we really had a good a good piece of. So that’s that’s the answer to that one. The answer to working with my dad’s material and bringing it into the the modern world and doing things of that sort, it’s always different. So the previous big project novel, not like I said, I’ve done a bunch of pieces of other things and short stories along the way and and various stuff like that. But the the previous kind of big project novel was No Traveller Returns and um it was a very different process than this in in that case my dad left behind a pile of chapters they were related to his Yondering stories which is a group of stories that had a lot to do with his personal background and his history and uh stories that took place in the ah 20s and 30s to a great extent when he was kind of wandering around the world. And because it fit into a really distinct and important period in his life, I felt that it was extremely important for No Traveller Returns to do like a archaeological reconstruction of what that book would be like. |
| Beau L’Amour | So that meant very, very carefully studying his style. That meant going and I spent |
| Beau L’Amour | I spent quite a few weeks living in San Pedro, California, which is where a lot of the story is set and kind of getting background on the the history of the place and where all the different buildings were compared to one another and and actually found some significant differences from the San Pedro he remembered to the time he was writing about, he had spent time in San Pedro, maybe 10 years prior to when his story took place. And by the time his story took place, |
| Beau L’Amour | uh, great big construction crews had come in there and they had removed entire hills and they had just, they had re-sculpted the landscape enormously. And, uh, so I had to learn a lot about that. And I, uh, then did my, but did my best to create, they were, they were relatively, it was a very much a kind of re-edit of everything. |
| Beau L’Amour | And I made big jumps from sort of one, I filled in big sections. from sort of one section that he was writing about to another section that he was writing about. |
| Brook | Mm-hmm. |
| Beau L’Amour | And in those cases, of course, it’s very important to duplicate the exact style perfectly because it has to seamlessly fit in there. But it’s also relatively easy to do that because you can follow the style on the you know leaving the piece that he did and then follow that style. |
| Beau L’Amour | And then you hit it at this other point and you have a pretty good sense of, well, okay did I make that trajectory you know perfectly can I see where the seams are and everything if I reread that book today I roughly know the sections that I wrote but I couldn’t tell you the exact fusion points that’s uh you know it’s uh I’m good enough to fool myself let’s put it that way with Skyring Water it was a different situation Skyring Water was an entire novel it was written about 1960 at a time when dad was kind of trying to break away from writing Westerns, but was unsuccessful at doing that. The novel didn’t sell and he didn’t really try to sell it because he was fairly unhappy with it. He had had a number of complaints that you know maybe we’ll go over that that later, but he had he had certain things that he didn’t like about it and he stuck it in a drawer. |
| Beau L’Amour | And he pulled it out late in his career, considered revising it, and then decided against it but at that time he and i had some very extensive conversations about the kind of book that it could become and when i picked it up several years ago and started working on this version of Skyring Water mostly what i was doing was executing that what it could become and it was a pay in No Traveller Returns this was a page one rewrite this was uh just my own version, my version of the story that we discussed and that he wanted it to be, not necessarily something that was utilizing like sections or chapters or paragraphs of his of his work. |
| Brook | Right, right. So um you said that when, ah in comparison of these two different types of projects, you said you got pretty good at being able to sound like your dad. You worked alongside him for a long time. And then this other project is basically your own voice, which, um because writing is hard, which would you say was more difficult to do? |
| Beau L’Amour | Oh, that’s, that’s, I would say that this, the, when I say my own voice, I mean, I’m not trying to channel an exact style of my dad’s for Skyring Water, but I like it to be very close. I know, I know that there are quite a few readers, you know, i kind of snoop around the reviews and things like that. And people are saying, oh, you know, can’t tell where Beau started and Louis stopped and sort like, hey it’s all me. um But you know i’m trying i’m doing doing my best to write the sort of thing that he would have written in this genre at uh that time i’m thinking more of the 1986 time than the 1960 time. And so i’ve kind of forgotten the question were you asking me about… |
| Brook | Was one more difficult than the other or was it just a different kind of project? |
| Beau L’Amour | Ah oh yeah um i i think i think writing everything from scratch is definitely more difficult because just writing fiction is difficult. You have to, you know, it’s a hundred percent you, you have to, you have to come up with every single thing. And this was a ah big complicated book. not Not that No Traveller Returns doesn’t have its complications, but its structure was pretty much set by what my dad had been doing. |
| Beau L’Amour | And in this case, it was a, you know, it’s a big international sort of spy thriller, adventure thriller with car chases and shootouts and, a character that has to be believably incredibly intelligent, which means I have to, you know, I’m not incredibly intelligent, but luckily I have time. you know, i can i can be I can be slightly intelligent over the weeks and months that it takes to make a character seem like they’re being extremely intelligent in a short compressed period of time and and things like that. |
| Beau L’Amour | And so it I would say this is this is considerably considerably harder than the going in and doing a ah really kind of deeply involved revision rather than kind of a complete recreation. |
| Sarah | So you were talking about how Skyring Water is a departure from the Westerns that fans of your father would know him for. um How do you think that those fans will respond to this book, this this version of the book that that you’ve produced? Or are you looking to reach other readers and introduce them to your dad? |
| Beau L’Amour | I would definitely say both, but I think that his fans will respond to it quite well. They they loved Last of the Breed, which was a kind of a Cold War thriller, which is very much what this is. And I think if you if you liked the Last of the Breed, hopefully you’ll like this. this is a I think Last of the Breed was kind of an unconventional Cold War thriller, whereas this one is definitely more, you know, |
| Beau L’Amour | you know Ken Follett, Frederick Forsyth, John le Carre, you might even, maybe even Ian Fleming style style work, but ah that you know if they’d did if they’d accept the one, hopefully they’ll accept the other one with no with no trouble. |
| Beau L’Amour | I wish I had more Westerns for them. I had a i had a guy write me just irate. He was so angry. you know It’s like, “you’re doing No Trave;ler Returns and don’t you understand that the fans really want Westerns?” |
| Beau L’Amour | And you know my attitude my attitude was sort of like, um I know that. And so for the last 38 years, I’ve been doing everything I can to get you all the Westerns. It’s like, don’t you realize the reason that you’re feeling this is a departure is I front loaded all the Westerns because I know that’s what everybody wants. um And now we’re now we’re down to this. And the an interesting thing, just to jump in here and tell you maybe the most the most interesting thing about Skyring Water. |
| Beau L’Amour | No Traveller Returns, even though it wasn’t published, was my father’s first novel. the A bare bones version of the plot of Skyring Water appears as like a C or a D level plot in No Traveller Returns. |
| Beau L’Amour | And so in a way that this story appears in the very beginning of his career, it emerged just as he was beginning to become successful around 1960, or even I would say slightly successful in 1960, it appears at the height of his success in 1986 or 87, whenever it was that we were talking about it. And now it’s very likely the last Louis L’Amour novel. |
| Beau L’Amour | And so it has this incredible lineage that literally starts at the beginning of his career, and it reappears in this very complete form at the end of his career. |
| Brook | Oh, I love that. I love bookends. We talk about this a lot. Like I love a good and that’s just like such a nice, I mean, it’s a story that that’s a wonderful story. So I think that’s great. |
| Sarah | Yeah, I love that. |
| Brook | One thing that you said, Beau, that I would love to maybe discuss a little bit is the amount of research that you did for this book, but then it, according to other things I’ve read that you helped your dad do for his books. And I think there’s a misnomer about genre fiction that, there’s not a lot of research that goes into it, right? They just like say whatever they want to say. And I really like the fact that you’re pointing out that that’s not true at all. And there’s a lot of research and um and to make a world be real and factual and that that was something that was important to your dad and then also to you. |
| Beau L’Amour | It was very important to my dad. My dad had still still has, it still exists at my mother’s house, a private research library of over 20,000 volumes. He researched extensively. He did not necessarily research to check his details. A lot of his research was for inspiration. |
| Beau L’Amour | And so in this particular product, a product project, it was a product too, um i I did quite a bit of research for inspiration and to kind of learn the general sense of the world. One of the, so this story is set in 1960. So I set this story around the time my my dad set the set the novel down first in in print. |
| Beau L’Amour | And it’s a tricky thing because you know you can write a Western and you can research the heck out of it. But at the end of the day, there isn’t anybody alive who’s sitting there going, “No, I was, I was actually there,” you know, and it’s a little spooky when you’re doing something 1960, 1961, this is about the time I was born. |
| Beau L’Amour | And there were, there are definitely people still alive who were, who were there at that time and remember it exactly yet at the same time, it’s quite a ways in the past. And it And it’s a time period when there was an awful lot going on in the world. I mean, I picked it as one of the high points of the Cold War. That’s one of the reasons I wanted to utilize it in this particular in this particular story. |
| Beau L’Amour | And so it it demanded a lot of of going in and researching. And I mean, I even spent a good deal of time um thinking about, let let’s say, every line of dialogue and saying, is this is this a word that was actually being used this way at that time? and Or would it would it be some would there be some other way of you know of talking of talking about things? And there’s all the technology there’s there’s lots and lots of technology in the book. It’s ah it’s a it’s a fairly technical book. |
| Beau L’Amour | um I think but I think in in a moment, I want to I want to read the flap copy for you so that your your listeners have at least some kind of a sense of like what what story where what kind of a story we’re talking about if they haven’t read it. But ah towards the end of the story, it turns into like the ultimate locked room caper. The characters have to break in to a sealed, submarine that is pressurized, that’s full of air on the bottom of the ocean, okay, and they can’t flood it. |
| Beau L’Amour | So there are some very distinct technical issues that had to be dealt with, and I had to learn everything about submarines. um But if you’re going to hit your reader with this mass of technical information, that’s not I’m not trying to download the technical information or make it uh, you know, make it just technical and boring. It’s what the the challenges, the places where we get the the stresses and the suspense is how are they going to pull this off and what could go wrong as they do the different things that they have to do to make this work. And, and so that becomes fairly technical. |
| Beau L’Amour | You can’t just jump an audience with, you know, 400 pages in all of a sudden you’re going to give them like 60 pages of intense stuff like that. You have to front load it with other things. So it is front-loaded with other things. There’s technical information on things scattered throughout so that it doesn’t become this sort of thing that blows up on you as you get towards the end. Now, with with any hope, I have also utilized those things so that those some of those technical issues are challenges that the characters have to get over. They are the… You know, that’s the they’re that they’re literally at sometimes the ticking bomb under the table that has to be, you know, that has to be solved by the characters. This is a suspense story, of course. But anyway, having said all that, um let me let me like read you the flap copy so at least somebody who hasn’t hasn’t read it has some idea of what it is. So here here we go. |
| Beau L’Amour | Louis and Beau L’Amour present a collaboration across time, an epic novel of Cold War suspense A pair of unlikely heroes, a woman without a name, and the undefeated agents of the Third Reich find themselves locked in a deadly race to control the greatest secret of the 20th century. |
| Beau L’Amour | It is 1961. The world is on the brink of nuclear war. Empires are crumbling. Walls are dividing nations. And in Barcelona, chaos is um unleashed when a rogue officer of the East German Stasi attempts to blackmail a pair of struggling arms dealers. The Secret, 30 tons of stolen gold hidden in an icebound wilderness at the end of the world. Mike Fowler is a former Navy salvage diver and OSS assassin. |
| Beau L’Amour | Anton Voss is an expatriate German scientist whose past grows darker the closer anyone looks. Once they might have been enemies, yet the two share an inseparable bond. They have saved each other’s lives. But all of that is put at risk when Mike discovers Anton standing over a midnight visitor with a gun in his hand. Now they are on the run and allied with gangsters pursued by the CIA, Israeli intelligence, and a shadowy cabal bent on creating an invisible empire. |
| Beau L’Amour | The trail leads from the rain-soaked docks of Marseille to the futuristic towers of Caracas and the ruins of a secret island laboratory in Argentine Patagonia. The only way for Mike Fowler to save his oldest friends and the woman he loves is to unlock a decades-old mystery buried in his partner’s Nazi past before it destroys them all. |
| Brook | That’s great. And as our listeners can hear from that description, this is an action packed, like never let up there. You know, the suspense just continues to build and build and build as you read this story. So thanks for sharing that. |
| Beau L’Amour | You’re very welcome. |
| Sarah | I think I’m correct in this, that your dad’s bio suggests that he was a discovery writer. So he and you mentioned, I think you mentioned that, that, you know, he did a bunch of research, but um maybe didn’t plot everything out. How does that compare with your own approach to writing, particularly this story? You already had something that had been drafted. |
| Beau L’Amour | it’s It’s a little bit complicated because dad really was a discovery writer, but he he did plan things to a certain extent. The plans were generally kind of rough and a lot of times he didn’t follow them. I think that’s a good, that’s always a good thing. I’m gonna say something very similar here in a minute. um And a lot of times, and he didn’t rewrite much and he would he would often start a story and rewrite. |
| Beau L’Amour | started a story over and over and over and at some point something kind of magical happened and it just took off and from that point maybe two to four or five chapters in um he didn’t he he never looked back and uh so some stories the ones he was struggling with more he tended to do more outlining do more writing a synopsis, things like that. I have plenty of examples of that if anyone wants to read them in the Louis L’Amour’s Lost Treasures series. |
| Beau L’Amour | um You can see exactly what he was working on and when and how he was doing it in that. In my case, I took ah the novel that my dad wrote, if you took the current version of Skyring Water and you broke it into five acts, the novel that my dad wrote mostly takes place in Act 4. |
| Beau | So so I added a great deal to the beginning of the story. I added some to the end. I got into the characters’ backgrounds quite a bit. I upped the stakes quite a bit. um There were a lot of things like that that took a good deal of planning. So generally when I work, I like to try and find a I like to have some idea of what’s going to happen at the end. |
| Beau L’Amour | So I know what target I’m shooting for. um I really like to find a midpoint, which is, I always feel this is the place where the story hinges. you usually go from one set of values, a the characters think they’re pursuing one set of values, and then there’s this sort of crisis point, and then they realize that they’re actually going after something else to not below the to not below the story of Skyring Water, I’ll use E.T. as an example. So in Steven Spielberg’s movie E.T., at first the the kid is sort of treating the little alien like he’s a pet almost, a pet or a friend or something of the sort, and not really respecting E.T.’ ‘s autonomy in the way that he will have to afterwards. |
| Brook | Thank you. |
| Beau L’Amour | At a certain point, he discovers that E.T. has to go home or he will die, and then the values are changed and the kid now, instead of cementing a friendship with this little being, he has to let this little being go. |
| Beau L’Amour | He has to help this little being escape. Okay, so there’s there’s this value change at the at the midpoint. It’s very, very common in in literature. And I like to get that i like to get that nailed down. |
| Beau L’Amour | And once I have that, I kind of have a beginning, a middle and an end. um I will outline things more severely than that, but it’s It’s often very positive and very exciting when the story starts to depart from the outline, which sometimes it just it just does. |
| Beau L’Amour | okay um in Skyring Water, I think the first point where things started to diverge diverge from the outline, I have my main character who’s trying to get away from these people who came after him and his and his partner. And the people who are pursuing them are a bunch of ex-Nazis who have set themselves up in very prestigious roles in the world of 1961. |
| Beau L’Amour | And the place he goes to get away is Israel, place where Nazis are really can’t can’t follow you. Great. Well, once I got there, all of a sudden, all these different, ill I was sort of like, wow, I’m like, I’m like come quite a ways into this story. I’d better drop some hints about what it’s really about, what the the secret behind the secrets are, and and how am I going to do that? and And so he’s also got a a love interest who is a Mossad operative, a lady spy for the Israeli Secret Service. And so she’s somewhat involved in that, and her superiors are kind of involved with that, and they kind of catch him and release him so that they can they can track him across the world and he has to has to get away from them and do various other things. And so it had, at first it had just been, oh no, I’m going to go to Israel to get rid of the get rid of the guys who are chasing him. And then all of a sudden I was sort of like, wait a minute, I have all these other things I can do. And when you see something like that happen, it just opens up this this wonderful, you’re in the position of the character |
| Beau L’Amour | And you know you have to solve, I mean, Lord knows nobody’s shooting at you or anything, but you’re sitting there on paper and you’re saying, I have to solve all this person’s problems and I have to solve them in ways that um you know get him out of the trouble that he’s in, but hopefully get him in more trouble because that’s what makes a great story. So I would say I work with a good deal more structure, but I’m pretty flexible within the structure. |
| Brook | That’s great. So speaking of all those multiple locations, I think you’ve kind of discussed this because you said your dad’s, ah the nugget that you worked from was kind of in that fourth act. But how many of those locations, because this is definitely international um an international story, how much of that existed in your dad’s work? And then how much did you expand the the traveling and the the escapades? |
| Beau L’Amour | My dad’s story took completely took place in Chile. And so my story starts in Barcelona. It travels to Marseille and then Tel Aviv. There’s a flashback to Alexandria, Egypt at the time of the Suez crisis. It comes back to the present. It goes on to Rome as he’s trying to get rid of the now the Israelis who are following him. |
| Beau L’Amour | And then briefly to the United States to Caracas. Venezuela to San Carlos de Barloche, Argentina, and then into the Chilean coast material that my dad, my dad had. And so I, you know, spent a good, I spent a fair amount of time in, in Barcelona, I have yet to be to Tel Aviv, but had lots of friends who could tell me all about it. |
| Beau L’Amour | My had a couple of a couple of friends who grew up in Cairo, not Alexandria, but I knew some i need some backgrounds and need some background there. We had a really very close family friend who was one of the architects who built up the kind of modernist wonderland that was Caracas in the 50s and 60s. |
| Beau L’Amour | And so I really I really wanted to, because it’s such a hellhole today, I really wanted to produce a ah picture of what of what Caracas was when it was like at its and its absolute prime, because it was definitely like the city of tomorrow. |
| Beau L’Amour | And San Carlos de Baraloche is this beautiful kind of alpine village in southern Argentina that looks like a ah grandiose version of Bavaria or Switzerland. And it’s a place that’s been settled by Germans from from the long before world war one actually and is also the place where you know if you’re writing a book like this and there’s actually a real crazy German scientist who has a secret island laboratory I mean he’s like this is the person that the that the cliche came from all right you know it’s like well you have to go there and use it yeah you can’t you can’t you can’t ignore that. |
| Beau L’Amour | A lot of the things that I tried to do in this story is to set a thriller in what I kind of jokingly call the Nazi diaspora, the places where the Germans fled to after World War Two and did different unique things. And I tried to also touch on the interesting German history that happened in those in those various places. So that was an interesting thing about San Carlos de Bariloche as a moment where they’re kind of crossing the river from Uruguay to Argentina and they kind of sail over where the wreck of the battleship Graf Spee, a German battleship was, for a brief period in time. |
| Beau L’Amour | The character is carrying a ah particular pistol that is, there is this almost certainly apocryphal story that this these particular Argentine pistols were actually manufactured from the Graf Spee. And so there’s this kind of layer after layer, a lot of the ah lot of the end of the story, the Chilean end of the story takes place ah utilizing kind of a treasure map that was created by the Germans between the between the wars. |
| Beau L’Amour | And Germany really did kind of go crazy mapping certain places in the world. And Southern Chile was one of them because they felt that their only hope to countering the power of the Royal Navy was to know and understand certain areas where they could hide ships, or they could put supplies, or they could escape if they had to. |
| Beau L’Amour | And so instead of having a great big powerful navy, their choice was to know every single every single solitary detail about certain areas of the world. And so they hide a particular they hide a particular treasure in a place that on all of the normal maps, and And I’m actually referring when i’m when I’m talking about this, it’s like the characters in the story are using some of those normal maps that are maps my father actually had that show that the place where they ended up end up hiding this treasure, um it looks like it’s in the middle of an island on the regular maps, but it it isn’t. |
| Beau L’Amour | If you look at it on like a satellite produced map today, there are actually these deep fjords that cut up into into this particular island. So it is it is a sunken a sunken treasure in a place where it looks like there’s no no water on the traditional maps. And so I tried to deal with all kinds of interesting stuff like that to just keep thematically recycling the same same idea over and over and over. |
| Brook | Very interesting. |
| Sarah | The whole process sounds like it was really fascinating. And, and it sounds like you really enjoyed yourself. um So what’s next for you? |
| Beau L’Amour | Um I really, really did enjoy myself. It was a great it was a great project. um Next is going to be my dad’s biography. Next is really a lot of cleanup from all the all the business that kind of had to go on hold while this is happening. And the the publishing industry is in incredible disruption right now. So a lot of my job is to really stay on top of what’s happening in publishing and make sure that our entire catalog is doing whatever it can do is in as healthy a manner as it can do it. So I have a good deal of catch up there. And then the next writing project will be a biography of my father. |
| Brook | Well, that is great. Thank you again so much for joining us today, Bo. Would you be so kind as to share how our listeners can find you and um and your newest book, Skyring Water, and then of course, anything else that that you’d like to share? |
| Beau L’Amour | Well, Louis L’Amour in general is available across social media. So Instagram, you know, things like, things like that, a Facebook, same same thing. |
| Beau L’Amour | But if you went to louislamour.com, that’s the website that has a great, it’s sort of like the online museum of Louis L’Amour and we sell all the books and, you know, everything, everything Louis is there. And there’s also a ah connection to all of our other websites that go more deeply into individual projects um there is a specific website for skyringwater.com uh for Skyring Water which is skyringwater.com so if you want to look into that and uh i would say that would be the best place to uh you know to go to look at this story and louislamore.com is probably the best place to go to learn everything you can about Louis. |
| Sarah | Great. Thank you. Thank you again for for joining us. I think this has been a really interesting conversation and and I feel like um I can just hear how like how much you enjoyed this work. |
| Beau L’Amour | It was blast. |
| Brook | Absolutely. And I think that comes through in the book as well. And so thank you, Beau, for joining us today. And thank you listeners for being here on Clude in Mystery. But for today, I’m Brook. |
| Sarah | And I’m Sarah, and we both love mystery. |
