I shouldn't bore you with details of how each author came to contribute to "The Chopin Manuscript." Not that the stories are boring, but they have a similar arc: I'd write to authors I admired; they'd express doubt but agree to participate; a file would arriving at my desk by e-mail sooner than I expected; and I'd open it to find the kind of smart, twist-filled writing thriller readers demand. David Corbett showed his sense of humor by sending our protagonist on a wild ride that ended exactly where it started. Erica Spindler added a touch of New Orleans spice to the story, giving depth and definition to a character David created. John Gilstrap turned in a terrific chapter, and agreed to check the references in the manuscript to Washington, a town he knows well.

Sisters Kristy Montee and Kelly Nichols, who write their best-sellers as P.J. Parrish, killed off a protagonist, and Joe Finder, a master of action, wrote a chapter rich with back story and crackling dialogue - because it was what the story needed. Without prompting, John Ramsay Miller used his chapter to summarize the story for readers, corralling the serpentine storylines that had developed.

I've spent many hours at the Beverly Hills home of Ralph Pezzullo, the talented playwright and screenwriter who's written best-selling non-fiction books as well as novels. But to avoid increasing my load, he contacted our friend Peter Spiegelman and the two conspired on ideas for their chapters to usher in the third act. As far as I know, that's the only example of offline collaboration among the contributors, and the book profits from it.

I was delighted when M.J. told me Lisa Scottoline would be joining us. Not surprisingly, her chapter was exactly right for the book. And every now and then, she'd drop me an encouraging note. I grew to cherish them as the deadline approached.

I shouldn't pick a favor among the chapters, but I will admit that the ones written by Lee Child and S.J. Rozan gave me a special thrill. I don't know of a contemporary author who is as sharp and economical in his writing as Lee. I expected a great chapter, but how he moved our characters in time and space is astonishing. My friend S.J. Rozan surprised me when told me she was worried about her chapter. "I'm not a thriller writer," she said. While that may be true if marketing terms are the measure of how a writer is classified, S.J.'s novels burst with thrills and suspense. I thought her chapter was exactly what the story needed - so much so that I picked up her thread when it was my turn to write six chapters later. We were all pleased with Audible's treatment of our work. Steve Feldberg, the publisher's director of content, was a wise sounding board through the manuscript's development. Alfred Molina was an inspired choice for narrator, and the clever marketing program was more than we could've wished for. If you haven't visited "The Chopin Manuscript" page at Audible.com, please do so. It's a treat.

Not long ago, M.J. asked me if I'd ever consider editing another serial novel. "If I had those kind of contributors," I told her, and it's true. Their professionalism, their willingness to serve the story, and the generosity and spirit of cooperation among them made the task a joy.

Jim Fusilli is the author of four novels.  His short story, CHELLINI'S SOLUTION, appeared in the 2007 edition of THE BEST AMERICAN MYSTERY STORIES.  This year, his first novel for young adults, MARLEY Z AND THE BLOODSTAINED VIOLIN, will be published by Dutton.

Jim also is the rock and pop critic of The Wall Street Journal.  His book PET SOUNDS on Brian Wilson and the Beach Boys' classic album was published in 2005 by Continuum.