Punctuation: just small marks on a page, that's all. But it's quite astonishing what emotions it can provoke.
What is known in Britain as 'the greengrocer's apostrophe' is a particular bugbear. No one seems to know why it's such a temptation to advertise 'juicy apple's, pear's and plum's' but you can spot a few in every market with hand-lettered signs and it has spread on to shop fronts too now - 'Belle's Hair and Nail's', 'Acme Taxi's' People have been known to foam at the mouth on seeing one.
A small town in Britain hit the news recently because of the Phantom
Punctuator, who felt so passionately about it that he went round secretly in the dead of night with a ladder and a pot of paint,
removing inappropriate apostrophes and, where necessary, putting in appropriate ones. Remarkably, none of the 'victims' seemed to mind; indeed, several touchingly said they were very grateful because they'd never understood why an apostrophe needed to be there at all.
Then there's the semi-colon (see what I did there?) . I like them because I think they give balance to a sentence. I hate reading books that have a lot of short sentences. Like this. I feel as if I'm running along. And then I stumble. And fall flat on my nose.
Lots of people don't think that way so you can have a really good argument about it. And once you've stopped wrestling on the floor you can go on to debate the use of the colon.
Every so often I read a book where the author has taken against inverted commas, whether single or double. True enough, you can usually tell when someone is meant to be speaking but sometimes it takes a moment or two just to check, a moment or two that breaks the story's thread.
It's the punctuation that determines the pace of the writing. But it should be like the perfect butler - Carson at Downton Abbey, say, or P G Wodehouse's Vosper - who makes things happen so unobtrusively that no one notices he is there at all.
Writing style, of course, has its fashions. Queen Victoria never used a comma where several dashes would do, but if I'd done that in writing my weekly composition at school I'd have had red marks all over it. Now, though, dashes to mark parenthesis are having their moment in the sun, elbowing out the common comma.
Exclamation marks, on the other hand, seem now to be frowned on as rather gauche, like raising your voice and shouting at your reader, even though Salman Rushdie's Midnight's Children had an average of six per page! (I think that deserved one.)
A little while ago there was an impassioned debate in the CWA about whether it should be the Crime Writers' Association as the purists would have it, or the Crime Writers Association, which admittedly looks snappier on a letterhead. It raised strong feelings in some but to tell you the truth, I can't remember what we decided. So perhaps I'm not as passionate about punctuation as I ought to be.
Get me on semi-colons, though...
Monday, July 10, 2017
Saturday, July 08, 2017
Approaching the Bottom of the Well
By Vicki Delany
My good friend fantasy writer Violette Malan wrote at the
Black Gate blog about the age old question “Where do you get your ideas?” https://www.blackgate.com/2017/07/07/where-do-you-get-yours/
Our own John wrote on Thursday about getting ideas from the headlines.
Both of which started me thinking about that very subject. And I
have to conclude that my idea well is running dry.
Let me explain. A book is more than an idea. Sure you have a
great idea. You write it down.
That’s one sentence in a 400 page novel done. Only 399 more pages to go.
It’s everything else that happens after and around the “idea”
that makes a complete novel. All the plot points and character quirks and
sub-plots. The sort of cozy mysteries
such as I write are very much puzzle mysteries. I have to have an idea for the
general plot. An idea about how the murder is committed. An idea about where
the dead body is discovered that involves my protagonist doing the discovering.
Another idea about how the protagonist
arrives at the conclusion. Many, many ideas about the red herrings and the
secrets everyone is hiding. And last of all an idea as to where the climax will
happen and what it will consist of. (A raging gun battle through the streets or
the suspects gathered in the library?)
In my cozy mysteries, things get even more complicated when
the ideas have to suit a theme. In the Lighthouse Library series by Eva Gates,
most of the action takes place in the Lighthouse. That’s the concept. The
murder is committed there, the characters make frequent visits, the climax has
to happen there.
| Vicki Writing (not exactly as shown) |
| Vicki Reading (not exactly as shown) |
In the Sherlock Holmes Bookshop books, I’m trying for a bit
of a Sherlock angle to each story. Also challenging.
So, gentle reader, my idea well is running dry. Anyone have any suggestions for a murder in a
library?
Hey, I’ve just had an idea. I hear water filling the well.
Friday, July 07, 2017
Level of Squirreliness
Oh never mind spellcheck. I know squirreliness is not a word. It's my own term. It seems to me that we all seek the maximum level of activity we can handle without being overcome by stress. That's your level of squirreliness.
I've reached mine again. Although most of my "stuff" is related to writing, I'm also on the church finance committee and my homeowner's association board. And there's that book study I will help lead. And a number of other things that are clogging the creative flow.
No one ever tells wannabe authors about the business/busyness of writing. It's never-ending and with increased success the pressure mounts. Social media can be a soul-sucker that will drain every spare minute. I once heard a speaker say she set her alarm to wake up every two hours all night long just to keep up with emails and to respond to media opportunities. She looked like she was auditioning for the role of Morticia in the Addams family. She was also very very successful.
Many of the Type M'ers are involved with preparing for Bouchercon which will be help in Toronto this year. I'm going and so looking forward to my first trip to Canada. But I've been involved with the grunt work of conferences in the past and know the effort involved. I've developed spreadsheets, scheduled interviews, organized judging....well you get the drift. The potential for volunteer work is endless. I so admire all of you who are helping with this conference. Whew!
I love writers' conferences. They are a time of renewal. I learn something every time I attend one. I just got back from the annual Western Writers of America convention which was held in Kansas City this. Some of my dearest friends are in this organization. But I didn't get a bit of writing done. I have friends who do, including fabulously productive best-selling Kat Martin who is simply amazing and has over sixteen million books in print.
It was a pleasure to see Johnny D. Boggs receive his seventh Spur award. It's an all-time record. And this man can write!
My built-in high pressure valve is when I can't seem to find time for fresh composition. Therein lies restoration and renewal. The most joyful part of being a writer is the experience of unexpected characters showing up for a book or the ah-moment of a plot finally clicking.
I know how to fool myself that I've spent adequate time on my writing. I can transfer hand written pages to the computer or fiddle with improving a story or part of a book. And spend too much time doing research.
So it's back to reality and saying "no" and resisting any activity that pulls me away from the blank screen.
I've reached mine again. Although most of my "stuff" is related to writing, I'm also on the church finance committee and my homeowner's association board. And there's that book study I will help lead. And a number of other things that are clogging the creative flow.
No one ever tells wannabe authors about the business/busyness of writing. It's never-ending and with increased success the pressure mounts. Social media can be a soul-sucker that will drain every spare minute. I once heard a speaker say she set her alarm to wake up every two hours all night long just to keep up with emails and to respond to media opportunities. She looked like she was auditioning for the role of Morticia in the Addams family. She was also very very successful.
Many of the Type M'ers are involved with preparing for Bouchercon which will be help in Toronto this year. I'm going and so looking forward to my first trip to Canada. But I've been involved with the grunt work of conferences in the past and know the effort involved. I've developed spreadsheets, scheduled interviews, organized judging....well you get the drift. The potential for volunteer work is endless. I so admire all of you who are helping with this conference. Whew!
I love writers' conferences. They are a time of renewal. I learn something every time I attend one. I just got back from the annual Western Writers of America convention which was held in Kansas City this. Some of my dearest friends are in this organization. But I didn't get a bit of writing done. I have friends who do, including fabulously productive best-selling Kat Martin who is simply amazing and has over sixteen million books in print.
It was a pleasure to see Johnny D. Boggs receive his seventh Spur award. It's an all-time record. And this man can write!
My built-in high pressure valve is when I can't seem to find time for fresh composition. Therein lies restoration and renewal. The most joyful part of being a writer is the experience of unexpected characters showing up for a book or the ah-moment of a plot finally clicking.
I know how to fool myself that I've spent adequate time on my writing. I can transfer hand written pages to the computer or fiddle with improving a story or part of a book. And spend too much time doing research.
So it's back to reality and saying "no" and resisting any activity that pulls me away from the blank screen.
Thursday, July 06, 2017
Confessions of a News Junkie: Where does inspiration come from?
I’m addicted to CNN’s Headline News. I swore off it after they botched the election predictions so badly (and let me relax), but like every junkie worth his salt, I lasted only a couple weeks. Now I’m checking my CNN app constantly and watching Headline News daily.
If you live in the US right now, keeping up with the political landscape on the news is not just a form of entertainment (and you thought Americans needed House of Cards for that!), it’s damn scary (but a little like watching a slow-motion car crash, too). A daily (sometimes hourly) refrain of Is this really happening?
But I also find the news to be a source of inspiration. Primarily for the questions constantly raised: What would it be like to walk in that person’s shoes?
Some story ideas from recent news items:
What would it be like to be the mother of a famous killer? The Aaron Hernandez trial and suicide fascinates me. And everyone’s mother loves them, after all. Sports Illustrated did a great long-form article on Hernandez's brother, showing how the murder conviction changed his life, but the mother has been silent (for what are probably obvious reasons). Yet she has my sympathy. In a world where media coverage shows her son in one light, she, of course, sees him differently. What would she say? What would she think? How would she move on? It’s a story I’d like to write, probably a short piece.
What would it be like to be both a good police officer and a minority teen who doesn’t trust him or her? In Northhampton, Massachusetts, about 30 minutes from my home, the local police department tried to institute a program where officers would visit area schools each Friday to greet students as they entered the building. They called it “High-Five Fridays.” This was a gesture to build community relations. However, after parents raised concerns that minority students or immigrants might feel threatened, the program was disbanded. It made me think about the plight of a law-enforcement officer, especially the small-town cop. Much like the Catholic priests, the public perception has changed. What would the minority student be thinking looking at the cop offering a high-five? An interesting point-of-view for the story.
As you can probably tell, I don’t subscribe to Trump’s “fake news” theories. Regardless, I’d rather take a real story and put my own spin on it. I’d love to hear about the ones I’m overlooking. Send them my way!
If you live in the US right now, keeping up with the political landscape on the news is not just a form of entertainment (and you thought Americans needed House of Cards for that!), it’s damn scary (but a little like watching a slow-motion car crash, too). A daily (sometimes hourly) refrain of Is this really happening?
But I also find the news to be a source of inspiration. Primarily for the questions constantly raised: What would it be like to walk in that person’s shoes?
Some story ideas from recent news items:
What would it be like to be the mother of a famous killer? The Aaron Hernandez trial and suicide fascinates me. And everyone’s mother loves them, after all. Sports Illustrated did a great long-form article on Hernandez's brother, showing how the murder conviction changed his life, but the mother has been silent (for what are probably obvious reasons). Yet she has my sympathy. In a world where media coverage shows her son in one light, she, of course, sees him differently. What would she say? What would she think? How would she move on? It’s a story I’d like to write, probably a short piece.
What would it be like to be both a good police officer and a minority teen who doesn’t trust him or her? In Northhampton, Massachusetts, about 30 minutes from my home, the local police department tried to institute a program where officers would visit area schools each Friday to greet students as they entered the building. They called it “High-Five Fridays.” This was a gesture to build community relations. However, after parents raised concerns that minority students or immigrants might feel threatened, the program was disbanded. It made me think about the plight of a law-enforcement officer, especially the small-town cop. Much like the Catholic priests, the public perception has changed. What would the minority student be thinking looking at the cop offering a high-five? An interesting point-of-view for the story.
Wednesday, July 05, 2017
The Year of FPIS Revisited
In January you might remember I declared this the year of FPIS, Finishing Projects I’ve Started. Since we’re now halfway through 2017, I thought I’d report on my progress.
It pains me to admit that I didn’t immediately jump on the project finishing bandwagon. It was some time toward the end of March when I realized a significant amount of time had passed and I hadn’t finished a single project. It’s not like I was doing nothing, of course. I attended a painting convention in Las Vegas as well as Left Coast Crime in Hawaii and worked on book 4 of my Aurora Anderson mystery series.
The problem was, I think, that I hadn’t set myself any dates to finish things by. Even though I’ve been known to grumble about them, deadlines tend to keep me honest. As long as they’re not too impossible to meet, they spur me on to activity.
I’ve made the most progress on partially finished painting projects. I ditched one and completed 4 other projects that required little work. Some only needed to be varnished.
The two painting projects I’m highlighting here required more work. This bear wind chime I started in a painting class mumble-mumble years ago. Okay, it was over ten. Once I sat down, it took me only a few hours to finish. He’s now hanging in my kitchen.
This next photo is of a Christmas decoration I started in a class at the Creative Painting convention this past February. At least I didn’t wait ten years to finish it.
I also repainted the trim around the front door, the simplest of my home improvement projects. I still have numerous other painting, scrapbooking, needlework, etc. projects awaiting my attention.
As for partially done writing projects...on the one hand I don’t have as many of those. On the other, I also haven’t made as much progress as I wanted. I did find some missing notes on a short story I’d somewhat planned out a couple years ago, so I’m hoping to work on that while I’m also writing the book that’s due to my publisher next February.
Sometimes I find that the hardest part about finishing a project is making the decision to sit down and do it. That goes for writing as well, including seemingly simple things like this blog post. I often spend more time thinking about a project than actually working on it. For writing, of course, that thinking time can be very important.
Finishing projects is great for me, psychologically. I really feel a weight lift off my shoulders when I finish one. I’m hoping that, at least on the painting front, once I complete all of my partially done projects, I won’t abandon them as often and finish them in a timely manner.
What projects have you all finished lately? Do deadlines spur you on to activity or make you freeze?
It pains me to admit that I didn’t immediately jump on the project finishing bandwagon. It was some time toward the end of March when I realized a significant amount of time had passed and I hadn’t finished a single project. It’s not like I was doing nothing, of course. I attended a painting convention in Las Vegas as well as Left Coast Crime in Hawaii and worked on book 4 of my Aurora Anderson mystery series.
The problem was, I think, that I hadn’t set myself any dates to finish things by. Even though I’ve been known to grumble about them, deadlines tend to keep me honest. As long as they’re not too impossible to meet, they spur me on to activity.
I’ve made the most progress on partially finished painting projects. I ditched one and completed 4 other projects that required little work. Some only needed to be varnished.
The two painting projects I’m highlighting here required more work. This bear wind chime I started in a painting class mumble-mumble years ago. Okay, it was over ten. Once I sat down, it took me only a few hours to finish. He’s now hanging in my kitchen.
This next photo is of a Christmas decoration I started in a class at the Creative Painting convention this past February. At least I didn’t wait ten years to finish it.
I also repainted the trim around the front door, the simplest of my home improvement projects. I still have numerous other painting, scrapbooking, needlework, etc. projects awaiting my attention.
As for partially done writing projects...on the one hand I don’t have as many of those. On the other, I also haven’t made as much progress as I wanted. I did find some missing notes on a short story I’d somewhat planned out a couple years ago, so I’m hoping to work on that while I’m also writing the book that’s due to my publisher next February.
Sometimes I find that the hardest part about finishing a project is making the decision to sit down and do it. That goes for writing as well, including seemingly simple things like this blog post. I often spend more time thinking about a project than actually working on it. For writing, of course, that thinking time can be very important.
Finishing projects is great for me, psychologically. I really feel a weight lift off my shoulders when I finish one. I’m hoping that, at least on the painting front, once I complete all of my partially done projects, I won’t abandon them as often and finish them in a timely manner.
What projects have you all finished lately? Do deadlines spur you on to activity or make you freeze?
Tuesday, July 04, 2017
How a made-up person can infect a writer’s life
by Rick Blechta
My novel-in-progress (for far too long with not enough progress) is beginning to send out some scary tendrils into my life away from writing. The problem is all down to the main character’s influence.
I’ve never written somebody who’s quite the way he is: highly intelligent, erudite, a complete bookworm, and a person who has always marched to the beat of his own inner drum. It’s been a challenge to get to know him well enough to write his part convincingly (there’s a lot in the book that will have to be fixed when I go back to revise), but I now feel I’m winning the battle.
Trouble is, he’s reaching out and manipulating my life in unexpected ways.
First of all, his words reflect an impressive knowledge of the rules of grammar. He speaks the way the rules state he should which often makes his half of a dialogue sound stiff, formal — and just wrong, because of the way the general rules of good grammar are ignored most of the time. It’s giving me fits to get it correct (because it ain’t gonna be effective if I blow things with errors.
The problem is that I’m beginning to speak that way myself. Good grammar is important, but it lends one’s words a certain stiffness — or should I say snootiness — if it’s used in day-to-day chatting. More than once recently I’ve watched people to whom I’m speaking (see?) either get a glazed or stony look as I'm speaking to them. Finally, my wife pointed out that it’s the way I’m putting words together.
I’ve always been very impressionable when reading. One time my wife was reading a few chapters upon which I wanted her opinion (there I go again!).
After finishing, she looked me squarely in the eye and said, “You’ve been reading Rex Stout, haven’t you?”
“Yes. I read a couple of short stories the other night when I couldn’t sleep. Why do you ask?”
“Because your main character is suddenly speaking just like Archie Goodwyn!”
So it’s not as if this influence from my “invisible friends” hasn’t happened before. It’s just that this time it’s far more pervasive. The real issue is I’ve still got a long way to go on this book, so I’m going to have to be more aware of the way I’m speaking. I figure by the end, people will be sidling away from me or turning their backs when they see me coming.
And this is supposed to be the start of a series!
I’ve never written somebody who’s quite the way he is: highly intelligent, erudite, a complete bookworm, and a person who has always marched to the beat of his own inner drum. It’s been a challenge to get to know him well enough to write his part convincingly (there’s a lot in the book that will have to be fixed when I go back to revise), but I now feel I’m winning the battle.
Trouble is, he’s reaching out and manipulating my life in unexpected ways.
First of all, his words reflect an impressive knowledge of the rules of grammar. He speaks the way the rules state he should which often makes his half of a dialogue sound stiff, formal — and just wrong, because of the way the general rules of good grammar are ignored most of the time. It’s giving me fits to get it correct (because it ain’t gonna be effective if I blow things with errors.
The problem is that I’m beginning to speak that way myself. Good grammar is important, but it lends one’s words a certain stiffness — or should I say snootiness — if it’s used in day-to-day chatting. More than once recently I’ve watched people to whom I’m speaking (see?) either get a glazed or stony look as I'm speaking to them. Finally, my wife pointed out that it’s the way I’m putting words together.
I’ve always been very impressionable when reading. One time my wife was reading a few chapters upon which I wanted her opinion (there I go again!).
After finishing, she looked me squarely in the eye and said, “You’ve been reading Rex Stout, haven’t you?”
“Yes. I read a couple of short stories the other night when I couldn’t sleep. Why do you ask?”
“Because your main character is suddenly speaking just like Archie Goodwyn!”
So it’s not as if this influence from my “invisible friends” hasn’t happened before. It’s just that this time it’s far more pervasive. The real issue is I’ve still got a long way to go on this book, so I’m going to have to be more aware of the way I’m speaking. I figure by the end, people will be sidling away from me or turning their backs when they see me coming.
And this is supposed to be the start of a series!
Friday, June 30, 2017
Now Playing
The remake of The Beguiled looked lush and mysterious. I like the actors in the film. However, I am unlikely to see it in the theater. I saw the original with Clint Eastwood in the role of the wounded Yankee soldier. Although it would be an interesting exercise to read the novel -- which I never got around to doing -- and then see the remake, I'm sure I won't. I'll wait to watch this version one winter evening while curled up on the sofa.
I love movies, but these days -- with limited time -- when I go to the theater to see a movie, I want a film that won't play as well on my television at home. Last weekend, a couple of friends and I saw Wonder Woman.
Special effects like that require a big screen. And there are some movies that simply deserve to be experienced in the theater because they are quiet and thoughtful.
But getting back to remakes -- I don't think I would ever go to see a remake of To Kill a Mockingbird. I regretted seeing the remake of Psycho. But this in not to say either couldn't be done well. I'm just protective of movies I love. That list includes Double Indemnity.
On the other hand, there is Scarface. I have the fascinating experience of introducing undergrads in my Crime and Mass Media course to classic crime films. When I say Scarface, they say "Al Pacino". They are always surprised to learn that there was a 1932 film. First, we watch clips from the 1932 version, set during Prohibition. Then we turn to the 1983 film set during the Mariel boatlift. The city is now Miami, not Chicago. Cocaine fuels Tony's rise to the top. The Hollywood Production Code has been replaced by the movie rating system, and the movie is hyper-violent.
Or, Cape Fear -- based on a John D. MacDonald novel -- first version starring Gregory Peck as a lawyer whose family is under siege by Robert Mitchum, one of the scariest actors around. Then the remark with Nick Nolte in the role of the attorney, but now with a dysfunctional family, a wife with whom he is in conflict, an adolescent daughter who is easy prey for Robert De Niro. Gregory Peck manages to defeat his enemy without killing him. Nolte, on the other hand, has to kill De Niro, who for a moment seems to be as hard to stop as a slasher in a serial killer movie. Remember that scene in Fatal Attraction, when Glenn Close pops back up in the bathtub?
I think remakes are worth seeing when the filmmaker goes in a different direction and offers commentary for a new audience. But I am bothered by the fact that modern audiences may have less context for movie watching than theater audiences used to bring to the experience. Of course, movies are intended to be fun. But they do also offer a window into our society. And we may misinterpret if we don't know what came before.
I'm looking forward to losing myself in a few more movies before school begins again. And I'm going to be spending some quality time with TCM.
Any thoughts about remakes? What summer movies on your "must see" list?
I love movies, but these days -- with limited time -- when I go to the theater to see a movie, I want a film that won't play as well on my television at home. Last weekend, a couple of friends and I saw Wonder Woman.
Special effects like that require a big screen. And there are some movies that simply deserve to be experienced in the theater because they are quiet and thoughtful.
But getting back to remakes -- I don't think I would ever go to see a remake of To Kill a Mockingbird. I regretted seeing the remake of Psycho. But this in not to say either couldn't be done well. I'm just protective of movies I love. That list includes Double Indemnity.
On the other hand, there is Scarface. I have the fascinating experience of introducing undergrads in my Crime and Mass Media course to classic crime films. When I say Scarface, they say "Al Pacino". They are always surprised to learn that there was a 1932 film. First, we watch clips from the 1932 version, set during Prohibition. Then we turn to the 1983 film set during the Mariel boatlift. The city is now Miami, not Chicago. Cocaine fuels Tony's rise to the top. The Hollywood Production Code has been replaced by the movie rating system, and the movie is hyper-violent.
Or, Cape Fear -- based on a John D. MacDonald novel -- first version starring Gregory Peck as a lawyer whose family is under siege by Robert Mitchum, one of the scariest actors around. Then the remark with Nick Nolte in the role of the attorney, but now with a dysfunctional family, a wife with whom he is in conflict, an adolescent daughter who is easy prey for Robert De Niro. Gregory Peck manages to defeat his enemy without killing him. Nolte, on the other hand, has to kill De Niro, who for a moment seems to be as hard to stop as a slasher in a serial killer movie. Remember that scene in Fatal Attraction, when Glenn Close pops back up in the bathtub?
I think remakes are worth seeing when the filmmaker goes in a different direction and offers commentary for a new audience. But I am bothered by the fact that modern audiences may have less context for movie watching than theater audiences used to bring to the experience. Of course, movies are intended to be fun. But they do also offer a window into our society. And we may misinterpret if we don't know what came before.
I'm looking forward to losing myself in a few more movies before school begins again. And I'm going to be spending some quality time with TCM.
Any thoughts about remakes? What summer movies on your "must see" list?
Thursday, June 29, 2017
Yes, We Played in the Street
Donis here, trying to avoid sunstroke. It's been warmish in my town lately. In fact it's horrible. In the afternoons the a/c never cuts off. It's very hard to describe what it's like to step out the door into 118º heat. The hottest we've reached this month here in Tempe, Arizona, was 119º last Tuesday. We're finally below 110º today (108º on Wednesday, June 28). At this point, below 110º is sweet relief.
Every day we denizens of the Phoenix metro area receive multiple warnings about staying outside too long. Drink lots of water, even if you’re not thirsty. Wear sunscreen even if you’re just going outside to pick up the newspaper. NEVER leave a kid or dog in the car for even a minute. Watch your children around water. Excellent advice. It’s nice to know that the city is looking out for us.
And are they ever! The city of Tempe does not want us to harm ourselves or others. The city recently made it illegal to smoke in the car when there is a child on board. It is also illegal to drive in town without wearing a seat belt. I applaud the sentiment. However, when I read about the smoking ordinance, I immediately remembered the road trip my family made from Tulsa, Oklahoma, to Miami, Florida, to visit my aunt in 1962. My parents smoked in the car, you’d better believe it. They smoked everywhere. We made the trip to Miami enveloped in a miasma of second-hand carcinogens.
My two-year-old sister spent most of the trip lying on the shelf between the back seat and the rear window, watching the scenery go by. My parents thought that was dandy, since it kept her quiet and amused. The rest of the time she rode on my mother’s lap or played around on the floor of the back seat. There were six of us in car*: My parents, three kids, and my grandmother. Nobody wore a seat belt. There were no seat belts in cars at the time, unless you were an Indy driver. And forget about child restraint seats.
Of course the car was built of industrial-strength steel and probably could have survived being stepped on by Godzilla. There is a scene in the movie “The Aviator” in which Howard Hughes’s sedan is broadsided by another car driven by his teenage paramour, Faith Domergue. Then she backs up and rams him again, several times. His car isn't even scratched. Up until the 1970s cars were tougher, even if they did only get 7 miles to a gallon of gas and leave a yellow haze in the air wherever they went.
I don’t want to sound like one of those old farts who reminisces about how much better it was when kids walked ten miles in the snow to school. It’s just that childhood was much different once-upon-a-time. It would have been better if I had been wearing a helmet and pads when I crashed my bike into our mailbox at ninety miles an hour and ended up with my skin half scraped off and bruises all over my body. I do wonder if it would not be better for children to have a bit more unsupervised freedom to roam, to have the opportunity to figure out life-problems on their own. The recent brouhaha about the parents in New York who were threatened with arrest because they let their kids go to the park alone strikes me as overkill.
And yet, if I had young children right now, would I let them wander about on their own? Probably not. But what delicious freedom it was to be shooed out of the house after school to play in the street or in a vacant lot with your siblings and friends. I particularly enjoyed playing in a drainage culvert one street over from my house. Then at about six o’clock, my mother—and every other mother in the neighborhood—would come out onto the front porch and holler out our names one by one and we’d run home for supper.
I’m not saying it was better. I’m just saying.
______
A 1962* Chevrolet sedan. My dad bought a new car every two years. It was as big as one of those tiny houses and had plenty of room for all of us.
Wednesday, June 28, 2017
Where fact meets fiction
In this era of fake news, the line between truth and make-believe has become so blurred that it's becoming increasingly difficult to know what's real or to trust anything you read. And I'm not referring to a profound philosophical debate on whether there exists such a thing as absolute truth or whether all truth is embedded within a context- cultural, physical, or what have you.
I mean facts that can be supported by evidence or replicated in some way. Claims for which there is some proof. People vary on the breadth and type of proof they require to accept something as likely true; rigorous science types demand evidence based on objective scientific knowledge, while others entertain other possible, as yet unknowable, realms of truth such as the supernatural, astrology, ghosts, divine revelation, etc.
But within the realm, some consistency and set of principles exist against which information's veracity can be measured. So if two news sources make opposing claims, or someone says one thing one day and the opposite the next, most of us know one of the claims at least is not true. We may choose to believe the one we like better, or we may end up not believing either. The inaccuracy may stem from simple error, ignorance, incomplete knowledge, or deliberate deception, but in this global information age, in which social media allows the rapid dissemination of information without any checks on accuracy, "untruths" can be repeated over and over so quickly that the repetitions themselves become the proof. How do you know...? Well, I read an article...
One end result of this, besides confusion and ignorance, is a distrust of all information. It's a shaky foundation on which to stand - not knowing what is real and what isn't - and it makes us cling all the more fiercely to the sources we do trust.
What does this have to do with writers? Well, making things up is our stock and trade. Science fiction and fantasy writers make up entire universes, but mystery writers generally ground our sinister deeds in the real world. Readers generally know that the whole thing is made up, and don't rely on the facts from novels to support their PhD dissertations.
Yet among writers, there are those who research meticulously, not just the topics they tackle but the setting, the time period, the dialect, and the local customs, while others don't research much at all. I once heard a very well known and respected author of police procedurals say that he'd never talked to a police officer or checked protocols. Others say, "I make it all up. It's fiction, after all."
But what about historical fiction? Medical or legal thrillers? Or adventure novels set in exotic locales? If a writer makes up all the detail on which these stories are based, the reader is taken on a fake journey. Part of the thrill of these books is the the peek inside a real world very different from what we know. From these books, we learn about 12th century Spain, or the back alleys of Venice, or the drama of the courtroom. Most writers of these books are historians or doctors or lawyers, and we trust that the world they have led us into is real (except for the body, of course). We would feel cheated if we learned they'd made the whole thing up.
When it comes to regular, contemporary novels, the rules are less clear. Some readers don't care that hairdressers solve murders or that cats talk. They know it's all in good fun. But once the writer has set the rules of engagement, they should adhere to them. Is this a real place? A real profession? A genuine issue? If so, know what you're talking about. Writers spin a web to draw a reader into their story, willing the reader to suspend their disbelief and go along for the ride. Any false note that jolts the reader out of the story breaks the spell.
As readers, we all have our trip wires - those false notes that ruin a story for us. It can be crime scene investigators who tromp all over the crime scene with their long hair flowing in the breeze. It can be streets in the wrong place in a city we know intimately. It can be weather that is wrong for the season in that place. For me as a psychologist, it is any superficial, pop psychology explanation of motives and behaviour.
So I am firmly in the research camp. Not only do I want readers to go on a journey with me, but I don't want them to be jerked out of the story and I want them to trust that what they are reading is as accurate as I can make it. That's why last year I spent my summer reading books on Jihad and ISIS, and my winter on a winter camping trip in the mountains, all to research THE TRICKSTER'S LULLABY. It's why next week I am renting a cottage in Georgian Bay (a great improvement over winter camping!) to research the setting of my next book, PRISONERS OF HOPE.
I'm sure I will still get some things wrong, but the more believable the web I weave, the more I hope readers will stay under the spell. And in the process I hope it's more than a journey into make-believe; I hope they enjoy learning some interesting information about a world different from theirs. Information they can trust.
I'm curious to know how other writers and readers feel. As readers, what are your trip wires? Does it bother you to encounter factual errors or misrepresentations in fiction? As authors, how important is accuracy in your books and how much do you research to "get it right"?
FAKE NEWS!!!
I mean facts that can be supported by evidence or replicated in some way. Claims for which there is some proof. People vary on the breadth and type of proof they require to accept something as likely true; rigorous science types demand evidence based on objective scientific knowledge, while others entertain other possible, as yet unknowable, realms of truth such as the supernatural, astrology, ghosts, divine revelation, etc.
But within the realm, some consistency and set of principles exist against which information's veracity can be measured. So if two news sources make opposing claims, or someone says one thing one day and the opposite the next, most of us know one of the claims at least is not true. We may choose to believe the one we like better, or we may end up not believing either. The inaccuracy may stem from simple error, ignorance, incomplete knowledge, or deliberate deception, but in this global information age, in which social media allows the rapid dissemination of information without any checks on accuracy, "untruths" can be repeated over and over so quickly that the repetitions themselves become the proof. How do you know...? Well, I read an article...
One end result of this, besides confusion and ignorance, is a distrust of all information. It's a shaky foundation on which to stand - not knowing what is real and what isn't - and it makes us cling all the more fiercely to the sources we do trust.
What does this have to do with writers? Well, making things up is our stock and trade. Science fiction and fantasy writers make up entire universes, but mystery writers generally ground our sinister deeds in the real world. Readers generally know that the whole thing is made up, and don't rely on the facts from novels to support their PhD dissertations.
Yet among writers, there are those who research meticulously, not just the topics they tackle but the setting, the time period, the dialect, and the local customs, while others don't research much at all. I once heard a very well known and respected author of police procedurals say that he'd never talked to a police officer or checked protocols. Others say, "I make it all up. It's fiction, after all."
But what about historical fiction? Medical or legal thrillers? Or adventure novels set in exotic locales? If a writer makes up all the detail on which these stories are based, the reader is taken on a fake journey. Part of the thrill of these books is the the peek inside a real world very different from what we know. From these books, we learn about 12th century Spain, or the back alleys of Venice, or the drama of the courtroom. Most writers of these books are historians or doctors or lawyers, and we trust that the world they have led us into is real (except for the body, of course). We would feel cheated if we learned they'd made the whole thing up.
When it comes to regular, contemporary novels, the rules are less clear. Some readers don't care that hairdressers solve murders or that cats talk. They know it's all in good fun. But once the writer has set the rules of engagement, they should adhere to them. Is this a real place? A real profession? A genuine issue? If so, know what you're talking about. Writers spin a web to draw a reader into their story, willing the reader to suspend their disbelief and go along for the ride. Any false note that jolts the reader out of the story breaks the spell.
As readers, we all have our trip wires - those false notes that ruin a story for us. It can be crime scene investigators who tromp all over the crime scene with their long hair flowing in the breeze. It can be streets in the wrong place in a city we know intimately. It can be weather that is wrong for the season in that place. For me as a psychologist, it is any superficial, pop psychology explanation of motives and behaviour.
I'm sure I will still get some things wrong, but the more believable the web I weave, the more I hope readers will stay under the spell. And in the process I hope it's more than a journey into make-believe; I hope they enjoy learning some interesting information about a world different from theirs. Information they can trust.
I'm curious to know how other writers and readers feel. As readers, what are your trip wires? Does it bother you to encounter factual errors or misrepresentations in fiction? As authors, how important is accuracy in your books and how much do you research to "get it right"?
Tuesday, June 27, 2017
Accepting compliments well is a skill that can be learned
by Rick Blechta
Let me state right off the bat, that I don’t get compliments on my writing all that often. Like Aline and everyone else who’s commented, they’re wonderful when they come and they should be cherished, because the vast majority of them are sincerely meant and that feedback is very special to all of us who create.
But you do need to think ahead of time about how you’ll respond when this sort of thing happens.
I got an early start on accepting compliments because I was performing in public at a very early age. When I turned professional at age 16, I got a lot of compliments. “You play so well!” was the most frequent one, but it didn’t take long to realize that an important part of the compliment was unsaid: “for someone so young”, because saying that would have been rude. Believe me, though, I was a real baby face and looked only about 14 at the time.
Anyway, it was obvious that I needed to figure out how to respond. I worked out something similar to Aline and Frankie. I’d been taught self-aggrandizement was not a good thing, so even if I thought I had played really well, I couldn’t come right out and say it – although I’m sure I did that occasionally in those early years.
The one thing that really helped me, though, was done behind the scenes. One of my French horn teachers heard the parent of a friend compliment me on something I’d played during a concert. He felt my response was far from adequate. Next lesson, I played very little of my prepared work, but instead he spoke to me at length about etiquette and why we do what we do and say what we say — especially in the musical world. It really opened my eyes.
It’s not that my parents brought me up poorly in this regard, but he felt that there was specific knowledge that a performer needed, and he felt that it was a big part of my musical education that I be tutored in this as well as playing my instrument.
It was my secret weapon and to this day, whenever someone compliments me, my first thought is that I have received something very special, but to also immediately express my gratitude that the person has said it.
But you do need to think ahead of time about how you’ll respond when this sort of thing happens.
I got an early start on accepting compliments because I was performing in public at a very early age. When I turned professional at age 16, I got a lot of compliments. “You play so well!” was the most frequent one, but it didn’t take long to realize that an important part of the compliment was unsaid: “for someone so young”, because saying that would have been rude. Believe me, though, I was a real baby face and looked only about 14 at the time.
Anyway, it was obvious that I needed to figure out how to respond. I worked out something similar to Aline and Frankie. I’d been taught self-aggrandizement was not a good thing, so even if I thought I had played really well, I couldn’t come right out and say it – although I’m sure I did that occasionally in those early years.
The one thing that really helped me, though, was done behind the scenes. One of my French horn teachers heard the parent of a friend compliment me on something I’d played during a concert. He felt my response was far from adequate. Next lesson, I played very little of my prepared work, but instead he spoke to me at length about etiquette and why we do what we do and say what we say — especially in the musical world. It really opened my eyes.
It’s not that my parents brought me up poorly in this regard, but he felt that there was specific knowledge that a performer needed, and he felt that it was a big part of my musical education that I be tutored in this as well as playing my instrument.
It was my secret weapon and to this day, whenever someone compliments me, my first thought is that I have received something very special, but to also immediately express my gratitude that the person has said it.
Monday, June 26, 2017
You're Very Kind
One of the very nicest things about being an author is getting emails from people who have read your book – at least the complimentary ones that make up the vast majority. In general people don't email to pick holes in the plot or say what rubbish it was or how they absolutely hated the heroine. In fact I only remember a couple, one of which pointed out that there was a typo in the blurb – 'seperately' for 'separately' – and as a consequence my correspondent wasn't going to read my book. For spite, I think.
Happily, most of the emails are lovely, often thoughtful and sometimes even touching. They make my day and I settle down to work glowing with pleasure, once I've sent back a suitably grateful reply. No problem there.
But when I'm at events and meet readers who are kind enough to tell me face to face how much they enjoy my books, it's different. The more generous they are with their praise, the more awkward and 'Oh, shucks,' I get and the glow this time is a most unbecoming blush. I look a total idiot.
I had a brother-in-law who had beautiful manners and in response to a compliment would murmur, 'Thank you. You're very kind,' and I've adopted that, but it only takes you so far in a prolonged conversation. I can't agree, 'Oh yes, it's awfully good, isn't it?' and I can't say, 'Oh, not really,' without calling their judgement into question. And despite the fact that afterwards I will go over in my mind and treasure what they have said I find myself changing the subject by doing a Queen Elizabeth – 'Have you come far today?'
I don't know why I find it so difficult to take a direct compliment, or even if I'm the only one who does. If readers didn't like what I write I'd be out of a job and I do, I really really do, appreciate their kindness in telling me. I'm enormously grateful for their good opinion, but I just wish I knew what to say.
I'm asking for tips here. How do the rest of you respond to these great, and obviously highly-intelligent and perceptive people with becoming modesty?
Happily, most of the emails are lovely, often thoughtful and sometimes even touching. They make my day and I settle down to work glowing with pleasure, once I've sent back a suitably grateful reply. No problem there.
But when I'm at events and meet readers who are kind enough to tell me face to face how much they enjoy my books, it's different. The more generous they are with their praise, the more awkward and 'Oh, shucks,' I get and the glow this time is a most unbecoming blush. I look a total idiot.
I had a brother-in-law who had beautiful manners and in response to a compliment would murmur, 'Thank you. You're very kind,' and I've adopted that, but it only takes you so far in a prolonged conversation. I can't agree, 'Oh yes, it's awfully good, isn't it?' and I can't say, 'Oh, not really,' without calling their judgement into question. And despite the fact that afterwards I will go over in my mind and treasure what they have said I find myself changing the subject by doing a Queen Elizabeth – 'Have you come far today?'
I don't know why I find it so difficult to take a direct compliment, or even if I'm the only one who does. If readers didn't like what I write I'd be out of a job and I do, I really really do, appreciate their kindness in telling me. I'm enormously grateful for their good opinion, but I just wish I knew what to say.
I'm asking for tips here. How do the rest of you respond to these great, and obviously highly-intelligent and perceptive people with becoming modesty?
Saturday, June 24, 2017
Ludimus Deus
I've got great news to share. After years in the making, my YA novel, University of Doom, is ready to hit the streets. In fact, the official launch signing is Wednesday, July 19, at the Tattered Cover-Colfax, here in Denver. Y'all are invited, especially you folks up in Canada.
Kirkus Reviews said this: "A zooming Grand-slam of sci-fi fun."
and you can read the entire review here.
And I have these two blurbs from a couple of writers you may have heard of:
"A fun and zany mad science adventure."
Richelle Mead
#1 International Bestselling Author
"...simply delightful...immediately engaging and wickedly twisted..."
Kevin J Anderson
NY Times Bestelling Author
The original title was FrankenDad. I started writing this book more than ten years ago, and I had high hopes for its reception by New York. Which was zilch. So it stayed on the back burner for years. UofDoom is the sort of book I would've read at 13yo. Back then, there was no YA or middle-grade genre, and even if there was, I wouldn't have read it—I hated stories that were supposed to "teach" me things--preferring adult fiction from HG Wells, Asimov, Leon Uris, John D McDonald, Michael Crichton, and my favorite, Harold Robbins. As the manuscript slowly came together, I pulled from various movie and science-fiction motifs so the story has a wacky retro feel to it. Picture the Marx Brothers doing Ghostbusters doing Frankenstein and Metropolis. I also got my digs in at corporate science who--for the good of humanity--pursue one crack pot scheme after another without much regard to its true consequences or value to society. And what would a book from me be without mashing in assorted conspiracy theories?
Last year Hex Publishers approached me with an offer to publish UofDoom. I had just self-published it to a lackluster start and like most of you have learned, getting attention is especially difficult when you put out a book on your own. Hex commissioned a new cover and juiced some attention. So we'll see. If anyone has real definite answers on how this publishing game works, let me know. In the meantime, please enjoy UofDoom.
Kirkus Reviews said this: "A zooming Grand-slam of sci-fi fun."
and you can read the entire review here.
And I have these two blurbs from a couple of writers you may have heard of:
"A fun and zany mad science adventure."
Richelle Mead
#1 International Bestselling Author
"...simply delightful...immediately engaging and wickedly twisted..."
Kevin J Anderson
NY Times Bestelling Author
The original title was FrankenDad. I started writing this book more than ten years ago, and I had high hopes for its reception by New York. Which was zilch. So it stayed on the back burner for years. UofDoom is the sort of book I would've read at 13yo. Back then, there was no YA or middle-grade genre, and even if there was, I wouldn't have read it—I hated stories that were supposed to "teach" me things--preferring adult fiction from HG Wells, Asimov, Leon Uris, John D McDonald, Michael Crichton, and my favorite, Harold Robbins. As the manuscript slowly came together, I pulled from various movie and science-fiction motifs so the story has a wacky retro feel to it. Picture the Marx Brothers doing Ghostbusters doing Frankenstein and Metropolis. I also got my digs in at corporate science who--for the good of humanity--pursue one crack pot scheme after another without much regard to its true consequences or value to society. And what would a book from me be without mashing in assorted conspiracy theories?
Last year Hex Publishers approached me with an offer to publish UofDoom. I had just self-published it to a lackluster start and like most of you have learned, getting attention is especially difficult when you put out a book on your own. Hex commissioned a new cover and juiced some attention. So we'll see. If anyone has real definite answers on how this publishing game works, let me know. In the meantime, please enjoy UofDoom.
Friday, June 23, 2017
The New Religion
My father used to say: "A man convinced against his will is of the same opinion still." Wise words.
We all know better than to talk about religion or politics unless we want to start a fight. But I've discovered a new hot topic that will raise the hackles. Nutrition!
Recently when I was at a garden party a man we all respect and admire was holding forth on the merits of a low-carb diet. Since I share his views I was nodding in agreement on most of his beliefs. Since I'm diabetic I know the importance of limiting carbs.
He and I and possibly a few other were in the Paleo Adkins diet belief spectrum. On the opposing side, of course, were the low fat whole grain junkies. And another group believed that weight control, terrific health, etc., was simply a matter of calories. It was science. The tension was obvious.
Actually what I really believe is what works for one person will not work for another. This week I'm at the Western Writers of American conference in Kansas City. We're having a great time. I've never attended a writers conference where I didn't learn a lot and make new friends.
However, the methods used by writers to create books vary enormously. I like the general classification that we are either plotters or pantsers. Plotters outline everything and pantsers write by the seat of their pants. I'm sort of a combination of the two. I begin as a pantser then outline each chapter after I've written and tack this chain of events on a wall. If there is no chain of events or movement within a chapter I face the bitter truth: There is No Movement Within a Chapter. That means it's impossibly dull.
This is just part of my method. I wouldn't dream of trying to persuade anyone else that they should adopt it. In fact I've given up on trying to pass along writing advice. Having published six books now, a historical novel, an academic book, four mysteries, and having been included in a number of short story anthologies, and created oodles of published articles and encyclopedia entries, I feel that by virtue of my variety of experiences I know a lot about the business.
I would love to help budding writers avoid some of the pitfalls. But creative people are so resistant to advice. It's part of our psyche. After judging books in contest recently, I was struck by the number of books that could be taken to a much higher lever with better editing or if the authors would correct a major writing flaw. A fellow judge assured me that he had been an editor at a major publishing house and also at one time had a "book doctoring" business and that no one would listen.
They had to figure it out for themselves, he assured me. Some do and some don't. It's like finding the perfect diet and approach to food.
We all know better than to talk about religion or politics unless we want to start a fight. But I've discovered a new hot topic that will raise the hackles. Nutrition!
Recently when I was at a garden party a man we all respect and admire was holding forth on the merits of a low-carb diet. Since I share his views I was nodding in agreement on most of his beliefs. Since I'm diabetic I know the importance of limiting carbs.
He and I and possibly a few other were in the Paleo Adkins diet belief spectrum. On the opposing side, of course, were the low fat whole grain junkies. And another group believed that weight control, terrific health, etc., was simply a matter of calories. It was science. The tension was obvious.
Actually what I really believe is what works for one person will not work for another. This week I'm at the Western Writers of American conference in Kansas City. We're having a great time. I've never attended a writers conference where I didn't learn a lot and make new friends.
However, the methods used by writers to create books vary enormously. I like the general classification that we are either plotters or pantsers. Plotters outline everything and pantsers write by the seat of their pants. I'm sort of a combination of the two. I begin as a pantser then outline each chapter after I've written and tack this chain of events on a wall. If there is no chain of events or movement within a chapter I face the bitter truth: There is No Movement Within a Chapter. That means it's impossibly dull.
This is just part of my method. I wouldn't dream of trying to persuade anyone else that they should adopt it. In fact I've given up on trying to pass along writing advice. Having published six books now, a historical novel, an academic book, four mysteries, and having been included in a number of short story anthologies, and created oodles of published articles and encyclopedia entries, I feel that by virtue of my variety of experiences I know a lot about the business.
I would love to help budding writers avoid some of the pitfalls. But creative people are so resistant to advice. It's part of our psyche. After judging books in contest recently, I was struck by the number of books that could be taken to a much higher lever with better editing or if the authors would correct a major writing flaw. A fellow judge assured me that he had been an editor at a major publishing house and also at one time had a "book doctoring" business and that no one would listen.
They had to figure it out for themselves, he assured me. Some do and some don't. It's like finding the perfect diet and approach to food.
Thursday, June 22, 2017
Visual Rhetoric: Where does inspiration come from?
Writers find inspiration in many places. In my next two posts, I’m going to share some of my ideas on the issue.
I teach a rhetoric course. It’s a nonfiction course similar to the composition course we all took in college. Except the study of rhetoric has changed a lot since I went to college. Where I wrote only papers, and “texts” were only written, now students listen to and produce podcasts and view visual rhetoric.
Rhetoric, by definition, is the sending or receiving of messages. These may be written, spoken, or viewed. One of my favorite exercises (to do and to assign) is to have students view a work of art and write about it –– a reaction, a description, or a riff.
Consider the “Garden of Earthly Delights” by Hieronymus Bosch. This painting says so much about humanity (not much good) and its creator and even history (something brought this out of Bosch in circa 1500).
So what do you see? What images speak to you? How might this painting motivate (or distract) you if it hung above your desk? Now’s your chance to riff.
Visual rhetoric can offer inspiration. It will also play a large role in what “writing” looks like in 15 years. As a teacher, I’m seeing that students grasp narrative structure (certainly long form) from episodic TV shows. They are more likely to understand narrative from a visual mode, such as a Netflix show, than a written mode. They grasp argumentation and persuasion from things like this Direct TV Commercial.
Hopefully, books are still being read, but inspiration can come in other forms, including art, episodic TV shows, and even commercials. Where do you find yours?
I teach a rhetoric course. It’s a nonfiction course similar to the composition course we all took in college. Except the study of rhetoric has changed a lot since I went to college. Where I wrote only papers, and “texts” were only written, now students listen to and produce podcasts and view visual rhetoric.
Rhetoric, by definition, is the sending or receiving of messages. These may be written, spoken, or viewed. One of my favorite exercises (to do and to assign) is to have students view a work of art and write about it –– a reaction, a description, or a riff.
Consider the “Garden of Earthly Delights” by Hieronymus Bosch. This painting says so much about humanity (not much good) and its creator and even history (something brought this out of Bosch in circa 1500).
So what do you see? What images speak to you? How might this painting motivate (or distract) you if it hung above your desk? Now’s your chance to riff.
Hopefully, books are still being read, but inspiration can come in other forms, including art, episodic TV shows, and even commercials. Where do you find yours?
Wednesday, June 21, 2017
CCWC 2017 Recap
I recently attended the California Crime Writers Conference here in Southern California where around 200 like-minded individuals got together and talked about writing and the publishing biz. Let me tell you. The conference just keeps on getting better and better.
Over the years, I’ve attended a number of fan-focused mystery conventions, but this is the only conference geared toward writing I’ve been to. I’ve attended every CCWC since its start in 2009 and co-chaired the one in 2011. I credit the 2013 conference with helping me get published since it’s where I met the managing editor of Henery Press who now publishes my Aurora Anderson mystery series.
CCWC is put on every two years by the Los Angeles chapter of Sisters in Crime and the SoCal chapter of MWA. It takes lots and lots of volunteer hours to put together. My hats off to everyone who contributed, including this year’s co-chairs Sue Ann Jaffarian and Rochelle Staab.
The two days were jam-packed with information and opportunities to mingle with other crime writers. Attendees could pick from workshops in four tracks: Writing Craft, Industry/Business, Law Enforcement/Forensics, and Marketing. I spent most of my time in the marketing track because I feel like that’s where I need the most help. Still, my favorite workshop was the mock crime scene. We learned all about how the FBI processes a crime scene. It was fun and educational.
This was also my first foray into moderating a panel. It was titled Obi Wan Kenobi: Veteran Authors’ Strategies to Survive the Publishing Force with panelists Sue Ann Jaffarian, Patricia Smiley and Jeri Westerson. We had a great conversation, talking about how to survive the ups and downs of the publishing industry.
The conference fee included breakfast and a sit down lunch both days. Saturday, the keynote speaker was Hallie Ephron and Sunday was William Kent Krueger’s turn. Both were great speakers and left us inspired. The event closed with a short interview with Hallie and Kent, as he likes to be called.
Both of the keynote speakers also put on workshops on writing. Hallie’s was on harnessing characters to drive plot and Kent’s was on how to build suspense. I didn’t get a chance to attend either one, but those who did go told me they were wonderful so I purchased the recordings of the workshops. Yep, every session was recorded. CDs and mp3s were available at the conference. You didn’t have to wait and order them afterwards. Though you can. Here’s the link in case you’re interested: http://vwtapes.com/sisters2017.aspx
There was also a cocktail party on Saturday evening where I had some wonderful conversations with people I’ve known for a while and some I just met.
Overall, it was a great event. Sure, I was tired afterward, but I met some great people and came away inspired to write. Isn’t that what a conference is all about?
Over the years, I’ve attended a number of fan-focused mystery conventions, but this is the only conference geared toward writing I’ve been to. I’ve attended every CCWC since its start in 2009 and co-chaired the one in 2011. I credit the 2013 conference with helping me get published since it’s where I met the managing editor of Henery Press who now publishes my Aurora Anderson mystery series.
CCWC is put on every two years by the Los Angeles chapter of Sisters in Crime and the SoCal chapter of MWA. It takes lots and lots of volunteer hours to put together. My hats off to everyone who contributed, including this year’s co-chairs Sue Ann Jaffarian and Rochelle Staab.
The two days were jam-packed with information and opportunities to mingle with other crime writers. Attendees could pick from workshops in four tracks: Writing Craft, Industry/Business, Law Enforcement/Forensics, and Marketing. I spent most of my time in the marketing track because I feel like that’s where I need the most help. Still, my favorite workshop was the mock crime scene. We learned all about how the FBI processes a crime scene. It was fun and educational.
 |
| The crime scene |
 |
| Volunteers suited up to investigate the scene |
This was also my first foray into moderating a panel. It was titled Obi Wan Kenobi: Veteran Authors’ Strategies to Survive the Publishing Force with panelists Sue Ann Jaffarian, Patricia Smiley and Jeri Westerson. We had a great conversation, talking about how to survive the ups and downs of the publishing industry.
 | |
| Obi Wan Kenobi panel |
The conference fee included breakfast and a sit down lunch both days. Saturday, the keynote speaker was Hallie Ephron and Sunday was William Kent Krueger’s turn. Both were great speakers and left us inspired. The event closed with a short interview with Hallie and Kent, as he likes to be called.
Both of the keynote speakers also put on workshops on writing. Hallie’s was on harnessing characters to drive plot and Kent’s was on how to build suspense. I didn’t get a chance to attend either one, but those who did go told me they were wonderful so I purchased the recordings of the workshops. Yep, every session was recorded. CDs and mp3s were available at the conference. You didn’t have to wait and order them afterwards. Though you can. Here’s the link in case you’re interested: http://vwtapes.com/sisters2017.aspx
There was also a cocktail party on Saturday evening where I had some wonderful conversations with people I’ve known for a while and some I just met.
Overall, it was a great event. Sure, I was tired afterward, but I met some great people and came away inspired to write. Isn’t that what a conference is all about?
Tuesday, June 20, 2017
Is crime fiction the “comfort food” of literature?
by Rick Blechta
Yesterday, I was listening to The Next Chapter, a weekly radio show on CBC (Canadian Broadcasting Corporation) hosted by Shelagh Rogers. She convened her usual summer mystery panel, who made some very interesting recommendations — which actually included some Canadian books for a change.
While interesting, that segment of the show got me thinking in another direction entirely.
Around this time of year, I’m sure we’ve all seen folks at the cash with a stack of crime fiction. You only need to ask and uniformly be told that these fine folks are heading out on vacation. Heck, I’m sure most of us have done this exact thing. I certainly have. My good friend, Marian Misters of the (fabulous) Sleuth of Baker Street bookstore here in Toronto sees a steady stream of these large-volume book buyers every Friday over the summer months. And that’s a very good thing.
What do these people read? Usually something new Marian has told me, so she’s busy making recommendations. “But then there are some who buy older books, one’s they’ve enjoyed in the past and no longer own.” In other words, we’re talking about something people find familiar and enjoyable to read at least a second time. And isn’t that sort of like literary comfort food?
Me being who I am, I started thinking of my favourite places to read, and if I were there right now with a complete crime fiction library of old series, what would I reach for in order to spend an enjoyable afternoon?
For me, I would have to say it would be Nero Wolfe novels. I first discovered crime fiction through the works of Agatha Christie, but one summer, I got a job as the pool boy at a resort in Bridgton, Maine. The place wasn’t very busy and had an older clientele, so I had long days of sitting beside an empty pool, and even if some folks toddled down, it didn’t take a lot of time to fetch fresh towels, a soft drink or cocktail, or send up for food from the kitchen. (I also was expected to save folks from drowning, which fortunately never came up.)
Not knowing about the empty hours when I took the job, I arrived without reading material. Fortunately, the resort had a fairly large library of donated books (or ones left behind), and there were at least two dozen of Rex Stout’s novels and short story collections featuring his corpulent detective, ably assisted by Archie Goodwyn, his man-about-town — as well as a recurring cast of great supporting characters. I found and devoured those books like candy over the first two weeks of my summer, and then scrounged some more in local libraries.
After all this time, put me in a cabin in the woods for a week, hand me a few Nero Wolfe books, and you’d have a very happy reader on your hands.
Now, here’s the thing: I’d like to know what book series (that you’ve already enjoyed) would like to have in your reading pile while enjoying some much-needed time off — and what is it about this series that attracts you?
Please answer! I’d really like to know and I’m sure Type M readers would, as well. Come on. All we need is a couple of quick sentences and that won’t take you long, will it?
Yesterday, I was listening to The Next Chapter, a weekly radio show on CBC (Canadian Broadcasting Corporation) hosted by Shelagh Rogers. She convened her usual summer mystery panel, who made some very interesting recommendations — which actually included some Canadian books for a change.
While interesting, that segment of the show got me thinking in another direction entirely.
Around this time of year, I’m sure we’ve all seen folks at the cash with a stack of crime fiction. You only need to ask and uniformly be told that these fine folks are heading out on vacation. Heck, I’m sure most of us have done this exact thing. I certainly have. My good friend, Marian Misters of the (fabulous) Sleuth of Baker Street bookstore here in Toronto sees a steady stream of these large-volume book buyers every Friday over the summer months. And that’s a very good thing.
What do these people read? Usually something new Marian has told me, so she’s busy making recommendations. “But then there are some who buy older books, one’s they’ve enjoyed in the past and no longer own.” In other words, we’re talking about something people find familiar and enjoyable to read at least a second time. And isn’t that sort of like literary comfort food?
Me being who I am, I started thinking of my favourite places to read, and if I were there right now with a complete crime fiction library of old series, what would I reach for in order to spend an enjoyable afternoon?
For me, I would have to say it would be Nero Wolfe novels. I first discovered crime fiction through the works of Agatha Christie, but one summer, I got a job as the pool boy at a resort in Bridgton, Maine. The place wasn’t very busy and had an older clientele, so I had long days of sitting beside an empty pool, and even if some folks toddled down, it didn’t take a lot of time to fetch fresh towels, a soft drink or cocktail, or send up for food from the kitchen. (I also was expected to save folks from drowning, which fortunately never came up.)
Not knowing about the empty hours when I took the job, I arrived without reading material. Fortunately, the resort had a fairly large library of donated books (or ones left behind), and there were at least two dozen of Rex Stout’s novels and short story collections featuring his corpulent detective, ably assisted by Archie Goodwyn, his man-about-town — as well as a recurring cast of great supporting characters. I found and devoured those books like candy over the first two weeks of my summer, and then scrounged some more in local libraries.
After all this time, put me in a cabin in the woods for a week, hand me a few Nero Wolfe books, and you’d have a very happy reader on your hands.
Now, here’s the thing: I’d like to know what book series (that you’ve already enjoyed) would like to have in your reading pile while enjoying some much-needed time off — and what is it about this series that attracts you?
Please answer! I’d really like to know and I’m sure Type M readers would, as well. Come on. All we need is a couple of quick sentences and that won’t take you long, will it?
Monday, June 19, 2017
Wonder Woman: The Bechdel and Delany Tests
By Vicki Delany
Way back on New Years Week 2015 I discussed the Bechdel test,
which is applied to movies, and invented my own test which I call the Delany
test. http://typem4murder.blogspot.ca/2015/01/the-bechdel-test.html
The Bechdel test:
To pass the test the movie must fulfill three criteria:
- · It has to have at least two [named] women in it
- · Who talk to each other
- · About something besides a man
The Delany Test:
- Female characters must be portrayed as people, not just women.
Both tests, we realized, are surprisingly hard to pass in
movies. TV shows and books are much more
likely to pass both tests. Probably
because of the long plot lines in most TV shows today as well as the rich
ensemble casts. Books, frankly, are a
lot more realistic than movies anyway and thus their portrait of women’s relationships
with each other and their lives are more realistic.
What prompted me to return to this subject is that last week
I went to see Wonder Woman. First of
all, just going to the movies is an unusual outing for me. I probably see one, maybe two movies a year.
Not much appeals to me (see above Blechdel and Delany tests). And I certainly
don’t go to superhero movies.
However, with all the attention and praise Wonder
Woman is getting, I thought I’d see what it’s all about.
My thoughts, briefly, are that the beginning is great. I loved the Amazons. The middle (when they are in London) was amusing and well done. The second half of the middle, particularly
the battle in the trenches of WWI was thrilling. And then it all fell apart when we had the climactic
battle between WW and the ultimate baddie. Much destruction ensues. Yawn.
As for the Bechdel test and Delany test?
The first part (on the Amazon Island) passed both with
flying colours.
| Vicki Writing (not exactly as shown) |
| Vicki Reading (not exactly as shown) |
The London part sorta passed the Bechdel test when the secretary and Diana interact. (Although why a spy and airman has a secretary is never mentioned). Unfortunately they mostly talked about womanly things, like dressing. Although, and good for the movie producers, the secretary is a robust middle-aged woman, not some sexy Hollywood thing.
Unfortunately, from then on, the Bechdel test fails. Once they
leave London, Diana interacts with no other women and she is surrounded only by
men. (Hey, it’s a fantasy: if WW can dodge bullets why can’t French village
women at least ask her what’s going on here, if not charge the trenches behind
her?)
It does pass the Delany test, in that the evil scientist is
played by a woman, in a role that could very easily have been done by a man.
Meaning the character is a person, who just happens to be female.
And WW, despite her skimpy costume and love
interest with Chris Pine could be, and has been many, many times, a male role.
For what it’s worth, there’s my analysis!
Do the Bechdel test and the Delany test matter to you? Let
me know in the comments.
Friday, June 16, 2017
Characters and Seasons
Donis's blog yesterday about summer reading reminded me of what I've always liked about summer. As a child (student) and as an adult (teacher), I have three months of "summer vacation." Of course, now that I'm a grown-up, I do need to use my summer to get some work done. But summer is the time when I can stay up late reading a book or go to a matinee in the middle of the day (Wonder Woman is at the top of my list).
What has changed is that I don't go outside as much as I did when I was a child. Of course, I've never been a fan of summer heat and bug bites. But growing up in the country in Virginia with a big back yard and paths through woods and dogs, I would never have thought of wasting a summer day inside. Nowadays, living in a house in the city, I've been contemplating setting up my empty (until winter) garage as an "outdoor" space. The problem with the grass in my small yard is that it might have ticks. And, besides, even with sunscreen, I could get too much sun. Grilling -- I remember those wonder family barbecues in the front yard under the big old tree. But I could blow myself up trying to start a grill and what about the health risks of hot dogs?
My seasonal preferences have carried over to my characters. My Southern-born protagonist, Lizzie Stuart, loves the South but hates heat and storms. Hannah McCabe, my police detective, lives in Albany, New York, and is dealing with the sizzling summers produced by climate change. I've set some books during the summer, but haven't had to think like a "summer person".
That brings me to my challenge with one of my major characters in my 1939 historical thriller. He lives in Georgia, and summer is his season. The heat and the sun. The smell of his own sweat. He stands out in a field watching the black clouds roll in. Then he sits on his porch with a drink watching the storm erupt.
He loves the land and the smell of the soil. If I don't capture this part of who this character is, then his motivation for the things he does will fall flat. But I need to step into his work boots.
So in answer to Donis's question about summer reading, I'm heading South with books (fiction and non-fiction) written during the 1930s. Books about summer, with heat and sweat and storms. And I'm hoping that the weather here in Albany will not echo what I'm reading.
Does your character have a favorite season? A time of year that he or she loves, but you don't?
What has changed is that I don't go outside as much as I did when I was a child. Of course, I've never been a fan of summer heat and bug bites. But growing up in the country in Virginia with a big back yard and paths through woods and dogs, I would never have thought of wasting a summer day inside. Nowadays, living in a house in the city, I've been contemplating setting up my empty (until winter) garage as an "outdoor" space. The problem with the grass in my small yard is that it might have ticks. And, besides, even with sunscreen, I could get too much sun. Grilling -- I remember those wonder family barbecues in the front yard under the big old tree. But I could blow myself up trying to start a grill and what about the health risks of hot dogs?
My seasonal preferences have carried over to my characters. My Southern-born protagonist, Lizzie Stuart, loves the South but hates heat and storms. Hannah McCabe, my police detective, lives in Albany, New York, and is dealing with the sizzling summers produced by climate change. I've set some books during the summer, but haven't had to think like a "summer person".
That brings me to my challenge with one of my major characters in my 1939 historical thriller. He lives in Georgia, and summer is his season. The heat and the sun. The smell of his own sweat. He stands out in a field watching the black clouds roll in. Then he sits on his porch with a drink watching the storm erupt.
He loves the land and the smell of the soil. If I don't capture this part of who this character is, then his motivation for the things he does will fall flat. But I need to step into his work boots.
So in answer to Donis's question about summer reading, I'm heading South with books (fiction and non-fiction) written during the 1930s. Books about summer, with heat and sweat and storms. And I'm hoping that the weather here in Albany will not echo what I'm reading.
Does your character have a favorite season? A time of year that he or she loves, but you don't?
Thursday, June 15, 2017
Summer Reading
My latest Alafair Tucker novel, Forty Dead Men, is in the can, as they say, and I await my editor’s final approval. I’ve already begun researching my next novel, but the major thing I want to do before I get deep into writing again is really clean the house—and maybe do some summer reading. I read a lot, but I don’t often get to read what I want. Most of my reading is either a novel for review or something that will help me prepare to teach a writing class.
Since I live in the Phoenix, Arizona, metro area, summer is NOT the time for reading a good book out by the pool. That pleasure is reserved for any other time of year. In the middle of summer, the best one can do is close all the curtains, crank up the A/C (and hope that the electricity doesn’t go out), drink lots of water, and lie very still. And if you think I’m kidding, the forecast temperature for the weekend is 116º F, and a projection of 120º F by Tuesday (close to 49º C). As I write this, it’s a reasonable 104º, which by the end of next week will seem almost chilly. All we can do is pray that the National Weather Service prediction is wrong.
In short, when it’s summer in Phoenix, don’t go outside. Stay inside and read a good book.
I have a tendency to choose works by author rather than random title, though a few really great titles have drawn me in. Allow me to list a few authors for your summer reading consideration, present Type M company excepted, because really you can’t go wrong with any of the contributors to this blog. Otherwise:
I love the Hamish Macbeth Mysteries by M.C. Beaton. Her latest is Death of a Ghost.
Mark Pryor’s The Paris Librarian is entertaining and a great way to take a cheap trip to Paris. His latest, The Sorbonne Affair, won't be out until August.
Charlaine Harris’ Aurora Teagarden Mysteries feature a Georgia librarian who is recently married to a mystery novelist. This series is back after a long hiatus. I like them because they have a certain depth and humanity without being ponderous about it. The latest is All The Little Liars.
Any Louise Penny book will take you away to a mystical world in Quebec. Inspector Armand Gamache is an amazing creation. I find this series rather uneven, but the village of Three Pines is such a nice place to visit that it doesn’t really matter that much. The first novel in the series, Still Life, is the place to start.
If you’re into Regencies (which I can take ‘em or leave ‘em, as a rule), I was impressed with A Useful Woman by Darcie Wilde. Wilde’s description of the haute monde in early 19th Century London is fascinating, and her characters seem like real people.
I also like biographies and non-fiction, and I really thought The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics, by Daniel James Brown, was exceptionally good.
Do you have a delightful summer reading suggestion for me, Dear Reader?
Since I live in the Phoenix, Arizona, metro area, summer is NOT the time for reading a good book out by the pool. That pleasure is reserved for any other time of year. In the middle of summer, the best one can do is close all the curtains, crank up the A/C (and hope that the electricity doesn’t go out), drink lots of water, and lie very still. And if you think I’m kidding, the forecast temperature for the weekend is 116º F, and a projection of 120º F by Tuesday (close to 49º C). As I write this, it’s a reasonable 104º, which by the end of next week will seem almost chilly. All we can do is pray that the National Weather Service prediction is wrong.
In short, when it’s summer in Phoenix, don’t go outside. Stay inside and read a good book.
I have a tendency to choose works by author rather than random title, though a few really great titles have drawn me in. Allow me to list a few authors for your summer reading consideration, present Type M company excepted, because really you can’t go wrong with any of the contributors to this blog. Otherwise:
I love the Hamish Macbeth Mysteries by M.C. Beaton. Her latest is Death of a Ghost.
Mark Pryor’s The Paris Librarian is entertaining and a great way to take a cheap trip to Paris. His latest, The Sorbonne Affair, won't be out until August.
Charlaine Harris’ Aurora Teagarden Mysteries feature a Georgia librarian who is recently married to a mystery novelist. This series is back after a long hiatus. I like them because they have a certain depth and humanity without being ponderous about it. The latest is All The Little Liars.
Any Louise Penny book will take you away to a mystical world in Quebec. Inspector Armand Gamache is an amazing creation. I find this series rather uneven, but the village of Three Pines is such a nice place to visit that it doesn’t really matter that much. The first novel in the series, Still Life, is the place to start.If you’re into Regencies (which I can take ‘em or leave ‘em, as a rule), I was impressed with A Useful Woman by Darcie Wilde. Wilde’s description of the haute monde in early 19th Century London is fascinating, and her characters seem like real people.
Do you have a delightful summer reading suggestion for me, Dear Reader?
Wednesday, June 14, 2017
Guiding the string
Aline's Monday post made me smile, especially the "pounds, shillings, and ounces" in Winnie the Pooh's poem. But she poses a serious question; how long is the book you're writing at the moment going to be? Do you know?
This has always been a source of wonderment for me. As I am writing a book, I don't know where it's going, how long it will take to get there, or indeed, most terrifying of all, will it get there at all? As a modified "pantser", I set off on the book's journey with only a few guideposts and a blind trust that others will come into view as I draw nearer to them. I travel this unknown, uncharted road with the thrill of adventure and discovery, as well as the terror that I might never get to the end of it.
And yet, I always do get there, and in my case, almost always within roughly 90,000 to 100,000 words, coincidentally the word count specified on my contracts. How do I do it? What magic guides me? I don't know, nor do I want to put my creativity under a microscope, because I'm afraid it would fly the coop. But I do keep in mind a few crucial guidelines while I'm writing, and one of them is to keep the ounces out of the pounds and shillings. We want complications in our stories. They are the heart of tension. Without throwing obstacles in the protagonist's path, the story would be over in thirty pages. But an irrelevancy is not a complication; it's a distraction, and as Aline says, it pulls the reader away rather than pulling them forward. Sometimes a cool sidetrack pops into my head as I'm writing, and I feel like exploring it, but all the while I am trying to see if I can fit it into the main storyline. If it can add tension or intrigue to the overall question of the book, then I keep it. Otherwise, sadly, I kill it.
There are a few other guidelines that I use to keep my story moving forward and on track. I call myself a modified pantser because as I am writing, I try to see at least three or four scenes ahead. Since in my current Amanda Doucette series I have three main point-of-view characters each pursuing their own story lines, which have to be braided together into one story with proper pacing, tension, and timelines, I have discovered I need to plan ahead a bit.
Usually the idea for the next scene comes out the scene I am writing. I ask myself one or two of the following questions: "What would logically happen next?" Or "What would this character do next?" And in some cases, "What is the worst thing that could happen?" The first question helps to keep the plot on track, the second keeps the story character-driven, so that characters are not doing things they'd never do just for the sake of the plot. And the third - it's where the spice of the story comes from. It creates the twists, which are often as much a surprise to me as they are to the reader. In FIRE IN THE STARS, for example, I had Amanda's dog running up the path ahead of her, on their way to visit a hermit with some information. I hadn't figured out what Amanda would discover, so I asked myself "What will the dog find?" Followed by "What's the worst thing she could find?" And presto ...
But use the spice sparingly. Otherwise it will lose its punch. I once read a book which had a car chase or fire or explosion in every chapter. After awhile I thought, Oh yawn, not another explosion.
I agree with Aline. Life is too short to spend time on a 500-page novel that meanders and rambles. Some long novels are spell-binding and draw the reader deep into a fascinating world that we never want to leave. But the more I read and write, the less patience I have for padded verbiage and precious literary devices that leaves me feeling as if I'm spinning off-kilter. As writers we have to be ruthless with ourselves and our prose. That's what rewrites (and rewrites and rewrites) are for – to ask ourselves Do I really need this? Does it add to the story? Is it predictable? Boring? Irrelevant? Sometimes ounces are useful in a mystery novel, as red herrings that lead the reader down the garden path, but they need to do that in a way that is tied to the resolution of the story.
I don't need the story to be all neatly tied up in a bow at the end. Life is not tidy. I like ambiguity and even loose ends, especially in a series, where some questions remain to be answered in the next book. But the central question of the book has to be answered somehow, and I would find a tangle of irrelevancies and loose ends utterly unsatisfying. So the final job for a pantser is to hunt down all the loose threads and make sure you've tied them off.
This has always been a source of wonderment for me. As I am writing a book, I don't know where it's going, how long it will take to get there, or indeed, most terrifying of all, will it get there at all? As a modified "pantser", I set off on the book's journey with only a few guideposts and a blind trust that others will come into view as I draw nearer to them. I travel this unknown, uncharted road with the thrill of adventure and discovery, as well as the terror that I might never get to the end of it.
And yet, I always do get there, and in my case, almost always within roughly 90,000 to 100,000 words, coincidentally the word count specified on my contracts. How do I do it? What magic guides me? I don't know, nor do I want to put my creativity under a microscope, because I'm afraid it would fly the coop. But I do keep in mind a few crucial guidelines while I'm writing, and one of them is to keep the ounces out of the pounds and shillings. We want complications in our stories. They are the heart of tension. Without throwing obstacles in the protagonist's path, the story would be over in thirty pages. But an irrelevancy is not a complication; it's a distraction, and as Aline says, it pulls the reader away rather than pulling them forward. Sometimes a cool sidetrack pops into my head as I'm writing, and I feel like exploring it, but all the while I am trying to see if I can fit it into the main storyline. If it can add tension or intrigue to the overall question of the book, then I keep it. Otherwise, sadly, I kill it.
There are a few other guidelines that I use to keep my story moving forward and on track. I call myself a modified pantser because as I am writing, I try to see at least three or four scenes ahead. Since in my current Amanda Doucette series I have three main point-of-view characters each pursuing their own story lines, which have to be braided together into one story with proper pacing, tension, and timelines, I have discovered I need to plan ahead a bit.
Usually the idea for the next scene comes out the scene I am writing. I ask myself one or two of the following questions: "What would logically happen next?" Or "What would this character do next?" And in some cases, "What is the worst thing that could happen?" The first question helps to keep the plot on track, the second keeps the story character-driven, so that characters are not doing things they'd never do just for the sake of the plot. And the third - it's where the spice of the story comes from. It creates the twists, which are often as much a surprise to me as they are to the reader. In FIRE IN THE STARS, for example, I had Amanda's dog running up the path ahead of her, on their way to visit a hermit with some information. I hadn't figured out what Amanda would discover, so I asked myself "What will the dog find?" Followed by "What's the worst thing she could find?" And presto ...
But use the spice sparingly. Otherwise it will lose its punch. I once read a book which had a car chase or fire or explosion in every chapter. After awhile I thought, Oh yawn, not another explosion.
I agree with Aline. Life is too short to spend time on a 500-page novel that meanders and rambles. Some long novels are spell-binding and draw the reader deep into a fascinating world that we never want to leave. But the more I read and write, the less patience I have for padded verbiage and precious literary devices that leaves me feeling as if I'm spinning off-kilter. As writers we have to be ruthless with ourselves and our prose. That's what rewrites (and rewrites and rewrites) are for – to ask ourselves Do I really need this? Does it add to the story? Is it predictable? Boring? Irrelevant? Sometimes ounces are useful in a mystery novel, as red herrings that lead the reader down the garden path, but they need to do that in a way that is tied to the resolution of the story.
I don't need the story to be all neatly tied up in a bow at the end. Life is not tidy. I like ambiguity and even loose ends, especially in a series, where some questions remain to be answered in the next book. But the central question of the book has to be answered somehow, and I would find a tangle of irrelevancies and loose ends utterly unsatisfying. So the final job for a pantser is to hunt down all the loose threads and make sure you've tied them off.
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