At two a.m. the next morning Andrew Carter slipped out of bed, where he'd lain wide-awake for the past three hours.

He glanced at the quiescent form of his sleeping wife and went to his closet, where he found and pulled on an old pair of faded jeans, sneakers, and a Boston University sweatshirt-his good-luck writing clothes, which he hadn't donned in well over a year.

He walked down the hall to his office and went inside, turning on the light. Sitting at his desk, he clicked on his computer and stared at the screen for a long moment.

Then suddenly he began to write. His keyboarding was clumsy at first, his fingers jabbing two keys at once or missing the intended one altogether. Still, as the hours passed, his skill as a typist returned and soon the words were pouring from his mind onto the screen flawlessly and fast.

By the time the sky began to glow with pink-gray light and a bird's cell-phone trill sounded from the crisp holly bush outside his window, he'd finished the story completely-thirty-nine double-spaced pages.

He moved the cursor to the top of the document, thought about an appropriate title, and typed: Copycat.

Then Andy Carter sat back in his comfortable chair and carefully read his work from start to finish.

The story opened with a reporter finding a suspense novel that contained several underlined passages, which were strikingly similar to two real-life murders that had occurred a year earlier. The reporter takes the book to a detective, who concludes that the man who circled the paragraphs is the perpetrator, a copycat inspired by the novel to kill.

Reviving the case, the detective enlists the aid of the novel's author, who reluctantly agrees to help and brings the police some fan letters, one of which leads to the suspected killer.

But when the police track the suspect to his summer home, they find that he's been murdered. He wasn't the killer at all, and had presumably circled the passages only because he, too, like the reporter, was struck by the similarity between the novel and the real-life crimes.

Then the detective gets a big shock: on the fan's body he finds clues that prove that a sergeant on the town police force is the real killer. The author, who happens to be with this very officer at that moment, manages to wrestle the sergeant's gun away and shoot him in self-defense.

Case closed.

Or so it seems…

But Andy Carter hadn't ended the story there. He added yet another twist. Readers learn at the very end that the sergeant was innocent. The real Strangler had set him up as a fall guy.

And who was the strangler?

None other than the author himself.

Racked by writer's block after his first novel was published, unable to follow it up with another, the man had descended into madness. Desperate and demented, he came to believe that he might jump-start his writing by actually reenacting scenes from his novel, so he stalked and strangled two women, just as his fictional villain had done.

The murders hadn't revived his ability to write, however, and he slumped further into depression. And then, even more troubling, he heard from the fanwho'd grown suspicious about the similarities between certain passages in the novel and the real crimes. The author had no choice: He met with the fan and killed him, too, hiding the body in the man's lakeside summer cottage. He covered up the disappearance by pretending to be the fan and phoning the man's boss and landlord to say that he was leaving town unexpectedly.

The author now believed he was safe. But his contentment didn't last. Enter the reporter who'd found the underlined passages, and the investigation started anew. When he was asked to help the police, the author knew he had to give them a scapegoat. So he agreed to meet with the police, but in fact he'd arrived in town a day early. He broke into the police sergeant's house, planted some incriminating evidence from the first murders, and stole one of the cop's bayonets and his business card. These he planted on the body of the fan at the lake house. The next day he showed up at the police station with the fan letter that led ultimately to the cottage, where the detective found the leads to the sergeant. Meanwhile, the author, alone with the unsuspecting cop, grabbed his gun and shot him, later claiming self-defense.

In the final scene, the author returned home to try to resume his writing, having literally gotten away with murder.

Carter now finished reading the story, his heart thumping hard with pride and excitement. True, it needed polishing, but considering that he hadn't written a word for more than a year, it was a glorious accomplishment. He was a writer once again.

The only problem was that he couldn't publish the story. He couldn't show it to a living soul, not even his wife. For the simple reason that it wasn't fiction; every word was true. Andy Carter himself was the homicidal author.

Still, he thought, as he erased the entire story from his computer, publishing it didn't matter one bit. The important thing was that by writing it he'd managed to kill his writer's block as ruthlessly and efficiently as he'd murdered Bob Fletcher and Howard Desmond and the two women in Greenville. And he knew, too, how to make sure that the block never rose from the dead. From now on he'd give up fiction and pursue what he'd realized he was destined to write: true crime.

What a perfect solution this was! He'd never want for ideas again; TV news, magazines, and the papers would provide dozens of story leads he could choose from.

And, he reflected, walking downstairs to make a pot of coffee, if it turned out that there were no crimes that particularly interested him… well, Andy Carter knew that he was fully capable of taking matters into his own hands and whipping up a bit of inspiration all by himself. ·