Writer in Residence

I enjoyed reading Tom's entry about critique groups. I've belonged to a venerable group for years, and they have been invaluable to me, especially by helping me decide which way to go on stories. One thing I've learned from allowing my work to be critiqued is that often what I think I wrote and what readers think I wrote are two entirely different things. One difference between my group and Tom's (besides the wine. I must make a note about that) is that my group is quite small and is made up of only traditionally published authors.

However, a good critique group is a fabulous resource for any writer! So if you write, find one that meets your needs!

Speaking of sharing knowledge, I'm going to be spending the next three months as Writer in Residence for the Glendale Arizona Public Library system. Writer in Residence programs are meant to inspire both budding and experienced authors. I've done WIR programs before, and sometimes I learn as much as the attendees! It's quite an intense experience, so check your local library's website to see if your town offers such a program! Residents can ask questions and bring writing for the WIR to review during free, half-hour consulting sessions at the library. The WIR also offers free writing workshops during their tenure.

Here are the workshops I'll be offering this fall at Glendale:

Creating the World of Your Story: Learn how to create a setting that is authentic as possible at 6:30 p.m. on Sept. 12 at Heroes Regional Park Library, 6075 N. 83rd Ave.

The Plot Thickens: Learn techniques to maintain readers’ interest throughout the novel at 3 p.m. on Sept. 21 at Foothills Library, 19055 N. 57th Ave.

Dialog, Dialect and Voice: Discover how you can use dialog to reveal information about your characters at 6:30 p.m. on Oct. 17 at Velma Teague Library, 7010 N. 58th Ave. 

Memoir and Autobiography: Learn how to use personal memories in powerful storytelling at 6:30 p.m. on Oct. 21 at the Main Library, 5959 W. Brown St. 

Characters are Everything: Explore proven techniques for creating compelling characters at 6:30 p.m. on Oct. 28 at Foothills Library, 19055 N. 57th Ave.

Getting Published: Delve into ways to get your book or story published at 6:30 p.m. on Nov. 21 at Foothills Library, 19055 N. 57th Ave.

To learn more about the Writer in Residence and other Glendale Public Library programs, visit Home - Glendale Public Library (glendaleazlibrary.com)

 

A Different Kind of Energy

I am delighted to join the Type M for Murder crew with my second post! I’m finding a wealth of insights into the fiction writing process and the writer’s life in other authors’ blog articles. I hope I can contribute new ideas based on my own journey.

This spring and summer, I have been exploring parallels between my gardening efforts and my fiction writing. Writing and gardening share phases of development. Each phase has a different kind of energy. You don’t need to love each phase, but you do need to strive for competency in all the phases if you hope for overall success.

Let’s dig in to the starting point. If you’ve never gardened, this may surprise you.

Gardening doesn’t begin with plants, or even seeds. It doesn’t even begin with the soil. A garden begins with a dream.

During the depths of winter, gardening catalogs begin to arrive in the mailbox. From general commercial seed catalogs, to mom-and-pop gardening supply businesses, to specialty heirloom tomato seed companies, they all tempt with beautiful illustrations of possibilities. Experienced gardeners also have a stash of seed packets or saved seeds from past seasons.

In writing, this is the idea phase. Another sort of dreaming. An image pops into your imagination. A snippet of a scene. A character. A setting. Snatches of dialogue. Most writers struggle with the quantity of story ideas. Which ones will blossom into short stories or novels?

In the garden and in creative writing, you can’t do everything. My garden space is limited. I want to grow ten different varieties of pole beans, but I only have room for three or four. I’d like to grow pumpkins, but they take an enormous amount of unfettered space.

I have ideas for three new series and a stand-alone novel. I don’t have the energy or physical capacity to bring all of them to life. Not all at once.

You begin with the dream of the garden, or the story. Seeing what you want in your imagination. Lush. Potent. Compelling. The dream begins to take form. Let this phase take you to impossible places.

The dreaming phase is a different kind of energy. Done right, it can lead to amazing results. Ignore the dream, and nothing will bear fruit.

Next time, I’ll talk about phase two in gardening and writing.

Head Hopping

 

By Thomas Kies

For the last few months, I’ve been mentoring a critique group that meets every Monday night at a local wine bar.  The perfect location for the perfect Cabernet or Malbec and pleasant discussions about writing.

Most of the members of the critique group are holdovers from my last creative writing class. Once the class was over, they surprised me by offering to pay me (real money) to run a critique group.  I declined the cash but instead said that I’d run the group on one condition—that they critique chapters of the book that I was working on at the time. 

They accepted and we’ve been working together and drinking wine ever since.

One of the more heated discussions we entered was initiated by a writer who has self-published four books (a series of mysteries) and is eagerly looking for an agent and a traditional publisher.

When she read chapters from her new work in progress, I mentioned that she “head hopped” and I couldn’t get invested in the characters. 

I had warned them that I would be honest in my critiques of their writing.

Head hopping is when a story or a chapter is being told from a character’s perspective or point of view and then abruptly, it changes, and the story is being told from a different character’s perspective. 

When I mentioned this, she couldn’t believe that she’d done it.  I took her chapter home and physically marked off all the places she changed points of view…sometimes in the same paragraph.

She asked, “Why is that bad?  How else can I tell the reader what the characters are thinking?”

Let’s start with why it’s bad.  For one, it’s distracting as hell.  One of the reasons I was having a problem relating to the characters was that I was never sure who I was supposed to be relating to. When I read a book, I want to be immersed in that world, which means I’m seeing it through the eyes of the characters in that particular scene.  

You can’t do that if you’re flip flopping from character to character, hearing the thoughts of different people from one sentence to the next.

I suggested that the writer show me what someone is thinking.  If Sally is having angry thoughts, demonstrate it.  Have Sally throw a coffee cup across the room, screaming words that would make a sailor blush.

If Charlie is embarrassed, have him blush and turn away, staring at his own shoes.

Head hopping keeps the reader from becoming emotionally invested in a character and, worse yet, is confusing.

So, can you change POVs?  Of course you can.  Especially if you’re writing in omniscient third person POV.  But when you do, you should do it in some kind of scene break or in a new chapter.  Otherwise, it’s jarring and confusing.

So, that was a discussion that lasted over more than one glass of wine. 

Same writer, different discussion was the value of plot over character.  We’ll save that for another blog.  That also was a two-glass discussion.

The Purge

 One of my writer fantasies was the world honoring my life and publishing accomplishments with the Mario Acevedo museum, a must-visit shrine for every wannabe scribe looking for encouragement and inspiration. Here are Mario's desk, laptop, printer. Here are his journals. His coffee cups where he kept his pens and paperclips. His pocket knife. His stacks of reference materials. My wish would be of people culling through my archives, searching for unfinished stories and manuscript drafts that would point to even bigger story ideas and insights into me as a writer sage.

Kevin J. Anderson, who took on the Dune series, told of digging through boxes and discarded files tucked away in Frank Herbert's home to discover, YES! notes and sketches about characters and narratives that helped steer the Dune legacy. This is what I wanted from posterity. Not so much, really.

Harboring my dream was the big reason why I hung onto my research files, background material for novels that ultimately went nowhere. Part of the process in your journey as a writer. At the time, I fancied myself stepping into the shoes of Jack Higgins or Alistair MacLean, hoping that my World War Two pot boilers--Torpedoes Los! (A Nazi U-boat at Pearl Harbor comes close to changing the fate of the war) Midnight in Morocco (An American mercenary spoils Nazi plans in North Africa) The Last Warlord (The same mercenary causes more mischief in China)--would get me rich and famous. But God had other plans.

These papers come from my research pre-Internet when you had to write and mail letters requesting info. The US Navy, National Geographic, Boeing, and the British archives at Flypast were more than generous. I got photos, maps, schematics, reprints, unit histories, all for free. 

As I'm getting older, with the days forward considerably shorter than the days behind me, it's time to start downsizing and decluttering. Purge. Besides these documents, I'm also pitching old manuscripts marked up by my critique group. Farewell, fond memories.

My Reading Buckets

 by Sybil Johnson

Whenever I finish reading the first book in a series, I mentally place the series into a bucket. I never actually write this down anywhere. I just keep track of it in my mind. These buckets are:

1. Loved it so much I’m going to (a) immediately read the next book if it’s available, (b) talk about the series to anyone who will listen, (c) pre-order the next book. 
   
2. Liked the book enough to want to read the next book in the series at some point, just not immediately. I won’t pre-order a book, but I’ll keep track of when the next book comes out. 
3. Found it interesting, but didn’t really care about the characters or the setting. Might read the next book. Might not. 
4. Didn’t really like it, but finished it. Not worth reading any more books in the series.
5.  Didn’t like it. Didn’t finish it. Won’t even consider reading another book in the series.

I don’t reread books very often, but when I do they’ll come from the first two buckets I described above. Series can move from bucket to bucket as time goes on. After a dozen books in a series, I might get tired of it or it might move down the list for something newer.

Does anyone else do something like this? Or is this just me being odd? I guess it’s my way of bringing order to my world. 

As a writer, I aspire to being in that top bucket or at least the top two. I can’t control this, though, so I’ll just keep on writing stories that I would enjoy reading. Hopefully, I’ll make it into a reader’s top buckets.

Treasure Hidden in the Weeds

 

by Catherine Dilts

 

Gardens need to be weeded. So does fiction.

My garden is in a wild state of growth. There are only six weeks left until fall, and plants are hustling to produce seeds.

The weeds are in high gear, as anxious to propagate themselves as the tomatoes, peppers, and greens.

After a rain is an excellent time to pull weeds. The soil is softer. I’m less likely to damage the roots of the plants I want, as I remove the plants I don’t want. A weed is a plant that doesn’t belong in a particular area. If I plant lettuce, I don’t want it competing for sun, soil nutrients, and water with marigolds.

While I was on my hands and knees, delicately removing unwanted grass from a vegetable bed, I thought about how weeding words, scenes, even chapters, from a novel is a similar process. You don’t want to rip out the good stuff along with the bad.

I tend to write long. I love lengthy novels. I’m sure I’m not the only reader who does. At the 2024 Pikes Peak Writers Conference, I learned the economic reason why you see so few novels over 400 pages. Printing costs.

Even though many readers consume literature on e-readers where paper costs have no effect, the publisher knows a certain percentage of hardcopy books will be printed. The high cost of paper makes the printing and pricing of books a problem.

My publisher Encircle confirmed this when they told their authors the sweet spot for a novel is 90,000 words. More than 100,000 is unlikely to get published. Not because of the quality of the writing or whether the story is compelling or not, but for harsh economic factors. Printing costs.

Kind of like when you have limited garden space. You can’t afford to let the weeds run riot when you’re trying to get a crop of tomatoes to grow. Those weeds compete with the domesticated plants.

We have one garden plot we’re considering converting to a flower bed. We let it lie fallow this year, and the weeds took over. I had extra cucumber plants this spring, so I stuck a couple in this bed. When I got around to checking on them a few weeks ago, I was surprised they were surviving.

Then I took a closer look. Hidden among the weeds were healthy cucumber vines, and one cucumber. That’s when I got busy weeding around the plant. I might as well give it a fighting chance.

I use that approach with my fiction. Sometimes I need to take a shovel and a hoe to the mess I’ve made. Other times, I use a delicate hand to weed out the excess words, the blathering and repetition, to get at buried gems.

By carefully weeding out our writing, we can reveal hidden treasures to readers.

 

 

Writing is Rewriting

 Donis here. First of all, let me join the chorus of delight and welcome our newest Type M author, Catherine Dilts! Oh, how glad we are to have you!

On a less joyful note, I’m still slogging along in the jungles of the first draft of a new novel. When I’m trying to get a first draft to look like something and having a tough time of it (which is always), I often wonder why I put myself through it. But then if I didn’t have a first draft I wouldn’t have anything to revise. I much prefer doing revisions to writing the first draft of a novel. In my metaphorical little world, writing the first draft is a coarse, rough, sweaty process. You slap that gesso on the wall by the bucket load and slather on the background paint. It’s messy and hard and, for me, a daily act of will to accomplish. But rewriting takes skill. It requires a true eye, real delicacy and finesse to shape that big old expanse of plaster into a work of art.

With rewrites, you get to see the story change shape and, if you’re lucky and skilled enough, grow into something beautiful. Of course, there are those horrible moments when you realize that you’re going to have to lose a scene that you really liked, or that word of which you are so enamored because it no longer fits the picture. Perhaps that’s when you know you’re a real writer, when you can cut good stuff for the greater good of the story.

I'll let you in on a little secret, Dear Reader. I keep a file of great lines/scenes/chapters I've had to cut inhales of finding the perfect home for them in some future story. In fact, some of those cut lines/scenes/chapters had led to a future story on their own.

Now I'm facing the ending of the book and wondering if I can pull it off. It's horrible to know exactly how you want it to come off and not be sure you have the chops to do it. I've never quite achieved the brilliant, knock-your-socks-off triumph that I had envisioned, but I'm usually pleased enough in the end. I often don't know exactly how it's going to end, myself, until it does. Once I do finish a book, I love to go back over it and fiddle with it, changing a word here, a sentence there, like polishing a new-made piece of furniture.  Pulling off a great ending requires not only skill, but insight and not a little luck!

Maybe this time!

Now that I think about it, I have to admit that I don't readily feel disappointment when something doesn't pan out, nor am I particularly elated by success. I've had a lot of both success and failures, and when the dust settles, nothing much is changed and I am still me. Another author told me once that she shopped a novel around for eight years, and she grew so calloused by rejection that when her agent did sell it, she felt nothing. I can easily be seduced by praise, though, and I wouldn't say no to a Pulitzer Prize. Something has to keep you going in this business, because the likelihood is that it won't be riches.

Dear Reader

First of all, I'd like to extend a warm welcome to Catherine Dilts, whom Charlotte so eloquently introduced in yesterday's post. We're all very excited to include Catherine, who will bring a fresh voice and perspective as she shares her own writing journey. I feel as if I have been posting on the blog for eons, and sometimes I wonder whether I have anything new to say.

That said, I don't believe I have ever talked about the "Dear Reader" letter my publisher always asks me to write as a preface to the Advance Reader copies sent out to reviewers, book sellers,  and others in the book world ahead of the release of a new book. The letter is intended to introduce the book and provide readers with some personal information that the author wants to share. It could be the reason for writing the book, some interesting research that contributed to the story, or a pivotal scene or character.  I don't know whether all publishers do this but Dundurn Press has been including the letter for quite a while. It's usually my last task before the book leaves the editorial phase and enters the publication phase. SHIPWRECKED SOULS is still a long way from appearing on retail shelves in January, but copies will be available for review in a few weeks. I miss the days of old-fashioned, physical "ARCs" as they are called because that was always my first glimpse of the book in its final state. The thrill of seeing the finished book, complete with cover, never grows old. But nowadays, most publishers release the book in digital format on Net Galley, which speeds up the process, saves trees, and saves money on shipping. It also makes the book accessible to more reviewers, including bloggers, thereby extending its reach. 

So without further ado, here is the Dear Reader letter that will introduce the ARC of SHIPWRECKED SOULS. 

 

 

Dear Reader,

SHIPWRECKED SOULS is the twelfth in the Ottawa-based Inspector Green series and Michael Green’s most powerfully personal case yet. 

As he nears the end of his career, he finds himself sidelined into paperwork hell far from the life and death street dramas he loves. He’s drawn to the mystery of an unidentified elderly woman who’s recently arrived from Ukraine. Who is she, and how did she end up dead in a remote back alley? Because his own parents survived the Holocaust and came to Canada to find a new life, he feels a kinship with her.

SHIPWRECKED SOULS is about lives shattered by the trauma of war and persecution and the struggle of survivors to find hope amid the detritus. For Green, it’s also an emotional  journey of discovery into his own past. 

While the story is fictional, I tried to ensure the historical events and the emotional cost are accurate. Although the story is about trauma and loss, I hope readers close the book with a sense of hope and renewal.  

Thank you for coming with me on the journey.

Barbara Fradkin

Catherine Dilts

 by Charlotte Hinger

We have wonderful news for the followers of Type M For Murder. Beginning next week, Catherine Dilts, author of the Rose Creek Mystery series will post every other Tuesday. 

Catherine has lived in Colorado for decades, but spent her formative years in Oklahoma. She must have left a little bit of her heart there, because her new Rose Creek Mystery series is set in the Ozark foothills in northeastern Oklahoma. She also writes novels for various Annie’s Fiction series.

Her short stories regularly appear in Alfred Hitchcock’s Mystery Magazine. Recently retired from a career as an environmental compliance specialist for a global corporation, Catherine now gets to do what she always dreamed of - write fiction full time.

She and her husband enjoy traveling with their adult children and their families, camping, and the occasional crazy long running adventure. After having thirteen of her short stories, seven of her own novels, and five write-for-hire novels (with three more in the queue waiting for release) published, Catherine still struggles to define success.​

The Rock Creek series is published by Encircle Publications, a New England–based independent publisher offering a growing catalog of trade fiction titles in popular genres—Mysteries, Thrillers, Crime Fiction, Historical Fiction, Literary Fiction, Western Fiction, and more—as well as poetry collections.

For those of you who would like a preview of Catherine's work, her short story "Claire's Cabin" was published in the March/April 2023 edition of Alfred Hitchcok Mystery Magazine. The publication date for the third book in the Rose Creek series, The Body in the Hayloft will be announced soon. 

Welcome Catherine! 

Writing the Cozy Mystery

 by Sybil Johnson

Awhile back I answered a call on social media for cozy authors to write an essay about some aspect of writing the cozy mystery. The essays were to be compiled into a book. My essay, “Crafts and the Cozy Mystery”, was selected for the book, which came out this past Monday: Writing The Cozy Mystery: Authors’ Perspectives on Their Craft. It’s edited by Phyllis M. Betz, Professor Emerita of English from La Salle University. You might have seen her name on another book about cozies titled Reading the Cozy Mystery: Critical Essays on an Underappreciated Subgenre.

Essays are split into four sections: writing genre, writing theme, writing setting and writing character. I have read books from a lot of the authors represented. Authors: Sherry Harris, Vicki Delany, Justin M. Kiska, Diane Vallere, Kait Carson, Tina deBellegarde, Mary Ann Evans, J.A. Hennrikus, Andrea J. Johnson, Peggy Ehrhart, Edith Maxwell, Maya Corrigan, Leslie Budewitz, Jennifer J. Chow, Rabbi Ilene Schneider, Marni Graff, M.E. Hilliard, Amanda Flower, Kathleen Marple Kalb (Nikki Knight), J.C. Kenney, Carol E. Ayer and Winnie Frolik. Phew! That’s a lot of authors!

Phyllis, who I met at Malice this last year, wrote a very interesting and thoughtful piece as an Introduction to the book.

I really enjoyed writing the essay. I’m really happy I took the time to participate, though I admit to a bit of impostor syndrome. But I am happy to be thought of as part of the cozy mystery author world. 

 Buy links: Amazon, BN, IndieBound

You may notice that the price is, well, a little pricey. This is a textbook publisher so I think they tend to price their books higher. You can always suggest that your local library order a copy. It seems like the kind of thing libraries would be interested in carrying. I know some of my local libraries carry Reading the Cozy Mystery. Rumor has it there will be a discount for SinC members, but I haven’t seen anything definitive as yet.

Something New for Me--Historical Fiction

 By Thomas Kies

I’m nearly finished reading a fascinating book called Skies of Thunder by Caroline Alexander. Non-fiction, it’s set in World War II and describes the Burma/India/China theater of war, primarily the transport of supplies and men over the jungles and the Himalayan Mountains.  The terrain is treacherous, the weather is unpredictable and often fatal, the jungles are deadly, and the missions are notoriously muddled and confusing. 

In short, it’s mesmerizing. I’d love to set a mystery there.

I’ve tried writing historical fiction only once.  And there’s a reason for that.  The title of the book was Crossbones and, obviously from the title, it was about pirates.  It was set in 1692 and culminated in the destruction of the notorious pirate haven Port Royal, Jamaica, wracked by an earthquake and tidal wave.   

Not only was the end of Port Royal a disaster, but so was my novel
Crossbones.  I swore I’d never attempt a historical novel again.

Well, fifteen years later, maybe I’ve gotten my courage back.  I’ve always been fascinated with the forties (having been born only a few years later). I grew up listening to the music, watching the movies, and, more recently, glued to documentaries on the war. 

Now, we have some authors here on Type M for Murder who excel at historical fiction.  Admittedly, I do not. Hopefully, they can offer some advice.  But in the meantime, like any novice, I asked the internet for advice. 

In an article by M.K. Tod entitled 7 Elements of Historical Fiction, he lists these items that should be top of mind: Character, Setting, Dialogue, Theme, Plot, Conflict, and World Building.  

Really, not so different than a novel set in our current time. 

Just kidding---it’s way different.  

Let’s take character.  According to M.K. Tod, characters behave within the confines of the era they inhabit.  Obviously, if the story takes place during WWII, the protagonist isn’t going to be pulling out his cellphone. 

Dialogue is tricky.  You want to use some sentence structure and words of the era, but not so many as to be completely distracting to the reader.  I guess this is easier in a story from the forties than a tale from the Middle Ages. 

Setting…well, now, that can be fun, can’t it?  It will be different from what we’re used to, but that’s the joy of a historical novel.  This is where you can bring the past to life.

World building.  Isn’t that the same as setting?  Well, not really.  This is what was happening at the time including politics, world events, occupations, food, customs, social interactions and a lot more. 

Theme, plot and conflict---this is what I’m used to dealing with.  As I teach in my creative writing class, all stories have their basis in conflict.  

So, part of the allure for me is doing research. I can go back and listen to the music again, watch old films, and read the books about that time and place.  Like I tell the folks who take my class, try it on for size and see how it feels.  Write a chapter or two and see if it fits. 

Wish me luck.  And if you have any advice, please share with me.  

Happy writing!