Someone to Root For

 As I often do, I am reading books about writing as I work on my next book. Since I have multiple points of view and several primary characters, I've been giving more thought than usual to who these characters are. Their voices need to be distinctive. But I'm also thinking about what the fiction authors discussing characters have to say about how "likeable" a character needs to be for readers to care about that character and have "someone to root for". 

Personally, I have read books when I found there was no one I cared about or liked. And, then, there is a book like Gone With the Wind. I mention this book because -- as I have mentioned -- it is crucial to my 1939 novel because in my historical thriller, all roads lead to the Atlanta premier of the movie based on the book. I have been watching the movie in bits and pieces. I remember the movie well. But the book is still setting on my desk, waiting to be read again. Why?  Because even though I raced through the novel when I read it as a teenager, I found Scarlett a difficult character to root for. She is beautiful and brave, but I thought Rhett might have done better. Send Scarlett and Ashley off into the sunset and have Rhett find comfort with Melanie.  

I have given this some thought because I can understand why Mitchell created Scarlett (of course, I am analyzing the novel as it would have been read by her core audience in 1939. The racial politics is another matter entirely).  Scarlett is a dynamic character. She makes things happen. Even disliking her, one wants to know what happens to her. Even when she is being audacious, she is engaging. Melanie, on the other hand, is kind and unselfish, but she would have had to undergo the kind of transformation that Bette Davis does in Now, Voyager (1942) to hold the attention of many readers and movie goers. 

In the fourth novel in my Lizzie Stuart series, I have a character who does her best to take over the book. From the moment, she walks in -- even before that when she is being discussed by the other characters -- she is intriguing. I was as anxious as anyone who read the book to have her appear. I can't wait to have her turn up again in Book 7. But I share Lizzie's concern that compared to this woman -- her lost long mother -- she, herself, is rather dull. She has the feeling that even to John Quinn, the man who loves her and who she is about to marry, she must be less interesting than her mother. Not that she is jealous. She knows Quinn too well for that. But she recognizes that Becca is a woman who is neither good nor kind but renders other women invisible. 

I like kind characters just as I like real people who are kind. I am always in awe of people who seem to automatically do things to make other people's lives easier. That is not something that I do without thought because I am often in my own head and not paying attention to what is going on around me. To be kind, I have to make the deliberate decision to pay attention and look for the opportunity to do something nice. I would like to be a Melanie. My protagonist, Lizzie Stuart, is a Melanie. So I have to be careful that readers know her well enough so that even when Becca is in the  book, they still root for Lizzie. 

Well, and good in my series. But in my 1939 novel, one of my female character is channeling Scarlett. I have been trying to keep her in line. I am dismayed because I want to avoid creating a female character that might be perceived as a stereotype. But she is having her way. 

The thing is she is a lot more fun to write when she's bad than when she is good. But I want readers to like her and care about her. The end of the book as I have imagined it, depends for its impact on caring about this character. 

I have a feeling it isn't going to end quite the way I expected.

Writing Scenes

Like most writers I am always interested in the processes used by other writers. Since I started working on my 1939 historical thriller I've been reading blogs and books and watching podcasts about historical novel writing.

I know how to do historical research. One of my areas of academic research is crime history. I even teach a research course for grad students  But writing a novel set in a historical era is more complex. A series set in the recent past that I lived through (2000-2004 in the Lizzie Stuart mysteries)  or a recent "near future/now alternate history" (in the Hannah McCabe police procedurals) hasn't been difficult. Even the short stories set in the late 1940s (with Jo Radcliffe, my former Army nurse) has gotten easier now that my fictional setting feels familiar. 

But in the 1939 book -- with multiple characters and a year to cover -- I've still trying to decide what to include. I've finally decided to stop struggling to decide what to include. Although I'm a plotter, I'm going to write the scenes that come to mind from the POV of any of the characters. I read that one famous -- unnamed -- author of romantic suspense does this. Then she goes back in the second draft and sorts through the scenes and uses the ones that work together to form a cohesive whole.

This makes sense as I try to deal with the fact that my villain keeps insisting on narrating certain scenes from his point of view. I'm been writing the scenes even though I plan to delete them. But I realized yesterday that one of my other POV characters is up to something I hadn't anticipated. So, instead of the maximum of four POVs that I have been striving for will be five or six, and then I will decide when the first draft is done who has a perspective that provides information or serves some other purpose.

Of course, the other issue is whether I will give into temptation and include cameo appearances by real-life people. I have a scene when my FBI agent is called down to D.C. for a meeting with J. Edgar Hoover. I could have Billie Holiday interact with one of my primary characters, who has a job at Cafe Society. Or, wouldn't it be fun to include Eleanor Roosevelt during one of her visits to the World's Fair. Or, one of my characters who is in Atlanta for the premier of Gone With the Wind could cross paths with Clark Gable while a crucial incident is happening in the background.

I've already tried this in the scene that introduces Jacob Baldwin, my sleeping car porter. He is in the crowd attending Marian Anderson's performance on Easter Sunday. There are students there from Howard University. He hears one of the  young women call one of the men "Ossie."  This works if you think of "Ossie Davis" (actor, civil rights activist, and husband of Ruby Dee). He attended Howard. But do I need to explain this? If Hoover appears, do I need to discuss this in the "Author's Note" that I always include?

I'm tempted to do footnotes. Yes, footnotes -- or end notes (putting all of the additional information at the end of the text). I know this sounds odd when I'm writing a novel. In fact, the only time I can recall reading a book in which this had been done was a novel by African American writer Ishmael Reed. Mumbo Jumbo (1972), his detective novel featuring hoodoo investigator Papa LaBas, includes citations.

I'm thinking of including footnotes because if I were reading my novel, I would be stopping to look for more information about the time period. If, for example, readers could glance at the footnote at the bottom of a page and have the most obvious question that comes to mind answered, this would keep them from leaving the book and maybe not coming back. But, on the other hand, if they are immersed in the world of my book, my intrusion with this information might have the opposite effect and be an annoyance. They might not care what is true or false. Or, if they are interested in that, might prefer to wait until they are done and read the author's note.

But this is fiction even thought I am rooting my story in truth. Maybe I'm overthinking. At any rate, I need to finally get the first draft done. I'd like to be finished by December 31. That would be a great way to begin a new year.

 

About Titles

 Frankie here. Sorry to have missed my last Friday post. 2022 started before I got around to setting up the calendar that I intended to do to keep myself on schedule. 

Now I'm trying to finish the craft essay I was invited to write about setting in crime fiction. Classes begin on Monday, so I want to get it out the door today.

I do want to comment on the title discussion. I find it almost impossible to focus on what I'm writing  until I have a title. Some titles come easier than others. The title of my first Lizzie Stuart book is Death's Favorite Child. That came from associating a line about death in a poem with Lizzie's sleuthing and the presence of a child in the book. It took me all of the five years of drafts and revisions to come up with that title. In contrast, as I began to outline the sixth book in the series after a long hiatus, I knew exactly what that title should be -- A Rainy Night in Gallagher. The story begins on a rainy night. And the title is a reference to "A Rainy Night in Georgia" (one of my favorite songs and the TV series theme song for In the Heat of the Night).

The title of my 1939 historical thriller came after months of trying different titles. I was inspired by another TV show. On an old episode of The Andy Griffith Show, little Ronnie Howard (now director Ron Howard) asked his father for a penny to put outside during a storm. A friend claimed that a penny struck by lightning would multiple. Since one of the exhibits at the 1939 New York World's Fair was about electricity and the World of Tomorrow, I suddenly thought A Penny Struck by Lightning. That was it. The contrast between past and future. 

But I'm still struggling to find a title for my nonfiction book about dress, appearance, and impression management in crime and justice. The book is for a general audience rather than academic. I want a title that will be intriguing enough to delight both an editor and the marketing department in a publishing house and to stop bookstore browsers in their tracks (not too ambitious, right?). My agent says a one or two word title would work well in the current market. I can use a subtitle to provide more information about the contents. I've been looking for a word that describes clothing in disarray -- frayed, shabby, stained, bedraggled, hemmed? A reference to Justice's robes and to four hundred plus years of American crime and justice history from colonial era to present. I've considered "Clothing Justice" or "Naked Justice."  I thought of "Strip Search" and "Dressed to Kill" (already used). I'm still looking for a title that captures the biases, stereotypes, and conflicts in the criminal justice system involving victims, offenders, police officers, courts, and prisons. The title should also suggest that the book draws on popular culture and mass media. 

I really need a title that I can stick up on the wall in front of my computer as I revise my introduction and the sample chapters of my proposal, then write the final chapters. Any suggestions appreciated.

Back to work on my essay. Have a great  weekend.

Upcoming Events

 I finally got my Friday right. With the beginning of spring semester and half a dozen other things happening, I've been lagging behind and trying to get on track with my life. Of course, it would have helped if my 2021 appointment book had arrived on time. Or, I had ordered with delays in mind. 

But I'm back. And I want to begin by thanking John Corrigan, my Type M blogmate, for inviting me to do a virtual visit to his class. The class had read "In Her Fashion," the Lizzie Stuart story that was published in EQMM six years ago. I did a podcast reading (intimidating) of the story while attending Malice Domestic for the mag podcast https://www.podomatic.com/podcasts/eqmm/episodes/2014-06-27T06_59_34-07_00

It was fun talking to John's class about the story and about writing in general, with a few criminal justice questions mixed in. 

Now, for two upcoming events. On March 19th and 20th, Sisters in Crime, Upper Hudson chapter, will have a virtual conference. This will be our fourth Murderous March (annual conference). We were forced to cancel our expanded conference in March 2020, so this year we are picking up where we left off. With the help of our new webmaven, we are making use of the technology to bring together our own members, members of MWA-NY, and writers from Murder on Ice, the western NY chapter of SinC, and from New England and elsewhere. Here is the link with the registration information and the program: https://upperhudsonsinc.com/murderous-march-conference/

I am hosting a symposium that is an unrelated event, but will be that same week just prior to Murderous March. Another unexpected good thing with the use of technology to bring us all together is that I finally have the opportunity to host another symposium of crime writers of color. The first such symposium was years ago -- a pre-Bouchercon event in the late 1990s, sponsored by the University of Minnesota and the Givens Foundation. This time, I am hosting wearing my UAlbany, School of Criminal Justice faculty hat. I'm the project director of our Justice and Multiculturalism in the 21st Century initiative, and I want to take this opportunity to gather -- virtually -- members of the Crime Writers of Color (CWoC) organization and other guests to talk about crime fiction and social issues. Of course, we'll also be talking about writing, publishing, and their books. The symposium will be on that Wednesday afternoon and Thursday. The program and registration information (free and open to the public) will be up shortly. I will be tweeting it out, and it will be posted on our UAlbany, School of CJ website.

So, that's the news from Albany. The snow is falling, but it's much warmer here than Texas has been. I and Harry, my cat -- who had a vet appointment this morning -- and Fergus, my puppy, who is a bundle of energy and came along for the ride -- are all tucked back in for the afternoon. Thoughts and prayers to the folks in the southern and southwest US who are dealing with all the fallout from the last snowstorm. 

And back to work -- I'm still trying, even after months, to get into the pace of working at home. Still trying to figure out separating day job from my fiction writing schedule. I'm hoping to spend some time in my campus office where many of the books and articles that I need are stored. I'm running out of space in my house for all the material from the office that I need. But I'll figure it out. It's just a matter of getting organized, right?

 Take care, everyone. Keep warm and have a good weekend.

Not Being There

As Barbara noted in her post on Wednesday, one of the challenges of writing during a pandemic is not being able to do field research. Even thought my books are set in the past or in a near-future alternate universe, I do rely on going to real places and walking through them. Last fall, I had planned to go down to Flushing Meadows in Queens, NY to tour the site of the 1939 World's Fair. Not much is left from that famous "World of Tomorrow." The 1964 World's Fair was held on the same site. But I wanted to walk the lanes and streets of the park and see the two structures that remain. I also wanted to go to the Queens Museum.

But last fall, I was busy and I couldn't decide whether to drive or to take the train down to New York City and go from there. I reserved my tour ticket after hearing a delightful podcast, and then I dithered about logistics. I decided with all of the videos available on YouTube and elsewhere on the Internet, with all the photos and descriptions I had found, there was no urgency about actually going to Flushing Meadows. I could wait until spring. Then came COVID-19. And by spring break, it was obvious it would be awhile before I could go anywhere.Hardly tragic in the larger scheme of things. But I keep thinking about the mist on a street in Chicago.

It was years ago, and I went to Chicago for a week because the first quarter of You Should Have Died on Monday (soon to be reissued) was set there. I wanted to walk through what Lizzie Stuart, my crime historian, would do if she were in Chicago looking for information about the time her mother had spent there in 1968. I had been to Chicago several times before, but this time I needed to pay attention to details. A fellow author and lawyer who lived there had offered to take me out to Cook County Jail and give me a tour of some other places that might work for my locations.

That first day, I arrived at my hotel, and then decided to go for a walk. I was walking along, when suddenly there was a refreshing mist in the air. I looked around, puzzled for a moment, until  I realized the buildings were blocking the view of the river.

On the next corner, a woman asked me to buy a small press newspaper. I bought one and dropped it in my tote bag. Then I came to the kiosk offering tickets for a river tour. Of course, Lizzie would take a river tour. She had nothing to do until she met with the private detective who was looking for her mother the next day. I bought a ticket and decided to walk some more while I was waiting for the next boat. On the next block, across the street, I saw a sports uniform display -- the store Lizzie where Lizzie would buy something for John Quinn, her baseball-loving almost fiance. I went in, bought a White Sox baseball cap because that's what Lizzie, the historian, would buy. Then I walked on until I came to the little burger place where Lizzie would have a late lunch and I noted the architecture and the open door in back. Then I walked back to the harbor for the boat tour -- where Lizzie would notice the passengers and I make notes about what the tour guide was saying about the buildings and the huge Ferris wheel.

Now, here's the thing. I was looking back to see if I had a photo of the Ferris wheel that I could post here because on that tour I had a chance to see exactly how it gleamed in the hazy afternoon sun. I mentioned that in the book. But when I was checking the Chicago Architecture Center site, I saw immediately that the gondolas that I remembered as red and had described that way are blue in the photos. It turns out this is a new Ferris wheel, installed in 2016 to replace the 1995 wheel with the red gondolas that I remembered. But if I hadn't seen the red gondolas and I were writing that novel (set in 2004) right now, I might well have gotten that detail wrong. In fact, that boat tour that was really useful in the book because of what happened on board, might have gotten only passing mention and details taken from a brochure.

From Chicago, Lizzie went to Wilmington, North Carolina. I had been there several times before. This time I went to the library and did the research Lizzie would have done -- and when I asked the questions she would have asked, a helpful patron in the local history room offered a suggestion about the neighborhood I wanted to go to. There I parked, walked over to the fish market and order lunch, then walked along the adjacent street -- where I saw a broken place in the sidewalk and the house where I knew Lizzie would find another lead. In my mind, when the door opened, the person there would be a child. I didn't know what he was going to say, but I knew it would affect the outcome of her search. That conversation sent her -- and me -- to New Orleans. I had been there several times before, but now I was in Lizzie's skin. This time, I needed to find the right hotel for Lizzie and walk her through finding Becca -- a trolley tour of the Garden District, a early morning walk on Bourbon Street with the smell of stale beer, the location of Becca's restaurant.

I'm getting nostalgic writing this. I love field research. It's like going on-location in a movie. I can only be grateful that although I wasn't ready to begin my sixth Lizzie book, I did take the opportunity I had almost two years ago to go to Santa Fe.

A friend came along and we walked through my locations -- driving from the airport to Santa Fe, walking around downtown, stopping in art galleries so that I could get details for the gallery that Quinn's sister owns. I collected maps and menus and newspapers. I have all of that in a banker's box along with my notes. I have photos. I'm ready to start writing. I plan to have that book finished by the end of the year.

I am so glad I have seen and felt Santa Fe for myself. I know even though Lizzie is going to be distracted while she is there, she will want to go back.

Characters and Their Lives

I'm finally coming up for air after spending the week racing ahead of a deadline. I've been thinking about the questions about characters my blog mates have asked this week. I have to admit that I am always more interested in the characters in a book or short story than in the details of plot. Not that I don't notice when the plot is weak or lackluster or ridiculous. But if the characters are intriguing and thought-provoking, I will read on and even pick up another book by the same author to find out what is happening with them. On the other hand, no matter how clever the plotting, if the characters are irritating, two-dimensional, or clueless (in both senses of the word), I am not likely to look for another book about them.

I, too, have had that question about how I avoid getting my two protagonists, Lizzie Stuart and Hannah McCabe, mixed up when I'm writing. I don't have that problem because I've written much more about Lizzie than about Hannah. I know Lizzie so well that I would recognize her if she came to life and walked into a room. I am in her head because she is a first-person narrator. She does

occasionally surprise me because she is changing as her life changes. But I can hear her voice. We also share a way of thinking about how to go about being a sleuth because we both do research in the archives and in old newspapers. In contrast, Hannah is "McCabe" in the books. She is the protagonist in the two books I've written so far, but the books are police procedurals. I write in third person, and sometimes from the point of view of other characters.

That brings me to the question about having characters from different series share the stage. I've been thinking about that because I did a radio interview recently and the host asked me a fun question -- one that only a mystery writer (or reader) would love and that I had never been asked. It was, if you were murdered (God forbid!) what fictional character would you like to investigate. My immediate response was Adrian Monk. Then I added Lt. Columbo. I'm sure there are other sleuths who could be as effective and would draw on all the latest in forensics, but as I lingered, waiting to be freed to travel on by having my crime solved, I would be able to enjoy watching those two investigate. Still, as soon as I said I'd like to have both of them work on my case, I started to think of what would happen with their very different styles.

I have thought about bringing my two female protagonists together in a story. I could have McCabe call Lizzie in Virginia to ask her about something. Or Lizzie, who attended graduate school in Albany, could come back for a conference or an award or stop in as she's in the area. I would love to hear a conversation between them. But, I'm sure McCabe would find it much easier to work with John Quinn, Lizzie's former homicide detective fiance. Quinn and McCabe would be on the same page and talk the same language. Not to say that they would be in complete agreement, but they would share the "cop thing." But the problem about trying to bring these characters together is that they don't exist in the same space. Lizzie is in the year 2004 right now, in the recent past of "our" world. McCabe is in 2020, in a world that is much like our own, but has an alternate history/timeline. The series that began as near-future will soon be in the present because the first book is set in October 2019.

The idea of bringing Lizzie and Hannah together is intriguing because they have an overlapping plot. This plot -- stretching over decades -- includes Jo Radcliffe, a character who has appeared only in a short story I have in Ellery Queen Mystery Magazine. Jo lives in a village in upstate New York. She is in 1946, a former Army nurse, and she has a secret. Her life, overlaps with Lizzie's and her legacy affects McCabe. I once did a chart with all of the characters on a timeline. I've even played with having one of them provide the frame for my 1939 historical thriller that references these connections. But I'm still pondering. I don't know if I can pull it off. It might be safer to keep the secret that links them all to myself. But I'm thinking. . .

Places Remembered

I've been thinking about setting -- particularly in the wake of the fire at Notre Dame. I was in Paris for the second time a few years ago. That time around I was traveling with my aunt and we were visiting her son and his family. We traveled from the house they had bought in Normandy to Paris. At the time I was looking ahead, scouting out the setting for a future book in my Lizzie Stuart series. I was already planning to send Lizzie and John Quinn to France on their honeymoon.

Lizzie, my history nerd, would walk through Paris with guidebook in hand. How could she not have gone to Notre Dame? Undoubtedly a scene would have happened there. Maybe she would have seen someone or heard something. Maybe had a glimpse of another character I already know will appear in that book.

That book isn't the next in the series, but the one after. I've been debating France, but it is the destination I've always had in mind if Lizzie and Quinn make it to the altar. I've also recently considered Ireland because of Quinn's family ties. But if they should go to Paris, I need to make a choice. The series is in the recent past. The honeymoon would happen during the first week of January 2005. So what about Notre Dame?  How does one handle a setting that has changed in an event that was deeply emotional for many people?

This gets to the larger question of recovering the past. As my fellow Type-Mers have discussed, setting is important. I, too, spend time in the field, exploring the places where my books and short stories are set. It is disconcerting to discover how much real-life settings change. This is less of an issue writing in the recent past or near future. Enough is there to have a sense of how it once looked or will look in an imagined future. But when the setting has only a marker and the surrounding area has changed, one is left only with photos.

I need to go to the site of the 1939 New York World's Fair. Knowing how little remains from the fair, I haven't rushed to make the pilgrimage. But I will eventually. Standing there, with map and photo book, I hope I will be able to get the "lay of the land".

And if  Lizzie goes to Notre Dame in 2005, I'll need to figure out how to treat the tragedy of the fire with respect while being true to what she would have seen and commented on.

Walking the Line

Frankie here. I've been chuckling through my colleagues posts this week. In empathy, not superiority. I just left a comment apologizing for what was both a typo and a grammatical mistake in a guest post. I typed (on my computer keyboard). I meant to say that my "books are," but instead wrote my "series are." Are commas and periods in the right place in this paragraph? I have admitted to myself that even though I was both a Psychology and an English major, I have trouble remembering the rules. I go back to double-check before reading term papers.

I did learn to type in high school even though I was on the academic track. There was a simple reason for that. My cousin taught at the high school I attended during my senior year. I rode to school with her some days when I missed the bus. I took typing because I knew it was going to be useful. But I'm pretty sure I didn't get an "A" in the class. I was not a whiz on the keyboard. I jumped for joy when I realized that computers allowed one to erase and edit without ripping a hole in the paper. Without a computer, I might still be trying to type a book that could be submitted. My first two efforts are tucked away in my desk awaiting that mythical one day when I have the time to try revising them. The manuscripts can't be scanned because there are so many typos and whiteouts.

But getting to the intended topic of my post today. As I've mentioned, Speaking Volumes is re-issuing the five books in my Lizzie Stuart series. The first two books, Death's Favorite Child and A Dead Man's Honor, are available now in both print and Kindle.Old Murders, is with the publisher. The last two books will be out this year, too. And my publicist, PJ Nunn, is doing a marvelous job of helping me relaunch the series. All good, but this does present a challenge.

If you're writing a series, you know about the delicate balance that a writer faces when it comes to marketing. On one hand, we want to interest prospective readers enough to get them to go to our websites and learn more about us and our books. On the other hand, when talking about our books, there is the danger of saying too much. We can spoil a new book for a loyal reader by giving away an ending. We can spoil an entire series for a reader who have just discovered us and our books by revealing how the series evolves. Who lives, who dies, who gets away with murder. I've been finding this particularly challenging as I am relaunching a series five books in.

For example, I have revealed (although it was mentioned by readers and reviewers when the book was published) that Lizzie's mother, Becca, is a femme fatale. I commented on that in a guest blog that came out today. Again, on one hand, I was talking about a character that I love who has popped up in a series that is not cozy, but certainly not noir. On the other hand, I'm hoping that knowing Becca survives her first appearance won't spoil the book for readers who pick it up -- especially for  readers who prefer to begin with the first in the series and wouldn't have learned Becca's fate until Book 4.

Walking the line during a marketing campaign is a challenge. But it's lovely to work on the plot of a new book as new readers are discovering the series. I need to think before I blurt out any important plot twists and remember to say "the killer" rather than identifying by pronoun. But I'm having fun trying to find creative ways of saying enough and no more.

About the Villain

I intended writing about something else today, but what Donis wrote about villains yesterday got me thinking.

I'm dealing with that issue of the villain right now as I work on my historical thriller. In my five Lizzie Stuart mysteries, only two of the villains die. On the other hand, in my two Hannah McCabe police procedurals, the villains both die. I didn't plan it that way, but that is what happened.

In the standalone I'm working on now, the villain is -- I hope -- a three-dimensional character with what he perceives as good reasons for his dastardly acts. That part works because I always try to understand my villain and give him/her a chance to make the case for what he or she does. But it is disconcerting in this thriller to have the reader know early on who the villain is and something about "why." This requires me to spend so much more time than I usually do inside my villain's head. He is not a serial killer. He is not insane. So I am dealing with someone who can rationalize what he does.  I don't agree with his logic, but I don't want to stack the deck against him by inserting my author's perspective.

I have to admit that I sometimes have empathy for villains. That could have something to do with the fact that I began to really think about villains when I was reading Shakespeare -- three quarters of Shakespeare in college. I found Iago fascinating. I thought Macbeth and his wife deserved what they got -- but they also had some great lines. Richard III had me from his first monologue.

I think the thing about villains is that they have so much energy. In one of my Lizzie Stuart books, the people who were behaving badly threatened to steal the show. Luckily, Lizzie is a first-person narrator. Even so, I had so much fun writing one of the characters that I'm already planning a return appearance.

One of the questions -- one that also comes up in other genres -- is whether the villain can redeem him/herself. If the villain feels justified and then later changes his or her mind and does the right thing, was he or she only a misguided protagonist? I'm playing with this idea. Maybe I will find it easier to stay in the head of the bad guy in my historical thriller if I think of him as both protagonist (from his POV) and antagonist (from my hero's POV).

Although it would certainly be time consuming since I have at least four viewpoint characters in this big book -- I'm thinking of writing the book with each of the main characters as the narrator. That would be four or five novellas. Then I could go back in and put them all together, with alternating narrators. I'm thinking of this because it would make it much easier to keep track of what my characters -- including my "villain" -- are each doing over the course of eight months. I would also be able to settle in and write from one POV from beginning to end.

It seems like a lot of work to take this approach, but I think it will save me time (less revising) and allow me to create characters who are more fully developed than they are when I'm simply shifting viewpoints as I write. For example, I will know what each character has been up to and how character arcs overlap and intertwine. My villain has a life. He doesn't spend 24 hours a day hatching ways to make my hero's life miserable. If I tell the entire story from his point of view, I hope I'll be able to really understand him.

Has anyone else taken this long way around when dealing with multiple viewpoints, including both hero and villain.

How My Characters Will Spend the Holidays

It's 11 days before Christmas,
And not a gift has been bought.
No decorations are hanging,
No tree has gone up,
But the writer is plotting,
Dastardly deeds concocting. . .

Forgive the really bad poem. It came to me as I was waking up this morning. I don't know why I always get my best ideas for the plot I'm working on when I'm in the midst of something else. I made a few notes. Then I went to my faculty meeting. Now, I'm about to start reading research papers. We're at end of semester.

Thinking about the holidays got me wondering how and with whom my characters would be spending the season. It's a no-brainer about Lizzie Stuart, my crime historian. In her world, the year is 2004. She has met her future in-laws at Thanksgiving (although I haven't gotten that book written yet), and she is getting married on New Year's Eve. So, she's spending the holidays with John Quinn, her former-homicide-detective fiance. What she doesn't know is that her mother, Becca, is about to put in another appearance.

Meanwhile, Hannah McCabe, my homicide detective, in my near-future (soon to be parallel universe) novels is spending Christmas in Albany at home with her father, Angus, the former newspaper journalist and editor. The year is 2020. Adam, her brother, will come to dinner and bring his girlfriend, Mai. Their Great Dane puppy, who finally has a name, will be there. He will need to be reminded of his training when he sees the ham on the dining room table. Hannah's best friend and her husband will arrive, bringing dessert from their restaurant, and a surprise visitor will drop by.

The character I'm not sure about is Jo Radcliffe, my World War II Army nurse. She is a new protagonist who I introduced in "The Singapore Sling Affair." This short story (in EQMM's Nov/Dec 2017 issue) is set in 1948. Jo has come back to the village in upstate New York, where she has inherited her aunt's house and her Maine Coon cat. The cat has not warmed up to her yet. But I'm sure several people will invite her to Christmas dinner. I don't know whose invitation she will accept. And then there's New Year's Eve. Will she stay at home with a good book? Or, maybe she'll be invited to go down to the City to celebrate there.  

Right now, I need to start reading papers. Then I'm going to try to get in a couple of hours of shopping. Tonight I'm making fudge. Tomorrow our Upper Hudson chapter of Sisters in Crime has our annual holiday party. And maybe tomorrow, I'll get some decorations up.

Happy Holidays, everyone!

Bad Girls, Bad Boys

It's happened again. I've been seduced by my villain. The first time it happened, I was writing Old Murders, the third book in my Lizzie Stuart series. Being a plotter (or, at least a hybrid), I started writing feeling sure I knew whodunit. But during the last fourth of the book, I realized I couldn't do it. My killer had convinced me that someone else should take the fall.

It happened again, that time much earlier, when Lizzie went in search of her mother, Becca. She had never seen her mother, who was 17 when Lizzie was born and got on a bus and left Drucilla, Kentucky five days later. Lizzie was raised by her grandparents, and she wanted to find her mother before accepting her lover's proposal. I knew from the beginning that Becca was not going to be a cookie-baker. As Lizzie followed her mother's trail, Becca took shape. When Lizzie finally came face-to-face with her mother, Becca was smart, beautiful, and cold-blooded. I loved Becca -- and she threatened to walk away with the book.

Now, I'm writing my 1939 historical thriller. I like my characters. But my protagonist -- decent, intelligent, a believer in justice and doing the right thing -- was boring me. When his antagonist was on-stage and I was in my villain's post of view, I was intrigued, not sure what he would do, waiting to see. In desperation, I switched my protagonist's point of view to first person. That helped. He turned out not to be as squeaky-clean as he at first seemed. In fact, he has a secret that is going to walk up and bite him in the middle of the book. He is in turmoil, and that's makes him more interesting to write.

But I will need to dig deeper to make him the equal of my villain. Not that I am dealing with a comic book super-villain. But he is complex, and his downfall will come about because my hero discovers his vulnerabilities.

The thing about villains is that they have few compulsions. They don't feel the need to be good. And, for writers, who spend our real lives trying to be as decent as our heroes, villains are freeing. My closest analogy is that villains are like avatars. To do a villain well, one has to step into his body and walk and talk and think as he would. To play an unfamiliar role.

The good news is that most of us are only temporarily seduced. Being in the head of someone who rejoices in villainy is disturbing. Unsettling. Being in the head of the killer in my last Lizzie Stuart book convinced me that I would never be able to go too far to "the dark side". The villain in my 1939 book may "smile and smile," but he is up to things that I find despicable. He is someone who may carry me along with him -- good for the plot and pace of the novel -- but in the end, he must be stopped.

Not There Research . . . and a Question

I've been following the discussion about research and setting, and it reminded me once again of the dilemma I've created for myself. I use real places, but because of my slowly-developing series arcs and my reluctance to write in a "present" that can change in a moment, I can't physically be in the places I write about at the time of the story.

When I write about Gallagher, Virginia, my fictional stand-in for my hometown, Danville, Virginia, I can go home to Danville and walk through history. As in this photo of the courthouse. The statue is of Mayor Harry Wooding, who was a young officer in the Civil War and served as mayor for over 40 years.

But then there's the matter of  Danville/Gallagher in 2004. I have no memories of the city or the state during that era because I lived in Albany, New York. I made occasional visits home, but I don't have the same sensory memories that I have of the years when I lived in Virginia. When I write a Lizzie Stuart book, I need to rely on newspaper accounts of the city to provide the chronicle of changes and fill in the empty spaces based on what I know and remember.

The books set in Albany in the near-future are a different matter. I can see what exists now, and I need to walk into an imagined future. I imagined what Central Avenue would look like if the traffic pattern changed. I imagined a building downtown with a vertical garden and an attached restaurant.

Now, I'm imagining what urban explorers would find inside a deserted building. Sometimes, I'm ahead of the curve. I gave Albany a convention center because it was being discussed. Now, there is one. Not my convention center because my Albany exists in a fictional, parallel universe. But it's a little creepy -- if I conjure it, will it come?

I have another unrelated question. Tomorrow, the Mavens of Mayhem (our Sisters in Crime chapter) will host our first, "annual" Murderous March afternoon event at a public library (East Greenbush). I think we know why writers attend such events even if they aren't on panels. I've been thinking about readers. What brings readers in, even when the weather outside has a hint of spring, and there are other competing events?  Thoughts?

Recurring Themes

Barbara's post on Wednesday about the recurring themes in her body of work reminded me of my own endeavor. Over the past several months, I've been re-reading my books. As I've mentioned, my Lizzie Stuart books are being reissued by a publisher. We needed to withdraw the first book after it had been released as an e-book to fix some technical problems. We ended up going back to the manuscript of the book for a better copy. I read the manuscript with printed book in hand.  I've also been re-reading the two Hannah McCabe near-future police procedurals. The plot for the third book have been rattling around in my head. I picked up my pace because the Albany Public Library Foundation informed me that I was a nominee for this year's Albany Literary Legends award. Then I learned I was one of the two recipients.
http://www.albanypubliclibraryfoundation.org/about-us/literary-legends/  Since I'm receiving the honor in part because of my two novels set in Albany, I am digging into the books to remind myself of what I wrote.

Here's what I've learned from my immersion in my books and short stories:
 1.  I agree wholeheartedly with William Faulkner's oft-quoted observation ("The past is never dead. It's not even past."). Whether I'm writing the Lizzie Stuart books/short stories set in the recent past or the Hannah Stuart books set in the near future, the plots draw on the histories of places and characters.

2.  The family relationships of my characters are complex. There are absences, losses, and traumas. The dead are still present in the lives of the living. Relatives, living, dead, present, absent, and unknown have shaped the personalities of my protagonists.
3.  My protagonists have strong moral cores. They engage in internal debates and debates with others about questions of right and wrong. They have ethical lines that they will not cross. But they are not always sure that justice will be served by the punishment of someone who is technically guilty.
4. My characters debate social issues. I spent a lot of my time encouraging my students to debate those issues, so it makes sense that would carry over to my writing. 
5. That is also why literature and popular culture runs like a thread through all of my books and short stories -- from titles inspired by children's books to plots inspired by Shakespeare. I teach crime and mass media/popular. I was a double major in Psychology and English. I wouldn't know how to write fiction without a nod at a book or writer or a favorite movie (Hitchcock turns up frequently).
6. Animals. I started college as a Biology major, intending to be a vet. George, the dog in my Lizzie Stuart series, is still a young adult. Hannah McCabe adopted a Great Dane/Dalmatian/mutt in the second book. My third protagonist, Jo Radcliffe, who made her debut in "The Singapore Sling Affair" (EQMM, Nov/Dec 2017) inherited her great-aunt's Maine Coon.

Animals in my books provide companionship, act as sounding boards, and help the humans to connect with each other.
7. My books have romance. I loved romantic suspense when I was a teenager. I think there is a place in crime fiction for relationships. After four books, Lizzie Stuart and John Quinn got engaged. In the sixth book, she will meet his family. In the seventh book, they will wed. If Hannah McCabe is around as long as Lizzie, she may eventually found a mate as well. I like the possibilities for self-discovery inherent in romantic relationships. I also like couples that have little in common, but recognize in each other something that they can admire or a shared value.
8. I don't write cozies. My books have a dark edge that I hadn't really thought about until I started to re-read. Although most of the violence happens off-stage, some of it doesn't. And even the off-stage violence is discussed and the impact is shown. My protagonists and the other characters are traumatized by violence. But my dark edge is relieved by my protagonists' faith in justice (or at least the necessity to seek, if not achieve).

I've discovered that I really do write the stories that I'd like to read. That gives me more confidence about who I am as a writer and what I want to achieve.

Distracted Characters

The discussion about endings got me thinking about my series arcs and my subplots that sometimes extend beyond the current book. The romances. The deceptions.  The murder that is solved, but the relationships that aren't resolved. I was going to write about that, but then my life intruded.

I've been juggling balls -- symposium in April, classes to teach, SinC chapter, non-profit board, books to write, short story for an anthology -- and my mail has been piling up on my foyer desk. I noticed but didn't feel any urgency about the pink envelope I received. I knew that if my car insurance payment had been credited on the next day, then I would automatically get a notice. I was sure I had made my customary payment by phone because the bill wasn't there in my in-box. And then I got around to paying bills and realized there was no entry for the insurance. And called to make sure I had actually paid. And was told by the customer service person that no, I hadn't and I had missed the grace period. Luckily, I've been with the company for most of my driving life, and he reinstated me in a few minutes. And I -- horrified by the accident I might have had -- signed up for automatic bank withdrawals of my payments.

After I'd hung up, I started thinking about distractions in my characters' lives. I've been thinking about subplots in my historical thriller. But over the course of the eight-month span required in this book (because of real life events), any number of things might distract or obstruct my characters.

Over the course of eight months, they will need to go on with their lives, attending to the ordinary tasks that we are all required to do to avoid having bad things happen. Even when we are organized, sometimes we are required to work late or deal with a difficult person or go to another store to find something. Sometimes we have a dripping faucet or are spattered by a passing car before an important appointment and have to stop to make repairs. 

Thinking about this over a soothing cup of tea, it occurred to me that I should think about my  characters' ordinary days.  What will fall by the wayside when they find themselves immersed in this extraordinary situation?  How will little things left undone create problems? How will things beyond their control distract them from bigger problems.

This is sending me back to my 1939 timelines and notes with each character in mind.  I don't think I'm wasting time thinking this through. As I've mentioned I cannot write a non-stop thriller -- even if I wanted to do that -- but I do need to make sure my characters struggle to get to the finish line.

Of course, I've done this in my series, particularly the first-person Lizzie Stuart books. But I think that here it might be even more important. I can work in setting and a sense of ordinary life without  paragraphs of description.

What about your characters? Distractions as they are sleuthing or plotting mayhem?

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?

Holidays with My Characters

Posts from Rick, Barbara, and Aline about holiday customs got me thinking about Christmas when I was a child. I grew up in Virginia, and my parents both worked. Today, my family would be classified as among the "working poor."  That made holidays even more special because my parents always splurged on Thanksgiving and Christmas meals.

On Christmas morning, we had oyster stew and fried oysters for breakfast -- or, in the case of my brother, who would eat neither, his usual cereal.

I never asked why we had oysters, but I know now that the custom is supposed to have originated with Irish immigrants and become an American tradition. After breakfast, we went back to the Christmas tree to open any packages that might have been missed in that first rush to the toys. Our tree was the old-fashion kind -- a real tree that my father had chopped down on my grandfather's farm and that we decorated with tinsel, ornaments, and lights that had to be put on in the right order. The tree went up in early December.

I still have oysters on Christmas morning, but with less of the delight than when I was a child. Now, that I can afford to have them any time I'd like, some of the magic is gone. But it's nice to remember all those childhood breakfasts.

Thinking about all this, has made me wonder about my characters' holiday customs. I suspect that Lizzie Stuart, my Southern-born crime historian, had many of the same meals I did. Of course, she was born and reared in a small town in Kentucky by her grandparents. I must do some research on Kentucky delicacies that her grandmother, Hester Rose, might have served alongside her own childhood favorites from Virginia. And then they would have gone to church. Christmas Day and Easter would probably have been the only two occasions when Lizzie's grandfather, Walter Lee, would have gone without nudging from his wife. As a traveling man, a sleeping car porter until he retired, Walter Lee was not as religious as Hester Rose.

Does Lizzie still go to church on Christmas morning? Or does she share a romantic breakfast with her fiance, John Quinn? In the book I'm working on, they go to Santa Fe to spend Thanksgiving with Quinn's family. Quinn is 1/8th Apache. They will be spending that holiday with his half-sister and her family. His sister, mother, and step-father observe Native American traditions and customs that he does not. His sister, who owns an art gallery, is married to an archeologist, whose parents immigrated from Scotland when he was a child. What will be served at Thanksgiving dinner and what food memories will they share?

And what were Quinn's Thanksgivings like after his mother left his father? Quinn's father was career military and an officer. He had married Quinn's Native American mother and expected her to fit in. Did Quinn and his father join other officers and their families for holiday meals? Or, was his father impatient with such celebrations? Did he occasionally allow Quinn to spend Thanksgiving or Christmas with his mother and her family in Oklahoma?

Intriguing questions and something to think about as I'm imagining that Thanksgiving meal and the discussion over the table about how everyone intends to spend Christmas.

How do your characters spend the holidays?
 

Three Days in Santa Fe

As are my fellow bloggers, I'm still trying to regain my equilibrium. I had planned to fly to Santa Fe last Wednesday to do some research for my next Lizzie Stuart mystery. A friend who had some vacation days left and wanted a getaway came along with me. It says something about our shared state of mind that neither one of us even mentioned the election when we met at the airport on Wednesday morning. In fact, it was Thursday afternoon before we got around to acknowledging what had happened.

But the trip itself was wonderful. I had never been to Santa Fe and by the time I left on Saturday morning, I was ready to move there. 

On the other hand, Lizzie, my protagonist, will be distracted and anxious to get home to Gallagher, Virginia. The disappearance and murder that she has on her mind happened in Gallagher, not Santa Fe. In spite of my own enjoyment of the city, I tried to see it all through Lizzie's eyes.

I also spent some time thinking about what she would actually have the time to see and do on a Thanksgiving visit with her future-in-laws – people she'll be meeting for the first time and who she hopes will like her. But they would suggest that Quinn, Lizzie's fiance, show her around the city. Aside from the question of what would have been open during the Thanksgiving holiday, I also need to know what buildings and businesses were there in November 2004. I read everything I could access before I left, asked questions while I was there, need to dig down and do newspaper research now that I'm back.

Meantime, here are photos from the Santa Fe, November 2012:

Outside a state building

Rotunda dome in capitol with flags on display

Also in the capitol, wonderful leather furniture 

– and an odd sign asking not to put ice in the plants.

Downtown plaza with Native American artists and artisans
selling their work to browsing tourists

I have lots of other photos. I need to sort through what I have in my camera and cell phone and decide which are useful. What would have caught Lizzie's eye and what would she have thought?

I need to make sure the trip to Santa Fe is not an interesting but pointless detour on the journey to solving the murder. But now I have been to Canyon Road and I have a model for the art galley that Quinn's half-sister owns. I've seen the neighborhood where she and her family live. I know more about her husband's work as an archeologist. More important I know how a conversation in Santa Fe will lead to the solution to my mystery back in Gallagher.

It was a good trip and a welcome time-out.

Time and Setting

"Well, let me catch you up. It's now later the same afternoon. . ."

That's what Blanche on The Golden Girls says when Dorothy mentions it's been years since she read a certain slow-moving, long-running comic strip. Time hasn't moved quite as slowly in my Lizzie Stuart series. But it now four year later in a series that began in 2000. The series is now set in 2004.

The first challenge I'm facing is that I've forgotten the details. I'm about to write a book in which Lizzie Stuart and John Quinn, my sleuthing couple, fly off to Santa Fe to spend Thanksgiving with his relatives. This will be the first time Lizzie meets her future in-laws. Only thing, I've forgotten the bits and pieces of their lives from earlier books. I know Quinn's half-sister owns an art gallery. I don't know if I gave her husband an occupation. I don't remember if I mentioned the ages of their children. I know Quinn's mother and step-father are coming from Oklahoma. I don't remember what the illness was that had the step-father hospitalized in the third book. All those pesky little details that I've forgotten. And I haven't been keeping a series "bible" with information about the minor characters because my editor did that so well. But I won't have the same editor or publisher for this new book. I am going to have to go back and look for these details.

Actually, I may re-read the earlier books. I have never done that – read all of the books in the series. I was afraid of an encounter with passages that would make me cringe. But much has changed in both Lizzie's life and my own since we began sixteen years ago. At this moment in her life when she is only two months away from her wedding day at the age of forty, we should look back at how she got there. Since she is not going to do that in the midst of the awful situation that I'm about to put her in, I should do it for her.

Also, re-reading could help me with the warm-up exercise that I always have to do with a new book. I've been writing about another character, Hannah McCabe, for the past few years. During those years, I wrote one short story about Lizzie. I was thrilled when that story was published in Ellery Queen Mystery Magazine, but I didn't immediately return to the series. A reader asked if the short story was a set-up for the next book. I said "no". But as I began writing the new book, it occurs to me that one of the characters in the short story was in Paris during World War II, and Lizzie and Quinn are supposed to go to Paris on their honeymoon. The short story was complete in itself. A passing episode in Lizzie's life as the director of the Institute for the Study of Southern Crime and Justice, but there is that tantalizing mention of Paris. Who knows what . . . but getting back to the book I'm working on now. First, Lizzie has to meet her future in-laws.

I've never been to Santa Fe. Reminding myself that research trips are tax-deductible, I'm going to New Mexico later this month. A whirlwind three-day trip to try to imagine what Lizzie would have seen when she was there in November 2004. Last night I had dinner with a wonderful woman whose son lives in Santa Fe. She brought along a magazine, a map, and tips about "must sees" in downtown Santa Fe. While we were talking about where Quinn's sister and her family might live, she texted her son for more information. The pal who is coming along with me on my research trip had her travel guide to Santa Fe on hand and we discussed short trips Lizzie and Quinn might take – keeping in mind that they need to spend time with his family because that's why they are there. Thanksgiving dinner, football, conversations – except Lizzie is distracted by that missing woman back home in Gallagher, Virginia. . . the woman that she last saw changing a tire on the side of the road.

Because I'm description-challenged I need to go to the place I'm trying to describe. Yes, even if that means going to Santa Fe in this book and to Paris for the next. Those of the hardships of being a writer. But I hope that going to Santa Fe will allow me to see the city through Lizzie's eyes. She is a first-person narrator. Reading a guidebook and watching YouTube videos will not suffice. I will read books about Santa Fe history because Lizzie is a crime historian and she will read those books. I'll do research on art and culture in Santa Fe because Lizzie will want to be able to have an informed conversation with her future sister-in-law, the art gallery owner.

As I gear up for my trip to Santa Fe, I'm reading Mary Buckham's A Writer's Guide to Active Setting: How to Enhance Your Fiction with More Descriptive, Dynamic Settings (2015). I plucked this book off the shelf at a local bookstore. I brought it home and put it on top of a pile of other books that I hoped to read at some future date. Last week when I was thinking about Santa Fe and what I needed to know, I happened to spot Buckham's book. Buckham emphasizes the importance of getting inside your character's head when it comes to describing the setting. Whether it's a city street or her own bedroom, what a character focuses on should reflect both personality and mental state. Buckham analyzes passages from well-known writers to demonstrate how to use setting to strengthen depiction of character.

Lizzie once complained about New Orleans – didn't love the place and couldn't get into it – but she was there to find her long-lost mother and things were not going well. I want to go deeper with my settings, make every description work harder. That means I need to get out of my author's head when I visit Santa Fe for the first time and get into Lizzie's. I hadn't intended to write those earlier scenes in the book yet – the before-the-trip scenes when she encounters the woman who is later missing – but it seems I must. When we arrive in Santa Fe, Lizzie needs to be worried and anxious . . . and we need to be back in 2004.

Characters, Ideas, and Settings

The posts by my colleagues this week has been so thought-provoking, I had a hard time deciding what to blog about today. Characters who take over? Where ideas come from? Setting as character?

I have experienced that phenomenon of a character who refuses to do what he or she was intended to do. In my third Lizzie Stuart book, Old Murders, the character who was to have been the killer refused that assignment and insisted on having a subplot. In the fourth book, You Should Have Died on Monday, Lizzie's mother, Becca, made an appearance that threatened to upstage Lizzie, my first-person protagonist. Becca is still out there and now that I've returned to the series for a new book, I'm sure she will be making another appearance. I hate to have her ruin Lizzie's wedding, but I'm pretty sure she will show up during the honeymoon. And when she reappears, I will be torn. She is the most take-no-prisoners character I have ever created. A femme fatale who disrupts Lizzie's life, but shouldn't overshadow her.

The idea for my historical mystery came to me when I was thinking about 1939 and the events that symbolized the struggle in America between past and present, inequality and justice. In 1939, Marian Anderson performed at the Lincoln Memorial on Easter Sunday, the New York World's Fair opened that summer, Billie Holiday performed "Strange Fruit," a song about lynching, at Cafe Society in NYC, and that December, Gone with the Wind premiered in Atlanta. This idea -- even more than most of my ideas -- has required a lot of thought to get to workable plot.

On the other hand, the idea for my sixth Lizzie Stuart book, now in progress, came to me as an image of a woman running out of her house toward her car. I wanted to try my hand at a flash story for the New England Crime Bake contest. It wasn't a great story -- I needed more words -- but I did discover where that woman was going. She drives up into the mountains to rescue her child, who is being held hostage by an old enemy. The story was pure noir. In my head it played out like a graphic novel. And my protagonist Lizzie Stuart was nowhere in sight.

But that dark, rainy night wouldn't go away. When I was ready to start my new book, the plot changed and the characters changed. But the book begins with Lizzie, driving home on a rainy night in Gallagher and coming upon a car by the side of the road. A woman is trying to change a tire. . .

The book begins there. But the next day, Lizzie and her fiance, John Quinn, fly off to Santa Fe to spend Thanksgiving with his family.

Lizzie has never met his family and wants to make a good impression. But now she is distracted by what is going on back in Gallagher. A woman is missing. Her car was found by the side of the road. . .

Since the murder mystery is back in Gallagher, I might have done some reading about Santa Fe and watched some YouTube videos. But my Thanksgiving gathering -- when Lizzie meets Quinn's family, all of whom have been mentioned in earlier books -- is important to readers who have been following the series. I'm curious about Quinn's family, too, and I want to do those scenes justice. Lizzie and Quinn will soon be on a plane back to Gallagher, Virginia, but I want the family gathering to ring true. So I'm going to Santa Fe for three days in November to find the neighborhood that Quinn's half-sister lives in and the street where her art gallery is located. I'm going to do the tour of the area that Lizzie will have when she goes there. I want the setting to have as much significance in the story as Gallagher.

I have one other idea that I'm playing with, but need to work out. I need to resolve a series arc from my two Hannah McCabe police procedural novels set in Albany. The two books, The Red Queen Dies and What the Fly Saw, are set in 2019 and 2020, respectively. My Lizzie Stuart series is set in the recent past. The year in the sixth book is 2004. But Lizzie is an alum of the University at Albany, School of Criminal Justice. I've been thinking of a cameo appearance by a professor in Gallagher, Virginia, who Detective McCabe contacts to ask a key question about the threat that she is facing in Albany, NY in 2020. Lizzie would be in her 50s, and I wonder what would be going on in her life and how she would be different in McCabe's alternate universe. Just playing with the idea. . .

What I Write About

Last night I did an exercise suggested by Donna Alward and Nancy Cassidy, the authors of an article in Romance Writers Report (RWR)* about "Finding Your Core Story." Alward and Cassidy encouraged writers in search of their brand to look for the elements that appear in their novels over and over again.

I'm fascinated by marketing -- maybe because I'm not that great at doing it. I don't have the time to do it well or consistently. I'm also not sure how to market in a way that feels comfortable and true to who I am. But I do enjoy reading marketing books. I do research on mass media/popular culture in my other job as a criminal justice professor, so I'm always interested in how a good marketing campaign is developed and implemented.

The exercise recommended by Alward and Cassidy is a writer's version of what branding experts recommend for entrepreneurs and business owners. I found a pen and sat down to list the recurring elements in my fiction writing. I had no problem narrowing down to five: brainy and compassionate female protagonist; multicultural cast of characters; impact of past on present; social issues; ethical dilemmas.

When I thought of these elements as my "core story," I discovered something. In both my Lizzie Stuart series (featuring a crime historian and set in the recent past) and my Hannah McCabe books (police procedural novels set in the near future), the core story is about time/place/people. That sounds obvious, but what is important to me is that I show how my characters have been shaped by the time and place in which they live. Lizzie was shaped by her childhood and teen years in a small town in Kentucky in the late 1960s and 70s. Hannah was shaped by growing up in Albany, New York, an old city coping with rapid change.

As I really thought about this -- about how important the impact of  time and place on my characters is to my stories -- I realized this was what I was missing in my 1939 historical thriller. As I've written in other posts, I've been struggling with the structure of that novel. I have to move the characters from Easter morning 1939 in Washington, D.C. to the New York World's Fair that summer and finally to the premier of Gone With the Wind in Atlanta in December. I've been focusing on that and making minimal progress. This "core story" exercise reminded me that I have been putting the plot before the elements that matter most to me when I'm writing a book.

To make my thriller work, I need to stop what I've been trying to do. I need to go back to those character bios that I did and then put aside. Plot matters in a thriller, but -- for me -- the only thriller I'll ever be able to write needs to be rooted in how my characters are shaped by time and place.I need to allow my characters to think about and comment on their world in 1939. I have to let them respond to what is happening rather than try to move them through the plot.

That is my core story -- people in a time and place responding to extraordinary events in their lives. They are dealing with social issues, responding to ethical dilemmas, and fumbling their way through the relationships in their lives.

Now I understand why I am drawn to stories set in the past or future rather than the present. I need to be able to look back or look forward. It makes perfect sense that my new protagonist is living through the disruptions of post-World War II America.

*RWR is published by Romance Writers of America. This article appears in the September 2016 issue.