Q&A: Trilina Pucci, Author of ‘One Killer Night’

We chat with author Trilina Pucci about One Killer Night, which is a sexy slasher filled with dark family secrets, classic horror tropes, and banter as sharp as a deranged killer’s knife.

Hi, Trilina! You started independently publishing in 2018 but now you’re debuting as a traditionally published author with ONE KILLER NIGHT. How did you get your start in writing and why did you decide to make the switch?

My villain origin story is slightly embarrassing because it’s the kind of thing that should only stay in the chat.

Before writing I was a dance teacher, but my body really wanted to be a retired dance teacher. One night over a few bottles of wine with my best friends, I had an existential crisis…as one does…about what the next era of my life looked like. A list was born on a bar napkin (I wish I still had it) of all the things I was good at. My new future, if you will.

First on the list was yapping…I’m a talker. Or as I like to write on the resume, a modern-day storyteller. But when one of the girls said, “You should write a book.” Another generously pointed out that I’d never have the patience to finish it.

From there, my start was born from sheer pettiness. And my success from karma. This new switch to traditional publishing was the result of wanting to spread my wings. I love independently publishing, but I wanted the opportunity for my voice to reach places I felt I couldn’t achieve alone. And truthfully, what I didn’t anticipate was how the collaboration with an editor is unmatched in the creative process. I absolutely love it. This is the best book I’ve ever written.

Your novel blends romance, comedy, and psychological suspense—what inspired you to mix such seemingly opposing genres into one story?

I can never write the same story twice, it feels creatively stifling. I’m always looking for new ways to make a story feel fresh for me and the reader. Back in 2023, a colleague told me I should be writing rom-coms. I’d never thought about it before, even though in life I’m always making jokes. But I thought being funny in person is one thing, on paper’s probably a different beast. She kept lovingly pestering me, so I finally caved and did a series of erotic rom-coms, except I combined it with a very popular trope from the dark romance world. I think it was a shock to everyone, including myself, how popular they became, so when I started brainstorming new ideas, I was already a lock for comedy, but I wanted to explore more tropes/themes and genres I could play with to create interesting and fresh stories for readers to enjoy. I’d read a very funny book by Grady Hendrix, followed by a thriller by Frieda McFadden, and when I finished, I thought…what if I made a dark, sarcastic thriller and added spice? And there was the birth of ONE KILLER NIGHT. Well, that and like a multitude of other factors.

Now that you introduced it, what are some other factors that inspired One Killer Night?

Well, music is the most prominent. I think it’s something that comes from my days of dancing and creating choreography. I couldn’t listen to a song without creating movement in my head. And I swear I remember the day that changed. I was stopped at a red light when a Taylor Swift song came on the radio, and instead of choreography, I thought of a whole book plot. It was the same for ONE KILLER NIGHT, I had this playlist of old eighties songs, and These Dreams by Heart started playing while I was cleaning my bathroom. Goldie and Noah’s whole meet-cute played out like a movie. Outside of music, I love all things “scary movie.” Now, do I watch with my eyes covered? Sometimes. But I love them, especially the Screams and I Know What You Did Last Summers of the world.

We know you write spicy romance but what scenes outside of the bedroom are your favorite to write?

I love tension and the anticipation of will they-won’t they kiss. But my absolute favorite thing to write is the declaration of love. It’s everything. These people (I know they’re fake) go through hell and then, in this magical moment that feels like all the stars align, throw absolute caution to the wind and decide to do the scariest thing possible- fall in love. And better yet, they announce it in a way that buckles the knees and makes us all believe that it’s all we ever need in life. That moment is like sustenance for me. And I think I love it because I know that we as readers are all collectively having the same experience, we’re not just rooting for the people on the pages. We’re rooting for love and each other to all feel, be, and give it.

That being said, my favorite scene in ONE KILLER NIGHT involves Goldie, the rain, an open front door, and a stranger standing in it holding her cat. It’s so creepy that I scared myself writing late at night. But it’s my favorite because it was an idea given to me by my oldest daughter. She came into my office one day with the premise and said, “Do you think that’s cool? Would that be good for your book?” Even if it was awful, I would’ve found a way to include it, but luckily, she’s one of the most creative and interesting people I know.

Are there any characters from ONE KILLER NIGHT who were easier to write than others?

I love them each for different reasons, but I love, and I mean love, a good side character. In this book Evie and Chase were comedic gold and helped juxtapose the scarier elements. But if I had to choose between them, Chase was the easiest. His dudebro humor made me laugh while I wrote, and I loved his bromance with Noah. Although bromances are typically something I love, including because I like modeling healthy relationships between men who have a solid emotional vocabulary. And not just for women to read, I have a fair number of partners and men who read my rom-coms as well.

So, if those characteristics are important for your heroes, what qualities are imperative for your heroines?

Listen, I’m a girl’s-girl and I support women’s rights and wrongs. But when I write my heroines, I try to represent how we see ourselves, not make her an idea utilized to highlight some aspect of the hero’s character. Ideas like promiscuity or over-emotionality come from a patriarchal viewpoint. We see ourselves as strong, smart, capable, as well as sometimes fragile, unsure, and feeling. Women are whole beings. So, I write them that way. Goldie is in control of herself, her mind, and her narrative. She’s not weak, so he looks strong. Or apologetic about her decisions for herself. She’s a woman who’s looking for an equal partner, not to complete her but to complement her life.

Which authors, films, or pop culture moments shaped your voice in this genre mashup?

I love this question because I’m a pop culture connoisseur. I’m a huge scary movie fan, but I typically stick to the unholy trinity: Jason, Michael, and Billy Loomis, with a hard mention going to Ben Willis. So those movies played a huge role in how I saw ONE KILLER NIGHT play out. I mean, I still think about the scene with Sarah Michelle Gellar when she wakes up and all her hair’s been chopped off. I’m also a kid of the nineties, so everything I write flirts with that period, has a kind of grunge appeal.

Since you seem to fall in love with your characters, do you pre-plan your side-to-main transition or does that play out while you’re writing?

I always plan it out, but sometimes the writing changes the outcome. I’ve written books where I was hellbent on writing a book for one of the brother’s but when I finished, I was just done. And much to readers’ dismay, he never got a book, but I think you have to know when a story is done. I  don’t want to milk it for the sake of trying to make the good times last. It’s only a good time because it’s not overdone. That being said, Chase and Evie get a book.

An author recently went viral for talking about writing their books on their iPhone. What’s your writing process?

I’m terrified to answer, but yes, while I don’t write on my phone, I do dictate on it. And if you’re wondering how that plays out, I’ll tell you. It’s basically me holding my phone to my mouth, kind of like my mother does when using her speaker every single time she goes grocery shopping, but that’s my trauma, so I’ll keep it to myself. I, however, pace in my office acting out the entire chapter, talking to myself. The only prompts I use are “next line,” so it’s not a total stream of consciousness on Pages, but it is a live play because when the characters are mad or excited, I am too. It comes in handy when the narration begins because I’m able to provide very specific notes for how each character speaks. Honestly, at this point, someone just mail me my Oscar.

Do you have any quirks or must-haves on hand when you’re writing other than a good pair of sneakers?

I chew through gum obsessively and obnoxiously, but it helps me think. I also like to snack a lot, so if Swedish Fish or Lifesaver gummies want to give me a brand deal, I’m all in. Other than that, it’s just a solid pair of noise-cancelling headphones, and a ton of daydreaming usually does the trick.

What’s your least favorite question to be asked as a romance author?

How do you find time to write with a busy household of three active kids, two dogs, and a husband? But inevitably, it’s usually at the top of the list. The answer is to marry a feminist. Shout-out Anthony.

Your main character is charming, troubled, and dangerously relatable. How did you go about creating someone readers will both root for and question?

You make him as real as possible. People are flawed and make poor decisions all the time, but in the end, if I give the reader enough goodness lurking inside, enough potential to hold onto, they’ll root for him. Flaws just highlight how sometimes in our own lives we’re the main character and other times the underdog, but in the end, we all want to succeed. It’s not different for fictional people.

Dark humor plays a big role in your writing—how do you strike the balance between laughter and unease without losing emotional depth?

I spend the most time on this particular issue. Crafting a joke that plays well during a harrowing situation for the sake of levity or interjecting dark humor in a completely inappropriate time because that’s when the reader would have the same thought is hard. I think the balance you have to strike is making the character speak and act the way people really do. We all make jokes when we shouldn’t, when we’re scared or sad, and it doesn’t erase the emotion; it just acts as an observation of the absurdity of life. I aim for the reader to have moments where they read something that they just thought of themselves. Because if it’s real, then dark humor just becomes relatable.

Rom-coms usually promise happy endings, while thrillers don’t. Which side wins out in your story, or do you find a way to cheat the system?

Definitely romance. The community has spoken, and they want a happily ever after. That doesn’t mean it won’t be bloody, and people won’t die…but at least two people end up happy.

What personal fears or fascinations found their way into this book, intentionally or not?

I can’t write scary scenes at night. That’s the trauma I’ve left with. I would find myself looking over my shoulder in my office because I’d be so in the zone that day would drift into night. Suddenly, I’d be shrouded in darkness typing away, but when I’d look up from my computer screen, my eyes took too long to adjust, and I’d always freak out and scramble for the lights. I don’t know who I thought was waiting for me in the dark, but I wasn’t waiting to figure it out either.

If readers take one thing away from your book—beyond being wildly entertained—what do you hope it is?

Cowardice never serves you. There’s always strength in numbers. And love conquers all.

Will you be picking up One Killer Night? Tell us in the comments below!