All The Things I'm Going to Do

Here's a list of some of the things I've resolved to do during the quarantine:
Make pancakes.
Learn Italian.
Get back to my drawing and guitar/piano playing.
Start another book.

Have I done any of those? Well, yes, all of them. Kind of, in a desultory way. Just don't ask about housecleaning.

I find it fascinating to read the entries that my blogmates and other writers share about their time in lockdown. I have to admit that I feel better about my own lack of progress on … anything … when I see that others are struggling as well. It didn't help me feel better about myself when I watched a Poisoned Pen Bookstore Facebook video interview with author Jenn McKinlay this morning. She was touting the release of her twelfth cupcake shop mystery, Pumpkin Spice Peril. This is like, her 40th book in the past decade, and they're all good. Jenn has two teenaged sons and a husband and more energy than anyone has a right to have and manages three, four, five books a year, most reaching the NYT bestseller list.

As for me, not so much. I've recently finished writing a book, Valentino Will Die, the second in the Adventures of Bianca Dangereuse series. Sadly, it was originally scheduled to come out in November 2020, but I was recently notified that the publication date has been pushed back to February 2021. I’m disappointed, but by that time, I hope I’ll have the third book ready to go, so maybe there won’t be such a gap between books. We'll see. I usually have a period of complete blankness after I finish a book, and this hang-fire period of corona virus quarantine doesn't help my thinking processes. I’m pretty pleased by the way Valentino turned out, so I hope you’ll like it, Dear Reader. In the interim, I’m cogitating about starting another Alafair Tucker mystery. Wish me luck in coming up with a great story idea. These days I feel lucky if I manage to get out of bed before ten.


There was a starred review in the April 15 Booklist for the audio version of the first Bianca Dangereuse tale, The Wrong Girl, read by the talented Romy Nordlinger! Here’s an excerpt of the review:
“Nordlinger easily depicts lecherous cads and despicable older men and fluidly differentiates between the female leads: a childlike, inexperienced 17-year-old; a spoiled, privileged, but big-hearted star; and a stabilizing, practical assistant with a bare hint of a Southern Black accent. More impressively, she subtly shows each woman’s voice variations over time, reflecting in phrasings and darkening tonalities their changes in attitudes and expectations, as well as discoveries of unexpected capabilities and strengths as Blanche/Bianca’s life unfolds—leaving readers impatient for the sequel.”

Stay safe, read lots of books, and wash your hands.

Listening to Books

By Vicki Delany

I love audio books, as both a reader and a writer. I drive long distances, often by myself, and an audio book is a great way to pass the time. It’s a different reading experience, for sure: often difficult to pay close attention, and hard to go back a sentence or two to get something you missed. But I do enjoy it when driving. My library has a very limited stock of books on CD and not much by anyone other than major bestsellers (and me! As a local author) but I have occasionally been able to find a gem I wouldn’t normally read.

Case in point: I am a huge fan of Iain Pears (An Instance of the Fingerpost: one of my favourite books of all time; Arcadia: so hugely disappointing I wondered if he got a ghost writer to do some parts). I bought his small book The Portrait some time ago, and was never able to get into it. It’s just a stream of consciousness novel as some guy chatters on. But when I listed to it on audio, I loved it. The experience of listening to some guy chatter on was totally different than reading it on paper.

As for my own books, all my Poisoned Pen titles are on audio as are the Lighthouse Library books by me as Eva Gates. I always listen to them one time through and enjoy hearing it spoken out loud. It’s a very different experience.

The LL books are narrated by Elsie Arsenaut, who has a perfect soft gentle voice for narrating the cozy genre. The narrator of the Constable Molly Smith books and the standalones is Carrington MacDuffie, who does an excellent job of it, particularly switching between male and female voices so you always know who is speaking.

I have only one complaint, and that is that Carrington doesn’t even seem to try to get the Canadian accents or pronunciation right. It’s Traf-ALL-gar, not Traffic-AL-gar. A junior officer in the Canadian army is a LEF-tenant, not a LOU-tenant. And every person in Canada knows that the Canadian Security Intelligence Services is pronounced Csis, not C.S.I.S. The (former) Canadian International Development Agency is Cida, not C.I.D.A. I expect a lot of Canadians wouldn’t even know what C.S.I.S means, spoken like that.

(Is that a Canadian speech pattern, does anyone know? To take initials and turn them into a word? When I got my first contract with N.A.L., I told someone I was with Nal, and I was corrected: N.A.L. Is proper. About the one thing we don’t make a word of is RCMP. Probably because Rurcump wouldn’t sound quite right. But we do drop the period between the letters.)

Traveling and Talking Books

Carolyn Hart and Hannah Dennison

I've just returned from Huntington Beach, California, where I participated in the third annual Ladies of Intrigue event, which is sponsored by MysteryInk bookstore. It was a day-long conference featuring more than 15 women mystery writers. including Carolyn Hart and Robin Burcell. This was, according to her, Carolyn's career event finale, and since she has no plans to travel out to this part of the country again, she particularly asked me and former Type M-er Hannah Dennison if we would participate in the conference this year. Of course we said yes. Carolyn has been a mentor and a friend from the beginning of both of our mystery writing careers, and we would both do anything she asked. So off we flew for one day in California, where we mingled and served on panels along with eleven other fun and fabulous authors*. Then Carolyn, Hannah and I schlepped back to Phoenix for an appearance at the Poisoned Pen Bookstore last night.

Carolyn, Hannah, Donis at Poisoned Pen
photo by Judith Starkston

I wonder sometimes how cost-effective it is for an author to spend her time and money traveling around the country appearing at bookstores and events and conferences. I know that every appearance gains at least a couple of new readers, who will spread the word, we hope. But as Rick said in his post about book launches (below) doing events with other authors is always a celebration. The mystery community is nothing but kind and supportive, and it's always nice to know that even authors who are infinitely more well-known than I have the same problems with their writing.

The view of the Pacific from my hotel balcony was worth the trip

I was interested in Aline's post (below) about audiobooks. I've met many a "reader" who prefers the audio version of a book to the print version, and I've been lucky that my publisher has sold the audio rights to all my books--but one! The audio version of my latest, All Men Fear Me, has not come out yet. According to Blackstone, the publisher who does the audio books for Poisoned Pen Press, the audio version of my previous Alafair book, Hell With the Lid Blown Off, did not sell well enough. This surprises me, since the paper version of Hell did very well. Also, I loved the audio version of that book. Hell is the only book in the Alafair Tucker series that has some first person narration, and when I first heard the character of Trent Calder (who had been a secondary presence in all the previous books) speak for the first time, I was bowled over. It was as though Trent, who had only lived in my head, was suddenly a real person.

Perhaps it was more expensive to make because Blackstone had to pay two narrators for Hell instead of one. I have been told that Blackstone is waiting until the audio of Hell makes a profit (Hmm. Hell Makes a Profit. Sounds like a book title to me.) Therefore, Dear Readers, next time you’re at your local library, please do me a favor and check to see if they own a copy or two of Hell With the Lid Blown Off in audio. If they do not, I would be grateful if you would request that the system buy one. Most public libraries have a mechanism for users to request titles. If you'd like your own download, check it out here. Once Blackstone makes money off of Hell, they’ll do an audio of All Men. I hope they do one eventually, since the ninth Alafair book, The Return of the Raven Mocker, will be out in January, and I don’t want to get several titles behind when it comes to audio books.

*Attending authors at Ladies of Intrigue this year were Carolyn Hart, Robin Burcell, Rhys Bowen, Kathy Aarons, Lisa Brackmann, Ellen Byron, Donis Casey, Hannah Dennison, Kate Dyer-Seeley, Earlene Fowler, Daryl Wood Gerber, Naomi Hirahara, Linda O. Johnston, Carlene O’Neil, Laurie Stevens and Pamela Samuels Young.

Do You Like What You Hear?

Are you happy with your audio book? Does the reader give the right voices to the characters you have so lovingly created and lived with for months and months until you know them as well as your own family? Are you consulted about the actor/actress who will be reading? Do you listen to it with pleasure, even surprise as the reader sees an angle on your story that you hadn't realised was there? Or do you wince as the characters who emerge from the speaker are monsters you simply don't recognise as yours?

I've had both experiences. There was one who so perfectly had my Marjory Fleming's voice that I asked the producer if she could always be used in future, but as is the way of these things the actress was tied up with another production at the time when the company wanted to make the tape – I hadn't thought of that. The actress who read another book was so bad that I couldn't listen to it right through. I did manage to put a veto on ever using her again, but of course I realise that I'm not familiar enough with the talent available to make suggestions.

It must be an even bigger problem when a book is to be filmed, though I'd be prepared to live with it – chance would be a fine thing! But if you have a clear idea of your own character in appearance it could be very hard to have to accept a portrayal that just didn't conform to that. On the other hand, Ruth Rendell admitted that she was so pleased with George Baker as Wexford that as the series went on, she wrote the books with him in mind. Colin Dexter was another satisfied customer, with John Thaw as Morse.

But PD James, though she was as always diplomatic, never found 'her' Dalgleish – though personally I thought Roy Marsden came close. And when I asked her what she thought of the film of Death at Pemberly, she just said, 'Well, dear, my agent said to me "When it's sold, it's sold." 'The only way to take it!

I had a young friend who was blind and I thought she would have found the discs a great boon, but she said she greatly preferred reading the books in Braille: 'I don't want someone else to tell me what the people in the book are like.I want to decide for myself.' I liked that: it's sad to think that people who listen to, rather than read the books, will only have someone else's impression of what I've written.

It is, I suppose, rather like writing a play and being dependent on the actors and producer to deliver it, inevitably with their own interpretation.I've never felt tempted to try – I suspect that reveals control-freak tendencies. I'd love to know how other people feel about this.