Gats and Cats

I'm known as a workaholic and so it was unusual to pry myself loose for a long overdue vacation. Last year, the cons I planned to attend got cancelled because of Covid and I was left with airline tickets to use or lose. A few months back, a buddy of mine I've known since the 6th grade suffered a heart attack and that prompted me to make plans and get going. Since I was traveling to the East coast, I decided to visit as many friends as I could in one trip. 

I started in Dumfries, then headed to Falls Church to visit Duane, a college chum and Ranger buddy. Being guys in America, we stopped by a gun range to bust caps, using a suppressor. Duane served in Military Intelligence, then Special Forces, and switched careers to work in the CIA. He published an excellent memoir of his last field assignment, which was about the early days of the war in Afghanistan. We didn't talk much how that mess ended.

My next stop was to see a writing buddy, Quincy Allen, who moved from Denver to Charlotte, NC. One of his cats apparently approved of me as it left a feather on my backpack. 

Then north to Rocky Mount to visit Greg, another Army buddy. He and I flew Cobra helicopters in the Air Cavalry. Again, as we were still in America, we went shooting, also with a suppressor.

My last stop was Charleston to visit Mark and Rebel, who I was lucky enough to meet years back when I first got published. Mark is local tour guide and historian with several books to his credit. He and his wife are also cat people and besides taking care of their own felines, twice a day the neighborhood alley cats stop by for chow.

If you're in Charleston, you have to say hello to the carriage horses.

Starting the Year

Well, in spite of my best intentions, the last week of December and the first week of January zipped by, and I didn't get a lot of the items on my to-do-list crossed off. I did go to Virginia last week to visit my family. While I was there I spent some time in the public library. I had been using the New York Times for research on 1939. A terrific newspaper that I turn to often for all kinds of research -- but not a researcher's friend if she is trying to read (or, at least, scan the headlines) of an entire year. I can search by topic, but I wanted to see entire issues of a newspaper. So I spent five hours going through as much as I could of my hometown newspaper and getting a better sense of how the news of the year was being reported. That worked well because one of my characters departs from "Gallagher, Virginia" en route to New York City. It also worked because the Danville Register used the same wire services as the big city newspapers. I'm hoping to get the microfilm through interlibrary loan and continue reading.

Now, I'm juggling -- going back and forth between the 1939 book, my dress and appearance in crime justice book proposal (the first draft is done), and editing the manuscript of the third book in my Lizzie Stuart series (that is being reissued). I also have several backburner projects that I need to get started, and school is about to begin. So I'm taking a time-out next week to simply focus on finishing everything I can get done. I'm going to check my email only once a day -- in the evening. I am going to work at home and in the library. And I'm planning to get the updated proposal for the dress and appearance book and the first 50 pages of the 1939 book out to my agent before our upcoming lunch in NYC.

The good news is that an anthology to which I contributed a short story is now available. It was such a fun story to write. This anthology features "The Bronze Buckaroo" (and is available in both print and ebook. The Bronze Buckaroo was a "singing cowboy" who appeared in a series of movies in the 1930s. These movies was intended for an African American audience. The "race" movies in various genres featured mainly African American casts and played in segregated theaters.  In his other life, the actor, Herb Jeffries, was a smooth-voiced singer who signed with Duke Ellington in the late 1930s. My story is a genre-blender -- western/mystery/romance -- inspired by the films and by the cowboy serials that I used to watch as a kid. The movies can be found on YouTube.

My other good news -- something I'm excited about -- is that I've been invited to join the 2019 faculty for the Yale Writers' Workshop this summer. I'll be one of the instructors for Session II in June, devoted to genre fiction and nonfiction. I've already started to prepare. I can't wait to see the Yale campus and hang out with writers from different genres and students from all over the country and international. If you are interested the website is up and registration is open.

But right now, I've got to get to the office before the day is over and do some work there.

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?

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.