Wednesday, June 20, 2018

Yanny v. Laurel

I’ve finished reviewing the ARC proofs of Designed For Haunting and I’ve started on Ghosts of Painting Past. My life right now consists of that plus figuring out promotional events for when Designed launches October 9th. And, honestly, I’m a bit tired of it all. So I’ve decided to think about something else.

Do you all remember the gold vs. blue dress controversy awhile back? Here’s the photo that went viral and caused all sorts of discussion over what color the dress really is.

I, myself, see gold and white in this particular picture. I know some people who swear it’s blue and black. You wouldn’t think a picture would be so controversial, would you? How can that happen? you ask. Here’s an article on the science behind it all and why some people see one thing and some another.

According to it, my brain was confused and working overtime. Since my brain usually feels like it’s working overtime, I’m not all that surprised

The latest in these things appears to be the Yanny vs. Laurel audio clip that’s been going around. Listen and see what you hear:

So, which is it for you? I clearly hear Laurel and, when I was watching The Ellen DeGeneres Show, that seems to have been what the majority of audience members heard also.

Here’s an explanation of that one from CNN: https://www.cnn.com/2018/05/15/health/yanny-laurel-audio-social-media-trnd/index.html

Another explanation I read said that what you hear depends on your age. Someone processed the audio recording so you could hear both Yanny and Laurel.

None of this really matters, of course, unless you think about how witnesses to crimes can say they saw or heard very different things. Makes you wonder, doesn’t it?

Tuesday, June 19, 2018

Profound disappointment at the finish line

by Rick Blechta

Everyone likes being told a good story. They provide so much enjoyment and make the outside world melt away. If the tale really resonates with you, you might find it still in your thoughts for years. It could even have the power to change your life.

For me, it’s money well spent to buy such a book, but you don’t even have to do that if you’re a library user or if someone loans it to you. Or maybe it’s a TV show or movie. In this day and age it’s easy to just turn on one’s computer and stream it. Let’s face it, the only investment you actually need to make is your own time.

Put like everything else in existence, there’s a flip side to this coin. You run the risk of getting to the end of what you think has been a great story and the book, play, TV show has a less than satisfactory ending? For me, my immediate thought is I’ve invested all these hours for what? This ending is crap!

I spent about ten hours over the past week watching a series called The Alienist on Netflix . I was initially attracted to it because it takes place in 1896 in New York City, and I’ve always been interested in that location during that time period.

And for ten episodes, I wasn’t let down. The production had a uniformly good cast and the location shots were fabulous. (Who knew Budapest looks so much like NYC in 1896?) and the plot was pretty good. Of course a serial killer is on the loose and it’s up to the alienist (a precursor of the modern psychiatrist) to sort it all out. Everything was moving along tickety-boo until the climax. The thud as the series stumbled and fell at the finish line was nearly audible. I don’t remember ever being so let down by a story. Seriously.

I was all set this week to talk about this show and suggest that anyone interested in period crime fiction should watch it. But that has to change to, “Don’t bother wasting your time.”

Okay, folks, question time: What book/movie/TV show has provided the biggest let-down ending for you?

Saturday, June 16, 2018

Searching for Inspiration


By Vicki Delany

THE SPOOK IN THE STACKS, published on June 12 by Crooked Lane Books, is my 30th published book.  Wow! Seems like a lot.  It is a lot.


What thirty novels means, is that I’m running out of ‘ideas’.  Ah, yes, the proverbial ‘idea’.  At the beginning of my writing career I had SOMETHING TO SAY. My standalones (Burden of Memory, Scare the Light Away) discussed, in broad terms, the changing role of women and effect of events of the past on the present. The first Constable Molly Smith book (In the Shadow of the Glacier) was about forgetting the past, and asks if that is ever desirable or even possible.  The eighth Molly Smith book, Unreasonable Doubt, was about a man who’d spent twenty-five years in prison for a crime he did not commit, and asked how could that happen.

It’s not so much that I don’t have anything to say any more, but maybe that I don’t want to write about it.  So now I write cozy mysteries, which really don’t have anything much to do with the larger pictures of redemption, justice, revenge, etc etc, although they do have a lot to say about character and friendship.

Which means I am sometimes in search of inspiration. One of the ways I’ve found it is in the world of classic novels.

Case in point: My lighthouse library series, of which The Spook in the Stacks is the latest. One of the premises of that series is that the book the classic novel reading club is reading is reflected in the plot of my book.  In Reading Up A Storm, they’re reading Kidnaped by Robert Louis Stevenson.  


Reading up A Storm opens with a shipwreck during a storm, and ends with an idea to capture the bad guy taken directly from Kidnapped.  The Spook in the Stacks is set over Halloween, but because this is a light, funny mystery I didn’t want to use a true horror novel. So I hit on The Legend of Sleepy Hollow and Bracebridge Hall by Washington Irving. (Warning for those wanting to read along: Bracebridge is long, and very dull.) Two men vie for the affections of the rich man’s (grand)daughter. An idea straight out of Sleepy Hollow.



In the fifth book, Something Read Something Dead (coming in March 2019), cousin Josie is planning her wedding and the club is reading The Busman’s Honeymoon by Dorothy L Sayers.

Once I had the idea, or the inspiration, I made it my own. My books are not an attempt to recreate these classic works, but maybe just to pay homage to them.

As well as giving me ideas, they’ve made me re-read some of the world’s great books.  And that’s always an inspiration.

What's your favourite classic novel? Maybe I can use it in the Lighthouse Library series one day.

Friday, June 15, 2018

Setting and Social Issues

Yesterday in her post, Donis wrote, "Setting is important to characterization." I've been thinking about that because of a brief conversation that I had with a colleague a couple of days ago. She was talking with a group of other people and as she saw me walking by, she paused to tell me she had finished reading all five of my Lizzie Stuart novels and the two Hannah McCabe novels set in Albany. I was pleased when she said she'd enjoyed all the books -- and surprised when she said the fifth book in the Lizzie Stuart's series, Forty Acres in a Soggy Grave, had been her favorite.

If I had been asked, I would have suspected that the fourth book, You Should Have Died on Monday, would be the one most readers liked best. That book had an interesting cover, introduced Lizzie's mother, the femme fatale, moved from Chicago to New Orleans. That book got great reviews. The fifth book came out with little fanfare. I was worried that I might have offended folks on the Eastern Shore of Virginia. In the book, I'd use the real name of the location because it would have been obvious and because it was crucial to the book -- a barrier island, wildlife, farms, migrant labor, agribusiness, pollution, land-use issues.


I knew after my first visit that I wanted to set a book there. I loved Eastern Shore. I went back again as I was writing and spent another week at a bed and breakfast to make sure I was highlighting what made the peninsula unique. But the plot of my mystery was inspired by a  newspaper headline that I'd discovered from 2004, the year (in the recent past of my series) that the book was set. Starting there was probably not the best way to highlight the beauty of the setting.

In retrospect, after the book was published, I feared that I had gone too dark. Yesterday, I flipped through the book again, reading the last few chapters. I'll need to read it all in a couple of months when my editor at Speaking Volumes prepares the manuscript for the reissue. But I was curious about whether I had short-changed this literary child of mine. I think I did. It received fewer Amazon reviews than the other books in the series, but the reviewers generally liked the book. What they liked was the characterizations and the relationships.

This time around, I'm going to send Forty Acres out into the world with a hug and pave its way. I couldn't have written any other story. Setting and characters came together, and the clash was disconcerting, but important to the series. The ending was satisfying for me, and for the readers who understood it was the completion of a series arc that had begun four books earlier. Now, as I move on to the next book, the characters are in a different place in their lives.

Next stop, Santa Fe -- and that setting, too, is crucial.

Thursday, June 14, 2018

The Places We'll Write About

Here?

Or here?

I've been thinking about surroundings lately.  My own private space says a lot about me, and it's made me consider how important it is, therefore, to describe a character's environment a novel. You can learn a lot about him from the setting in which he is placed.

You know how it is when you buy a red Toyota, thinking you're all unique, and then every other car you see on the drive home is a red Toyota?  It's the same with what you think are original observations. Rhys Bowen said that when she begins a novel, she often doesn’t know the complete cast of characters, who’s going to get killed or how, or who did the deed, but she knows where the story will unfold.

The very night before I heard Rhys say this, I was reading  P.D. James’ book on writing entitled Talking About Detective Fiction, and came across this :  “My own detective novels, with rare exceptions, have been inspired by the place rather than by a method of murder or a character."    She then describes a moment when she was standing on a deserted beach in East Anglia.  She could imagine standing in the same place hundreds of years ago, until she turned around and saw a nuclear power plant, and “immediately I knew that I had found the setting for my next novel.”

Ms. James also observes that : "When an author describes a room in the victim's house, perhaps the one in which the body is found,, the description can tell the perceptive reader a great deal about the victims character and interests.

Setting is important to characterization.  Even if the murder unfolds the same way in two novels you'll have two very different mysteries if the victim is killed in a beach house in Thailand or in a prep school auditorium; if the suspects live on deep in the moors, or in Manhattan across from Central Park; if the detective lives in a fifth-floor walk-up on the south side of Chicago or in a mansion in Beverly Hills.

If Miss Wonderly had walked into Spade and Archer Detective Agency on the first floor of the Mall of America in Bloomington, Minnesota, The Maltese Falcon just wouldn't have been the same.

Wednesday, June 13, 2018

The embrace of summer days

The release date of my next Amanda Doucette mystery, PRISONERS OF HOPE, is October 2, 2018. As the date nears, the promotional machine is ramping up: the ARCS are being mailed out, the e-versions are up on Net Galley for those wishing to review it, and the publisher's marketing, sales, and publicity wings are busy making pitches to media, booksellers, and special events. But perhaps the biggest and most sustained promotional efforts are done by me. It seems every year we authors are being urged to network, blog, create newsletters, and add yet another social media outlet in order to increase our reach and visibility.


First it was Facebook, where much of my reader demographic is active, then Twitter, which I have yet to see the sense of for book promotion. It's great for breaking news, but tweets seems to have a shelf life of fifteen minutes, and even at that I sometimes wonder whether anyone actually reads them. Writers hurl book covers, brags, and review links into the great Twitter maw much as space junk is shot through space into the endless void.

Last year my publisher urged me to get active on Goodreads, so I dutifully spiffed up my profile, made a link to my blog, and opened my page to questions. Not a single question arrived. This year, Instagram is the new buzz. You'll reach a younger demographic on Instagram, I'm told. Instagram is pictures. Millions of pictures. Pictures of what, I thought. My book cover? Me doing a reading at a festival, me at my writing desk tearing my hair out? Me slouched over a bottle of whiskey? And once I've run through all those, my dogs? My breakfast? I will stick my dutiful toe into the the Instagram Universe to test the waters, but it all strikes me as a bit narcissistic.

It's also been suggested that I make a book trailer. It's easy, it's fun, check out these links... Sigh. I can see myself wasting days of my summer scrolling through photos and fighting with software as I try to put a decent book trailer together. Days when the sun is shining, the canoe is beckoning, and my favourite chaise long has an open book lying facedown on it and a wine spritzer beside it.

And then... In the midst of what should be languid, lazy summer, I have to start planning book launches and fall signings. Bookstores and venues have to be contacted, dates set, and itineraries figured out.


All this when I am actually trying to research and write the next book. Which is something I can do from my chaise long with a wine spritzer by my side. I don't mean to sound churlish, but it does sometimes feel as if I am constantly chasing the caboose. Most of these activities are enjoyable in themselves, but en masse, they could become overwhelming if I let them. So I suspect Goodreads and Instagram will get short shrift, and the book trailer might not even happen. But I will get out in my canoe, and I will read that book lying on my chaise long.



  

Tuesday, June 12, 2018

You can’t rely on your memory

by Rick Blechta

Aline’s post yesterday (as her posts often do) struck a chord with me.

For nearly 25 years, I taught school music (band aka “crowd control with a beat”) and I learned pretty early on how memory can often play tricks on you — or your students (or both).

Just as Aline experienced, I had memories of situations in my memory that I was certain were 1000% accurate. This usually involved confrontations with students (thank heavens, I was usually an observer). In the most memorable confrontation, one student pasted another right in the nose (unbelievably, they were arguing over a trumpet fingering!).

I was at the front of the class dealing with a clarinet problem. As usual in a music class, the kids were coming in, getting out their instruments and music with the usual attendant “talking and squawking”. A normal class in middle school, right?

Then I heard a loud crash and a whole lot of cursing (“You broke my $#%^@ nose!”). At first, I thought a couple of boys were getting a bit rowdy, nothing more. Then I saw the kid on the floor, holding his face and there was a whole lot of blood. The classroom suddenly went quiet. “Everybody sit down and no one talks!” I said, and remarkably, they all did as I asked.

The unfortunate boy did indeed have a broken nose. I got some paper towels, and had him lie down on my desk (fortunately cleaned off for once) with his head off the end to try and slow down the bleeding. Then I got on the intercom to the office to get some help.

The upshot was, the parents of the punched out boy wanted to press charges. I had to give a statement. I laid down exactly what happened, positive that I had it right. I was helping so and so with her clarinet, heard the fracas and looked up to see the chair with the boy in it tip backwards and so on…

Some of the other children in class were also interviewed. What I found out later was the person I was helping was an alto sax player (but she was sitting in a chair in the clarinet section at the time). The tipped over chair fell sideways (which is why the struck boy didn’t have a huge welt on the rear of his head along with the injury to the front).

Before the principal informed me about my faulty memory, I was certain I had things correct. In fact I would have put a few hundred dollars down on that.

To say the least, I was stunned. Like Aline, I could see in my memory exactly what happened so clearly. But four or five of my students remembered something completely different — and all agreed on what they saw, so I had to accept that I was wrong.

Fortunately the whole debacle ended there, charges were never pressed, and both boys became good friends in a few months, as children will do.

But I learned so strongly that day that memory is a very faulty thing indeed. In a court of law, it can be a deadly thing, too.