Series Characters--To Cherish or Not?

One of the problems with a mystery series is that of reintroducing characters. Fans of the series don't want a detailed synopsis of each and every person who appeared in previous books. On the other hand, new readers will be quite bewildered when a person suddenly shows up with a built in role. 

In real life, I feel the same awkwardness when I'm supposed to know someone I've never been introduced to. One situation that was hilariously funny was when one of my daughters was married and no one introduced me to the father of the groom. We were across the room from each other at a party and nodded with weak polite smiles. I would like to think I finally resolved this by simply saying "Hello, I'm Charlotte Hinger. The mother of the woman your son is going to marry."

I probably didn't because I have a real talent for complicating matters. But really, our families would be joined for life. Surely we could do better than identifying one another through the process of elimination.

For once writing a series in first person helps solve this problem, because--as Lottie Albright--and by incorporating the blessed technique of projecting thoughts, Lottie can dread the volcanic disruption of a visit by her husband's daughter Elizabeth, or worry about his daughter, Angie, who falls for cruel men. 

With third person the process is more awkward, plus there is a danger of "spoilers." Revealing plots of previous books. As in, "you know, the evil psychologist we put in prison a couple of years ago." This isn't fair to the new reader who loves book number five, decides to read ALL of the series and discovers he or she already knows how previous books have turned out. 

There are four characters who simply must be in all of my books: the sheriff, Sam Abbot, Lottie's twin sister, Josie Albright, her husband, Keith Fiene, and Tosca, the adorable little Shih-Tzu who somehow wiggles her way into every plot. 

I would love to hear tips and advice from my savvy blogmates on reintroducing all the people we've managed to accumulate through the years. 

A Two-Handed Clasp

She's very famous. Wins about every award out there. People line up to buy her books. She's every bookstore's favorite because at a signing she works the room and greets every person there.

When she shakes hands with her adoring fans, she uses a two-handed clasp.

And just what does she mean by that? Warmth? Comradery? Is she conveying caring? There's no doubt in my mind she genuinely is happy to see each person she greets and her very personal handshake expresses gratitude.

But as to us lessor lights, I think a two-handed clasp can convey a different message especially in ordinary situations. To me a two-handed clasp by someone I'm meeting for the first time in a non-writerly setting conveys insincerity. I'm immediately wary. I back away from overly familiar people.

Body language is a minefield for mystery writers. Never mind delving into countries outside the United States. That's too exhausting to think about.

Even tip-toeing through the nuances in the good 'ol USA can be tricky because there are also regional customs that can trip us up.

He said, she said, can be dreadfully boring. Dialogue broken up by description of what characters are doing provides context and also projects an imagine. When someone other than our protagonist is speaking in a scene, what is our protagonist doing? Are her hands at rest? Does she listen intently? Does she squirm in the chair. Drum her fingers? Twist her hair? We convey a lot without saying a word.

One of the clearest and most annoying signals of insincerity to me in "mixing" situations is for someone to look me intently in the eyes as through they are listening and then look over my shoulder at someone else. Several times. It's time to move on.

There are a jillion books out there on reading body language. I'm thinking hard about improving character tags and spiffing up personalities. TV is a great resource. I try to pay attention to the facial expressions of the best actors. Trying to describe the set of jaw, the lines of their faces, their eyes, is wonderful practice.

I don't think we have study all this very hard. We know how we feel about body language. Our interpretation is usually accurate without having to think about it.

It's describing it that's the pits.

Buy My Book. Please!

Gentle Reader is going to read only one of your books. I’m convinced of that. Then GR is either going to love your work or give you a pass. One book. That’s it. I don’t care how good you are or how much money you make or if the whole known universe thinks you are the best writer ever.

If Gentle Reader loves you he or she will buy everything you’ve ever written. If the dear soul doesn’t.

Well.

I’ve seen writers agonize over sales, quality of their books, marketing, social media, etc. But basically it comes down to a tricky match between the reader and the writer. Books are too expensive to buy those of writers we really don’t like all that much. For that matter, reading books we aren’t enthusiastic about are like being on a forced march. We don’t have to if we don’t want to. It’s one of the bonuses of being an adult instead of an English student.

I read books that I don’t care for. Quite a few, in fact. I read them out of curiosity, or because a friend has asked to “blurb” a book, or because I thought they were going to be worth reading. But I often feel cheated and resent wasting my time. I read a number of books to study technique, or because they are a classic that everyone else has read. I’m a sucker for good reviews. I read books that win awards. I’m going to read everything that’s on the Edgars list. And all the Pulitzer finalists. Ditto National Book Awards.

My oldest daughter, Cheryl was over the other night carrying books I had given her for Christmas. On top was Lila by Marilynne Robinson. The first words out of her mouth were, “Whatever you are reading, put it down. Right now. Start reading this instead.” Now that’s the way to sell a book.

My daughter, Michele, tried to stop me from taking The Secret Place by Tana French. Because her husband hadn’t read it yet. Isn’t that silly? I pulled the seniority card.

Our whole family reads everything Tana French writes and also Craig Johnson who writes western mysteries. Audrey likes David Mitchell, but I don’t. How could she not have liked Gone Girl—but she didn’t.

My husband loved military history. Especially books about World War II. I gave Mary Beth one of Mo Hayden’s books and she was an instant dedicated fan. She bought everything Mo had ever written.

What we are looking for is a real live fan. The kind that adores our books and will tell all their friends. But to reach this person we have to do a lot of work. We can’t make someone like our books. But we can do everything possible to make sure a likely person knows about a book we’ve written and if possible, persuade them to read the first few pages.

That’s where the rub comes in. What is the best way to get our books in the hands of a reader?
At the beginning of this year, I decided to do more with social media and go to fewer conferences. I went to fewer conferences, but fell down in my determination to conquer social media.

There are three basic ways to get find that elusive dedicated fan:

1. give talks and presentations at bookstores, libraries, or groups
2. Become a social media whiz
3. Go to conferences and befriend a fan

The trick to find our own "best way."