Bookpleasures.Com extends a warm welcome to Tim Reuben, a veteran civil litigation attorney and world traveler, joining us to discuss his debut novel, Tequila.

This first book in a multi-generational saga follows the Ramirez family’s dramatic rise from humble agave farmers to the pinnacle of the global spirits industry.

Today, we’ll be diving into the novel itself to explore its compelling themes of ambition, family loyalty, and the dark side of power and corruption.

We’re excited to have you with us, Tim. Let’s begin.

Norm: Tequila jumps between historical chapters and present-day narrative. What made you choose this structure?

Did you write the historical sections first to establish backstory, or did you interweave them as you wrote? Which was more challenging?

Tim:  I designed the structure of Tequila—moving back and forth in history-- to enhance the drama and also to keep the reader continually interested. 

The backstory of the Ramirez family and their company RAM is important and reinforces the themes of family loyalty and external challenges.  

Some of that backstory was already planned as I wrote and other parts just wrote themselves.   And what is challenging is starting the story—whether it be history or in the present.  Once I get started, I find the writing just runs. 

Norm: The Ramirez family history is steeped in violence from the very beginning. Was this intentional to show how violence becomes normalized across generations?

Do you believe the family’s later criminal activities were inevitable given their violent origins, or were there turning points where different choices could have led to a legitimate business?

Tim:  Mexico has long had the challenge of violence from the drug cartels, and it would be unrealistic to think that would not be an inevitable factor for Sotero to deal with. 

But that the family stood up to violence in various ways—that’s what’s important and a fundamental concept of the book. 

Of course, they did so at significant cost.  Violence also enhances the intensity of the story.  

As to later criminal activities, that was primarily Miguel, and he is the symbol of absolute evil.   He could not be depicted other than as involved in multiple criminal activities. 

Norm: The Trust document plays a crucial role in controlling family behavior and succession. What inspired this plot device?

Did you base this on real family trust structures you’ve encountered, and how much legal research went into creating its specific provisions about criminal behavior and disinheritance?

Tim:  All of my legal history inspired different aspects of the novel, so of course I have encountered Trust documents that were onerous or unduly controlling, even unenforceable, but everything in Tequila is entirely fictional. 

The Trust provisions about criminal behavior and disinheritance came from Sotero’s horrible experience with the drug gangs—he wanted to preserve his family company and never let criminals control it.     

As to legal research, after 45 years of practice, I did not need to do that, but I did do lots of other research on all kinds of topics, and that part was fun.

Norm: Miguel is portrayed as irredeemably evil from childhood—torturing animals and ultimately becoming a murderer. Why did you choose to make him so purely villainous rather than more morally complex?

Was the artificial insemination backstory for Miguel meant to suggest nature vs. nurture, or was it simply a plot device to explain Marta’s third pregnancy?

Tim:  Miguel was the second pregnancy, Thomaso the third.  And yes, that Miguel just comes out a sociopath is explained in part by his uncertain lineage—we don’t know anything about his biological father.  

I do want to suggest his behavior is due to “nature.”   And I wanted to make Miguel pure—no moral complexity. 

I believe as an author that I should depict GOOD and EVIL in such a way as to leave no ambiguity. 

I want to encourage the reader to identify and even strive to be more like the GOOD (Maria, Sotero, Brian), and to shy away from EVIL and find it abhorrent.  

The problem with morally complex bad guys is you might sympathize with them or find some excuse for their behavior, and I don’t want that.  

Remember “Ming the Merciless”?  Or Hannible Lector?  Pure evil makes the best BAD guy.

Norm: Nora Ramirez’s murder is brutal and detailed. What was your reasoning for having her die relatively early in the narrative rather than being rescued?

Did you consider alternative storylines where she survived, and how would that have changed the book’s trajectory?

Tim:  Nora was Miguel’s first murder, so it really solidified who he was and the direction he was going.   

Yes I considered not killing Nora—she was a great character and I think many readers will feel they have met someone like her.

But I decided this was more dramatic than the alternatives and a powerful point in the novel—I also immediately went to a violent part of Ramirez history immediately after her death. 

A lot of the prior chapters were introducing characters, so I wanted to get right into action.   I think if you get to this point in the book, you will want to keep on reading.  

Norm: Brian and Maria’s romance blooms in extreme circumstances on a deserted island. How did you balance the survival story with developing their relationship?

Were you concerned readers might find their romance unrealistic given that Maria’s family essentially tried to murder Brian?

Tim:  No—it was Miguel who tried to kill Brian, and he tried to kill Maria at the same time. 

And that Maria fell in love with Brian was signalled early on—in fact, inevitable.  She was immediately attracted to him, not just because he was handsome but she admired his talent as a lawyer and opponent.  

That he was her adversary added to the attraction and sexual tension.   But then I had them literally saving each other’s lives and working together to fight for survival.  

Those experiences create a depth of love that is rare and special, which many couples never achieve, and if they do, it’s because they went through serious challenges together, each supporting the other.

Norm; Marta evolves from victim to vigilante to business mogul. Which version of her character was most interesting for you to write?

Do you see her as ultimately heroic or as someone whose moral compromises enabled her children’s worst behaviors?

Tim:  Gee, I liked writing it all.  But what I wanted to show was that Marta—forged by the pain of losing her mother violently—was prepared to do whatever was necessary to achieve her father’s goals. 

She had to fight the gangs for RAM to survive—it was not a choice.   And as a parent, you can’t control what your child becomes. 

In Marta’s case, she made some bad decisions, but she thought it was what her father would have wanted. 

Remember that Marta’s morality is not yours or mine—it’s about family and RAM and fulfilling her father’s wishes.  Violence by itself was just forced upon her and necessary. 

Norm; How much research did you conduct into actual tequila production and the industry’s history?

Are any elements of RAM Industries based on real companies, and did you interview people in the liquor distribution business?

Tim:  I have toured distilleries and wineries many times over the years, but I did plenty of extra research about tequila production anyway, much of which reinforced my existing knowledge.  RAM is entirely fictional.

Norm: Tomaso appears to be on a redemption arc by the end, bonding with his daughter Jocelyn. Do you believe he deserves redemption?

Will his character find genuine redemption in future books, or is this series a standalone?

Tim: No he did not deserve redemption.   And maybe you have not read the end?  Tomaso makes a slight turnaround but ultimately chooses a selfish course. 

But there are future books, one of which I have already written and will soon go through editing.  Another is on the drawing board.  All are Brian Youngman novels. 

Norm: As the plot involves complex legal issues—divorce law, criminal law, international kidnapping—how did you ensure accuracy?

Did you work with legal consultants? Were there any legal elements you simplified for narrative purposes?

Tim:  After 45 years handling all kinds of cases, I did not need much, but I did talk to a couple of other lawyers to ensure that I understood some things.  And yes, the legal material is greatly simplified.

Norm: Miguel’s involvement with cartels through Javier adds another layer of criminality. How important was it to show the liquor industry’s darker connections?

Did you worry about perpetuating stereotypes about Mexican business families, and how did you try to avoid that? 

Tim:  I didn’t try to avoid that.  And I don’t think Miguel is a stereotype—as you noted, he has no moral complexity and that’s not typical of people who are bad—there is usually something redeeming, but not with Miguel.  

And I think the cartels are a terrible blight upon Mexico, which otherwise is a wonderful country—great people, great food, great culture, great land, great art, great tequila.

Norm: Where can our readers find out more about Tequila and yourself?

Tim:  MY WEBSITE and  My law firm’s WEBSITE 

 Norm; As we wind up our interview, the ending of the novel leaves several plot threads unresolved—Miguel’s fate, Brian and Maria’s future, Tomaso’s trial. Is this intended as the first in a series?

If so, can you tease what readers might expect in subsequent books? Will we see more historical backstory or focus on the present-day characters resolving the crisis? 

Tim:  Yes, yes, yes and yes.   As a tease, the characters in Tequila do reappear in the sequel, albeit ten years older.   The prequel deals with Brian’s earlier history as a lawyer.

Norm: Thanks once again and good luck with all of your future endeavors

 

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