Ian Rankin, the hugely successful Scottish crime writer, starts his Canadian book tour in Vancouver shortly. He was interviewed recently by The Globe and Mail about the top five habits that made him successful.
Some of them struck a chord with me – read a lot and read widely; follow where your story leads you – and others just wouldn't work for me. Write the story as fast as you can at first without bothering about detail would leave me in a total mess when it came to the second draft.
I don't feel I have to write a perfect first draft but I do have to feel that the story makes sense as I go along and if I change a character's motivation or have a development that would contradict what I've said before, I can't write comfortably till I've gone back and fixed it.
But the thing Ian mentioned that had me nodding as I read it was the point he made about research. Research, he said, could be a rabbit hole down which you can disappear for weeks at a time. It is fraught with danger.
Research is certainly much more efficient since the Internet. You need some small piece of information, say, like finding out the precise date of a pop festival. You Google it, check it and get back to your writing. It saves hours that you would have spent consulting – well, I don't know exactly what. Old newspapers, perhaps?
But then you catch sight of something interesting on the page, so you have a look at that, and then you're led on to something after that... and before you know where you are, all the hours you saved not looking for old newspapers have vanished.
Where I will say it has helped me is when it comes to quotations. I never put a quotation in without checking it, however well I believe I know it. When I started writing that meant tracking it down, leafing through all the poetry books on my shelf, sometimes, and you know what happens when you leaf through poetry books, don't you? Yes, 'Oh goodness, it's lunch time.'
The most seductive form of research is talking to people who are experts in what you need to know. I'm always amazed that people are so ready to spend their time telling you the secrets of their trade and the conversations can go on for hours, even though it's probably giving you much more information than will ever appear in the book. But hey! You're actually talking to someone just like real working people do, not just sitting in a room by yourself staring at a screen.
Worst of all is researching in depth. It's probably a subject that already interests you. You need a certain amount of background for your book, but you go on reading long after you've got what you need because it's fascinating. And that counts as work, doesn't it? And of course, while you're engaged in the serious business of researching you can't be expected actually to be getting on with the next chapter. This can go on for months. Procrastination and virtue, both at the same time – what's not to like?
So you have to discipline yourself to stop, if that book is ever to get finished. And that's the most important habit of all – just applying seat of pants to seat of chair and staying there till it's done.
And if you're anywhere near one of Ian's events do go along. He's very interesting and a really nice man.
Monday, November 16, 2015
Saturday, November 14, 2015
Guest Blogger Arthur Kerns
Type M for Murder is thrilled to welcome guest author Arthur Kerns this weekend. Art is a retired FBI special agent and past consultant to the intelligence community. He is a former president of the Arizona chapter of the Association of Former Intelligence Officers (AFIO). His award-winning short fiction has appeared in numerous anthologies. His espionage thrillers, published by Diversion Books, Inc., The Riviera Contract, its sequel The African Contract, and his 2016 release The Yemen Contract, feature the adventures of CIA operative Hayden Stone.
A STRANGER READS MY BOOK
In the seat next to me, my wife tapped my arm and pointed to a message on her phone. Our son and his family were meeting us at the Austin, Texas airport.
I glanced back at the young woman still absorbed in her book. What concentration she had. Amidst all this terminal turmoil, she appeared focused on the pages before her, repeatedly touching a finger to the lips, then with the same finger turning a page.When she paused and lifted the book, I saw the cover. It looked very familiar. Looked very much like the cover of my book. My debut novel. Had some other author used a similar design?
Then I realized it was my book this stranger was reading. I whispered to my wife to look and motioned with my head toward the young woman.
“Don’t you dare!” my wife said.
“What?”
“Ask if she wants it signed.”
“Never occurred to me.” I said unconvincingly.
The girl returned to the book, that is my book. I tried to study her expression for some indication of what she thought about the story, but saw only focused attention. She turned the pages at a steady rate so apparently she was into the plot—maybe. It looked like she was about mid-way through the book and I tried to imagine what scene she was in. Was it an action scene? Too early for the love scene.
The young woman was a complete stranger. Never saw her in my life. How did she come by the book? Where did she buy it? At a bookstore or over the Internet? Did a friend recommend it?
The older woman returned and spoke to the girl while looking at her watch. She pointed to the book and asked something. I watched to see if I could figure out what the girl said, but couldn’t detect anything positive or negative. She could have been talking about the weather.
“Stop looking at her.” My wife nudged me. “Get your things, our plane’s boarding.”
I put my laptop back in the case, found my boarding pass, and then looked back in the direction of the two women. They were gone.
And any chance to know what the young woman thought of my book.
Just as well.
___________
Please visit Art at his website http://www.arthurkerns.com
Friday, November 13, 2015
Good Advice? or Not?
When I was peddling my first novel I acquired a wonderful agent, Claire Smith, of Harold Ober Associates. She was known throughout the industry for her wisdom. The few times I needed to call her, I was absolutely terrified of sounding really, really dumb (which I really, really was) or presumptuous for calling in the first place.
But one very memorable day I called her in a state of absolute fury. I had gotten feedback from a "book doctor" an editor had contacted on my behalf. The advice was so bad I was incensed. Mainly because this man did not know a thing about the historical background. But also because he knew so little about the intent of the book and wanted to redo mine into a romance.
I told her I didn't want to be one of those temperamental prima donnas who wouldn't listen to criticism.
What was really going on of course, was that I very young and vulnerable and this manuscript had become overly important in my own mind.
I'll never forget what Claire said. She began with "Congratulations. You're starting to acquire the first hard shell that is required to become a writer. It's the first of many, if you are going to survive."
Then she gave me this advice on advice. "You don't trust nobody, kid. You don't trust your enemies and you certainly don't trust your friends. And you don't change anything just because you think they are smart. It's only when something resonates in your gut—when you know they are right that you change your work."
Her words were very freeing. I've gone by them ever since. Nailing what's wrong with a manuscript is part of the process. Advice doesn't have to come to us directly. Some times when I'm struggling and hear a talk by another author or read someone's blog, the light flashes. I know instantly what is holding up the work. It's a terrific feeling.
By this time, I've become a lot more objective. I'm usually capable of recognizing good advice but also acutely aware of how subjective the book business is. Even if a mystery is regarded as brilliant by the critics and the buying public, it might not be my cup of tea.
I'm very cautious about "helping" newbies with their writing. I may be dead wrong. Most worrisome is not being familiar with a genre. I don't want to ruin someone. It's hard to believe that anyone would take my advice that seriously, but they might. And I might be spectacularly wrong.
It's nothing short of a miracle to stumble onto the right editor at the right house. Even more miraculous for a book to click, create buzz and go on to be a best seller.
But one very memorable day I called her in a state of absolute fury. I had gotten feedback from a "book doctor" an editor had contacted on my behalf. The advice was so bad I was incensed. Mainly because this man did not know a thing about the historical background. But also because he knew so little about the intent of the book and wanted to redo mine into a romance.
I told her I didn't want to be one of those temperamental prima donnas who wouldn't listen to criticism.
What was really going on of course, was that I very young and vulnerable and this manuscript had become overly important in my own mind.
I'll never forget what Claire said. She began with "Congratulations. You're starting to acquire the first hard shell that is required to become a writer. It's the first of many, if you are going to survive."
Then she gave me this advice on advice. "You don't trust nobody, kid. You don't trust your enemies and you certainly don't trust your friends. And you don't change anything just because you think they are smart. It's only when something resonates in your gut—when you know they are right that you change your work."
Her words were very freeing. I've gone by them ever since. Nailing what's wrong with a manuscript is part of the process. Advice doesn't have to come to us directly. Some times when I'm struggling and hear a talk by another author or read someone's blog, the light flashes. I know instantly what is holding up the work. It's a terrific feeling.
By this time, I've become a lot more objective. I'm usually capable of recognizing good advice but also acutely aware of how subjective the book business is. Even if a mystery is regarded as brilliant by the critics and the buying public, it might not be my cup of tea.
I'm very cautious about "helping" newbies with their writing. I may be dead wrong. Most worrisome is not being familiar with a genre. I don't want to ruin someone. It's hard to believe that anyone would take my advice that seriously, but they might. And I might be spectacularly wrong.
It's nothing short of a miracle to stumble onto the right editor at the right house. Even more miraculous for a book to click, create buzz and go on to be a best seller.
Thursday, November 12, 2015
Reverse Novel Writing?
It's taken much longer than I thought, but I've (hopefully) finished sketching out the next three novels in the U.S. Customs and Border Protection Agent / single mother Peyton Cote series. The four drafts have seen the synopses balloon from six pages to 12 and finally thinned out to seven ("Keep chopping wood," my screenwriter friend Clyde Phillips says). After reading each draft, my agent calls and offers helpful questions regarding the arc of books 4, 5, and 6 – or the next three years of my life.
To a news junky like me who follows ISIL's every move on CNN (I'm awaiting my library's e-mail saying Michael Weiss's new book has arrived), planning what I'm going to write three years from now is difficult. I write procedural novels that revolve around a woman whose primary professional task is to protect the U.S. from acts of terror. So predicting what Peyton's life will be like is not easy. It's also been a new approach to the writing process. I'm someone who equates writing to driving at night: I know the story as far as I can see it, writing one scene and then the next, driving to the edge of my headlights. Therefore, my focus during the outline process has been creating secondary characters I'd like to go the distance with and rough storylines that intrigue me (and, hopefully, my publisher, who should receive the proposal soon.)
So now that I have three ideas I like, I'm trying them out.
I talk to my students often about something called a reverse outline. That is, once you've written your paper, go back, highlight your thesis and topic sentences and make an outline of your paper -- after you've finished it. See if the outline represents the goals you began with.
I'm taking this process to my three-book arc, writing a short story based on the outline of book #4. Secondary characters and parallel plots will surely have to go, but the premise of the story can remain intact. A trial run, a reverse outline of sorts.
We've all heard the adage: If you can't write your idea on the back of my business card, it's probably not a good idea. Well, a writer should be able to describe his or her book in two sentences. So if my plot is to hold up, I should be able to write a story in 7,500 words or less, right?
I'll keep you posted.
To a news junky like me who follows ISIL's every move on CNN (I'm awaiting my library's e-mail saying Michael Weiss's new book has arrived), planning what I'm going to write three years from now is difficult. I write procedural novels that revolve around a woman whose primary professional task is to protect the U.S. from acts of terror. So predicting what Peyton's life will be like is not easy. It's also been a new approach to the writing process. I'm someone who equates writing to driving at night: I know the story as far as I can see it, writing one scene and then the next, driving to the edge of my headlights. Therefore, my focus during the outline process has been creating secondary characters I'd like to go the distance with and rough storylines that intrigue me (and, hopefully, my publisher, who should receive the proposal soon.)
So now that I have three ideas I like, I'm trying them out.
I talk to my students often about something called a reverse outline. That is, once you've written your paper, go back, highlight your thesis and topic sentences and make an outline of your paper -- after you've finished it. See if the outline represents the goals you began with.
I'm taking this process to my three-book arc, writing a short story based on the outline of book #4. Secondary characters and parallel plots will surely have to go, but the premise of the story can remain intact. A trial run, a reverse outline of sorts.
We've all heard the adage: If you can't write your idea on the back of my business card, it's probably not a good idea. Well, a writer should be able to describe his or her book in two sentences. So if my plot is to hold up, I should be able to write a story in 7,500 words or less, right?
I'll keep you posted.
Wednesday, November 11, 2015
Promote that Book!
Last Sunday I was the Featured Author at the monthly Sisters in Crime/Los Angeles meeting. That means I read for five minutes from one of my books. I think it went fairly well. At least, I didn’t hear any snoring!
The majority of the meeting was taken up with a presentation by book publicist Liz Donatelli of Liz D Publicity. She spent part of her time explaining what a book publicist does and the rest talking about what authors can do themselves to promote their work. Here are some highlights from the talk.
So, Type M readers, have any of you seen a book promotion activity you found particularly interesting/creative? Is there any promotional activity that you find annoying?
The majority of the meeting was taken up with a presentation by book publicist Liz Donatelli of Liz D Publicity. She spent part of her time explaining what a book publicist does and the rest talking about what authors can do themselves to promote their work. Here are some highlights from the talk.
- Advertising v. Book Publicity. The two are not the same thing. I don’t remember ever hearing this explanation before, but it makes sense. Advertising is paid exposure such as taking out an ad in a magazine. Book publicity is free media exposure like social media posts, articles in local newspapers, etc. As a book publicist, Liz doesn’t deal with the advertising end.
- Be seen, be available, build a fan base.
- No effort is too small.
- Promotional materials such as bookmarks and postcards are a must. People want them. Carry them with you at all times; you never know when you’ll meet someone who will be interested in your work.
- There are no hidden secrets to book publicity. We all wish there were, but there’s nothing you can do that will guarantee book sales. Produce a great product with as unique a hook as possible.
- A website is a must. No surprise here. The pages an author should have are: (1) a Books page that includes book covers and descriptions as well as purchase links; (2) an Author page that includes a short bio and picture; (3) an Events page where you list in-person and online events; (4) a Media page that includes links to reviews, interviews and articles. Don’t list every review and be sure to keep the site up to date.
- Social media is necessary. Facebook, GoodReads and Twitter are the main platforms for authors with the first two being the most important. An author should have a Facebook page separate from a personal one. She recommended posting 1-2 times per day. For twitter aim to tweet, retweet and reply to tweets ten times per day, 80% informative and entertaining, 20% promotional. (I shrug my shoulders when I hear how many posts and tweets I’m supposed to be doing. First of all, if I’m following someone and they tweet 10 times/day, I’ll probably unfollow them. That’s too many times for me. I realize I’m probably in the minority here. And, if I tweeted that many times plus did all of the other stuff I’m “supposed” to do, I’d end up not getting any writing done.)
- Don’t rely solely on your publisher to promote your book.
- Do joint events with other authors. It’ll bring in more people. In my opinion, it’s also more fun. And if the authors are having fun, attendees will too.
- Do both online and in-person events.
- Work your contacts. Who do you know who will/can help you contact your readers? Be creative.
- Be patient and don’t compare yourself with other authors.
So, Type M readers, have any of you seen a book promotion activity you found particularly interesting/creative? Is there any promotional activity that you find annoying?
Tuesday, November 10, 2015
Makes you wonder…
by Rick Blechta
Many years ago now I read a short story about how everyone woke up one day and they could only tell the truth. I wish I could remember the name. I believe I found it in a SciFi anthology of short stories from the Golden Age. Maybe someone could help out on that.
Anyway, you can imagine the chaos that ensued. For all intents and purposes, everyone was suddenly naked — psychologically, and there was no place to hide. Personal relationships were destroyed, governments fell, and of course, corporations were in a whole lot of trouble.
Almost the entire population of the planet Earth had to figure out how to continue if this sudden inability to say anything untrue went on forever. The only people without any difficulties were young children, and if my memory is accurate the story ended from their viewpoint as they observed the adults around them overwhelmed, distraught and depressed.
If the story indeed came out of the 1950s, imagine how much more devastating the results would be in 2015. Daily existence is now more lie than truth.
Let’s take the current presidential contest taking place in the States. Imagine all those candidates being suddenly unable to lie or even stretch the truth. I think a Donald Trump campaign rally would be the place to be, even though the people attending those seem to tell the truth more often than one might hope. (And the results are very ugly.)
I think the first thing I would do would be to call up a certain publisher or two and finally find out what they thought they were doing. Certain folks in the music business would follow shortly thereafter.
Now if I were going to re-imagine this story with a less apocalyptic ending, I would have a protagonist who invented a device or maybe a chemical that when administered would make it impossible for the person(s) exposed to it to tell a lie for, say, twenty-four hours, although even an hour or two would suffice. My hero would then go on a crusade to visit certain people at critical times. An obvious target would be a politician about to give a speech, or worse yet, hold a press conference. Chaos would still ensue, but it would be more confined and might ultimately help humanity. Who knows?
Of course, this person would instantly be public enemy number one to the people who hold the reins of power. (Look at how Edward Snowdon has been treated, and all he’s doing is disseminating a bit of truth.)
So what do you think? Would this make a great story? Consider the idea up for grabs. Just mention me in the credits, thanks.
Many years ago now I read a short story about how everyone woke up one day and they could only tell the truth. I wish I could remember the name. I believe I found it in a SciFi anthology of short stories from the Golden Age. Maybe someone could help out on that.Anyway, you can imagine the chaos that ensued. For all intents and purposes, everyone was suddenly naked — psychologically, and there was no place to hide. Personal relationships were destroyed, governments fell, and of course, corporations were in a whole lot of trouble.
Almost the entire population of the planet Earth had to figure out how to continue if this sudden inability to say anything untrue went on forever. The only people without any difficulties were young children, and if my memory is accurate the story ended from their viewpoint as they observed the adults around them overwhelmed, distraught and depressed.
If the story indeed came out of the 1950s, imagine how much more devastating the results would be in 2015. Daily existence is now more lie than truth.
Let’s take the current presidential contest taking place in the States. Imagine all those candidates being suddenly unable to lie or even stretch the truth. I think a Donald Trump campaign rally would be the place to be, even though the people attending those seem to tell the truth more often than one might hope. (And the results are very ugly.)
I think the first thing I would do would be to call up a certain publisher or two and finally find out what they thought they were doing. Certain folks in the music business would follow shortly thereafter.
Now if I were going to re-imagine this story with a less apocalyptic ending, I would have a protagonist who invented a device or maybe a chemical that when administered would make it impossible for the person(s) exposed to it to tell a lie for, say, twenty-four hours, although even an hour or two would suffice. My hero would then go on a crusade to visit certain people at critical times. An obvious target would be a politician about to give a speech, or worse yet, hold a press conference. Chaos would still ensue, but it would be more confined and might ultimately help humanity. Who knows?
Of course, this person would instantly be public enemy number one to the people who hold the reins of power. (Look at how Edward Snowdon has been treated, and all he’s doing is disseminating a bit of truth.)
So what do you think? Would this make a great story? Consider the idea up for grabs. Just mention me in the credits, thanks.
Monday, November 09, 2015
You Can Tell a Book by Its Cover
By Vicki Delany
Or, you should be able to.
A book cover, as well as the title, is a hint at what lies within. The cover should set the mood and the tone, maybe tell you a bit of the setting. If it's a historical novel, it definitely has to say that right up front. In crime writing, it should give you an idea of the subgenre (thriller, cozy, suspense etc.).
A good cover should entice the reader to pick it up, but most importantly it needs to entice the right sort of reader. I, personally, don’t care for men’s-fiction of international intrigue and rogue tough guys. Thus a cover image of the US capital at night, or rain-soaked Kremlin square won’t attract me.
I also don’t read romance, so I don’t want bouquets of roses or overuse of the colour purple.
And that’s okay, because there’s little point in getting me to pick up the book if I’m only going to read the blurb and decide it’s not for me.
Conversely, of course, you don’t want me to pass over a book that would be perfect for me because the cover says it’s something else.
The cozy novels put out by Penguin Obsidian and Berkely Prime Crime are perfect at this. Look at a cozy cover and you know EXACTLY what you’re getting. Your only decision, as a cozy reader, is if you prefer dogs or cats in your books.
This has come to mind because next week I am having a joint launch with my good friend and occasional Type M contributor, R.J. Harlick. (Tuesday Nov. 17th, 7:00 pm. Heart and Crown Pub in the Byward Market in Ottawa) Have a look at the two covers on this page.
I can’t imagine two more opposite images. They are, all on their own, a pretty good illustration of the range of crime fiction these days.
The light and the dark of it as, Barbara Fradkin said.
The colors of my book, the cute little dog staring at you, the Christmas imagery, and the decorations around the series name. On Robin’s book, the tracks in the snow, the use of black and white, the gloom of the forest in the distance. We hope that Robin’s book gives you chills and that mine makes you feel all warm and fuzzy, and maybe nibble on a Christmas cookie.
Not only the covers tell you something about the books, but the titles do also. What would Rest Ye Murdered Gentlemen be but a cozy! And Cold White Fear, is going to be pretty chilling!
Two crime novels. Both set at Christmas. But they couldn’t be more different. The title and the cover images tell you exactly what you are going to get.
Or, you should be able to.
A book cover, as well as the title, is a hint at what lies within. The cover should set the mood and the tone, maybe tell you a bit of the setting. If it's a historical novel, it definitely has to say that right up front. In crime writing, it should give you an idea of the subgenre (thriller, cozy, suspense etc.). A good cover should entice the reader to pick it up, but most importantly it needs to entice the right sort of reader. I, personally, don’t care for men’s-fiction of international intrigue and rogue tough guys. Thus a cover image of the US capital at night, or rain-soaked Kremlin square won’t attract me.
I also don’t read romance, so I don’t want bouquets of roses or overuse of the colour purple.
And that’s okay, because there’s little point in getting me to pick up the book if I’m only going to read the blurb and decide it’s not for me.
Conversely, of course, you don’t want me to pass over a book that would be perfect for me because the cover says it’s something else.
The cozy novels put out by Penguin Obsidian and Berkely Prime Crime are perfect at this. Look at a cozy cover and you know EXACTLY what you’re getting. Your only decision, as a cozy reader, is if you prefer dogs or cats in your books.
This has come to mind because next week I am having a joint launch with my good friend and occasional Type M contributor, R.J. Harlick. (Tuesday Nov. 17th, 7:00 pm. Heart and Crown Pub in the Byward Market in Ottawa) Have a look at the two covers on this page.I can’t imagine two more opposite images. They are, all on their own, a pretty good illustration of the range of crime fiction these days.
The light and the dark of it as, Barbara Fradkin said.
The colors of my book, the cute little dog staring at you, the Christmas imagery, and the decorations around the series name. On Robin’s book, the tracks in the snow, the use of black and white, the gloom of the forest in the distance. We hope that Robin’s book gives you chills and that mine makes you feel all warm and fuzzy, and maybe nibble on a Christmas cookie.
Not only the covers tell you something about the books, but the titles do also. What would Rest Ye Murdered Gentlemen be but a cozy! And Cold White Fear, is going to be pretty chilling!
Two crime novels. Both set at Christmas. But they couldn’t be more different. The title and the cover images tell you exactly what you are going to get.
Saturday, November 07, 2015
Guest Post: Caro Ramsay
Aline here. I'm delighted to introduce you today to Caro Ramsay, another Scot, writing here an affectionate guide to Scotland seen through the eyes of a crime writer. She's bright, funny and feisty and incidentally, as the photo, shows you, gorgeous, though what it doesn't show you is the wicked glint of mischief in her eyes. She still works full time as an acupuncturist and osteopath and has a houseful of rescue animals including Mathilda the Staffie and Mrs bramble the three-legged cat – not to mention the well-intentioned poltergeist who sometimes leaves money lying around for her to find. Her latest book, Tears of Angels, came out in the States in September and the next, Rat Run, will be out next year.
Caro writes:
Scotland is marvellous, small but beautifully formed due to a wide variation in its geography and geology which lends to its breathtaking landscape. It is a superb place to live (apart from the weather) and is a wonderful backdrop for mystery fiction.
As the Scottish Police Service are now one unified force, it is feasible that any senior detective from any region can be sent anywhere in the country and what a gift to crime fiction that is. Previously crimes were only investigated by the regional force concerned – Strathclyde for me, Lothian and Borders for Aline and any crossover created a mountain of paperwork.
So having come back from Bouchercon and still being amazed – after my fourth time in the States, at how big the place is, here is a bite sized guide to a bite sized country.
I live in Elderslie which is the home of William Wallace, not the home of Mel Gibson as a friend’s daughter once wrote in an essay at school. Elderslie sits at the end of the main (well the only!) runway at Glasgow airport. If you phone while you are waiting at baggage reclaim, I can be waiting to pick you up when you walk out the door.
From my house I can be at the opera in Glasgow in fifteen minutes, at Loch Lomond in twenty, at the seaside coast in twenty, at the Firth of Clyde in ten. I can be in Edinburgh in less than an hour, as a Glaswegian I have no desire to go there but as a Scot I will go under duress if I get paid.
As a crime writer this gives huge scope for murdering people and body disposal. The back lanes that run up behind the tenements of Glasgow lend themselves to all sorts of criminality in real life. The hills are varied, beautiful and extremely dangerous. I think because they look chocolate box pretty from the safety of a car people underestimate how vulnerable they can be, never go hillwalking in Scotland unless you are prepared to set out in a mid summer day and come back in a blizzard.
Scotland has 3 distinct geographical sub-divisions: the Highlands and Islands, the Central Lowlands and the Southern Uplands. The Highlands and Islands are about 400 million years old and give us the Cairngorms, the Skye Cuillins and the majesty of Ben Nevis with its bull elephant head standing at 4.500 feet.
This area is bisected by the Great Glen Fault along which lies Loch Ness. The loch is simply a body of water in a series of connected waters. It is extremely deep with very poor visibility due to the high peat content in the surrounding soil. It contains more fresh water than all the lakes in England and Wales combined so no wonder Nessie finds it so easy to hide.
The geology of the area also gives rise to St Kilda, who was never a saint, and they are the loneliest islands in Britain. Inhabited until 1930 when the locals found out that other parts of the world did not smell of rotting sea birds. The prevailing winds are ‘strong’ and it is non-uncommon for the inhabitants to go deaf with the noise of the wind. It was evacuated by the request of the citizens in the 1930s and famously many of them were given jobs by the Forestry Commission on the mainland which is good thinking as they had grown up on an island with no trees.
The famous island of Staffa, contains Fingal's Cave and Mackinnon's Cave, one of the longest sea caves in the world and the inspiration for some rather good music. The midland valley is known as the Central Lowlands and is volcanic giving rise to both Arthur's Seat in Edinburgh and Ailsa Craig off the west coast. The latter provides the best curling stones in the world.
Although we have lower level hills here they are always visible somewhere on the horizon. As I write this I can see dull sunlight flickering on the top of the Ben Lomond. There is a clear tourist path up the Ben which is deceptively easy and the need for a dedicated Lomond Rescue Team is hardly surprising.
The whole area is now a national park dedicated to the memory of those who lost their lives in the First and Second World Wars and was gifted to the nation as a place of tranquil respite for the citizens of Glasgow. So why they don’t ban jet skis on the water I will never know.
There are two favourite places that I have managed to sneak into my novels, one is the Electric Brae which sits on the west coast as you look out to Ailsa Craig. It is an optical illusion that makes freewheeling cars run up the hill but before physics proved that it was all the work of the devil. Famously General Dwight D Eisenhower while stationed at nearby Culzean Castle often took foreign dignitaries to see the phenomenon.
My other favourite place is the Rest and Be Thankful, a road named in respect of its long persistent climb. It was named that by the soldiers in 1753. That road has been replaced by a higher road which despite metal cages and extensive engineering is still prone to landslides – four hundred-ton landslide on 28 October 2007. The original road at the bottom of the Glen almost remains untouched which makes me think they knew something we didn’t.
The Southern Uplands are a range of hills which run for almost 120 miles. This rolling landscape runs along a second fault line from Ballantrae to Dunbar. It’s altogether a much cosier climate down there with very little crime until Aline gets involved!
Caro writes:Scotland is marvellous, small but beautifully formed due to a wide variation in its geography and geology which lends to its breathtaking landscape. It is a superb place to live (apart from the weather) and is a wonderful backdrop for mystery fiction.
As the Scottish Police Service are now one unified force, it is feasible that any senior detective from any region can be sent anywhere in the country and what a gift to crime fiction that is. Previously crimes were only investigated by the regional force concerned – Strathclyde for me, Lothian and Borders for Aline and any crossover created a mountain of paperwork.
So having come back from Bouchercon and still being amazed – after my fourth time in the States, at how big the place is, here is a bite sized guide to a bite sized country.
I live in Elderslie which is the home of William Wallace, not the home of Mel Gibson as a friend’s daughter once wrote in an essay at school. Elderslie sits at the end of the main (well the only!) runway at Glasgow airport. If you phone while you are waiting at baggage reclaim, I can be waiting to pick you up when you walk out the door.
From my house I can be at the opera in Glasgow in fifteen minutes, at Loch Lomond in twenty, at the seaside coast in twenty, at the Firth of Clyde in ten. I can be in Edinburgh in less than an hour, as a Glaswegian I have no desire to go there but as a Scot I will go under duress if I get paid.
As a crime writer this gives huge scope for murdering people and body disposal. The back lanes that run up behind the tenements of Glasgow lend themselves to all sorts of criminality in real life. The hills are varied, beautiful and extremely dangerous. I think because they look chocolate box pretty from the safety of a car people underestimate how vulnerable they can be, never go hillwalking in Scotland unless you are prepared to set out in a mid summer day and come back in a blizzard.
Scotland has 3 distinct geographical sub-divisions: the Highlands and Islands, the Central Lowlands and the Southern Uplands. The Highlands and Islands are about 400 million years old and give us the Cairngorms, the Skye Cuillins and the majesty of Ben Nevis with its bull elephant head standing at 4.500 feet.
This area is bisected by the Great Glen Fault along which lies Loch Ness. The loch is simply a body of water in a series of connected waters. It is extremely deep with very poor visibility due to the high peat content in the surrounding soil. It contains more fresh water than all the lakes in England and Wales combined so no wonder Nessie finds it so easy to hide.
The geology of the area also gives rise to St Kilda, who was never a saint, and they are the loneliest islands in Britain. Inhabited until 1930 when the locals found out that other parts of the world did not smell of rotting sea birds. The prevailing winds are ‘strong’ and it is non-uncommon for the inhabitants to go deaf with the noise of the wind. It was evacuated by the request of the citizens in the 1930s and famously many of them were given jobs by the Forestry Commission on the mainland which is good thinking as they had grown up on an island with no trees.
The famous island of Staffa, contains Fingal's Cave and Mackinnon's Cave, one of the longest sea caves in the world and the inspiration for some rather good music. The midland valley is known as the Central Lowlands and is volcanic giving rise to both Arthur's Seat in Edinburgh and Ailsa Craig off the west coast. The latter provides the best curling stones in the world.
Although we have lower level hills here they are always visible somewhere on the horizon. As I write this I can see dull sunlight flickering on the top of the Ben Lomond. There is a clear tourist path up the Ben which is deceptively easy and the need for a dedicated Lomond Rescue Team is hardly surprising.
The whole area is now a national park dedicated to the memory of those who lost their lives in the First and Second World Wars and was gifted to the nation as a place of tranquil respite for the citizens of Glasgow. So why they don’t ban jet skis on the water I will never know.
There are two favourite places that I have managed to sneak into my novels, one is the Electric Brae which sits on the west coast as you look out to Ailsa Craig. It is an optical illusion that makes freewheeling cars run up the hill but before physics proved that it was all the work of the devil. Famously General Dwight D Eisenhower while stationed at nearby Culzean Castle often took foreign dignitaries to see the phenomenon.
My other favourite place is the Rest and Be Thankful, a road named in respect of its long persistent climb. It was named that by the soldiers in 1753. That road has been replaced by a higher road which despite metal cages and extensive engineering is still prone to landslides – four hundred-ton landslide on 28 October 2007. The original road at the bottom of the Glen almost remains untouched which makes me think they knew something we didn’t.The Southern Uplands are a range of hills which run for almost 120 miles. This rolling landscape runs along a second fault line from Ballantrae to Dunbar. It’s altogether a much cosier climate down there with very little crime until Aline gets involved!
Friday, November 06, 2015
Untidy Ends
Sorry, everyone. It's my day to post and I forgot. I was up late last night trying alternate endings to the book that I'm working on. I signed up for National Novel Writing Month. I plan to work on my nonfiction book about dress, appearance and crime during the day and the new mystery in the evening. I don't expect to hit 50,000 words by the end of the month. But it will get me started.
I have an outline. I've written a synopsis based on that outline that needs serious cutting before I can send it to my editor. Right now, the synopsis is running around 20 pages because my characters have started talking and I've included snatches of dialogue and details about the action.
I should be pleased at how well this is coming together. I am pleased. But I have a problem. My problem is that I have four characters with good motives to do my victim in. In my outline and synopsis, these characters have taken turns coming to the attention of my protagonist and the village police chief. After much time spent thinking through how these characters would have viewed the victim and whether any one of them might have taken that final step of eliminating him, I finally know who the killer should be. That brings me to the problem that had me up late last night and still preoccupied this morning when I should have been posting -- the all-important conclusion.
Yes, we know who the killer is. My protagonist -- tenacious sleuth that she is -- has solved the crime. But how does she handle the expected climactic encounter with the killer? Where does it happen? What weapon does she use to defend herself? Could she talk the killer into surrendering?
Would my editor let me get away with, "And then she subdued the killer and waited for the police to arrive. More details about this encounter to be provided later" in my synopsis?
I have an idea that I need to get back to -- it might work. If not, I think I'll go to bed early and hope something comes to me in my dreams. Wish me luck!
I have an outline. I've written a synopsis based on that outline that needs serious cutting before I can send it to my editor. Right now, the synopsis is running around 20 pages because my characters have started talking and I've included snatches of dialogue and details about the action.
I should be pleased at how well this is coming together. I am pleased. But I have a problem. My problem is that I have four characters with good motives to do my victim in. In my outline and synopsis, these characters have taken turns coming to the attention of my protagonist and the village police chief. After much time spent thinking through how these characters would have viewed the victim and whether any one of them might have taken that final step of eliminating him, I finally know who the killer should be. That brings me to the problem that had me up late last night and still preoccupied this morning when I should have been posting -- the all-important conclusion.
Yes, we know who the killer is. My protagonist -- tenacious sleuth that she is -- has solved the crime. But how does she handle the expected climactic encounter with the killer? Where does it happen? What weapon does she use to defend herself? Could she talk the killer into surrendering?
Would my editor let me get away with, "And then she subdued the killer and waited for the police to arrive. More details about this encounter to be provided later" in my synopsis?
I have an idea that I need to get back to -- it might work. If not, I think I'll go to bed early and hope something comes to me in my dreams. Wish me luck!
Thursday, November 05, 2015
S'Mores and Ghosts
It is a few days after Halloween and the Day of Dead as you are reading this, Dear Reader, but I, Donis, am writing it on Halloween day itself, which has put me in mind of Halloweens past and loved ones past as well.
Every Halloween, my father-in-law dug a pit in back of the house, lined it with bricks, filled it with wood, and lit what he called a "bonfire", though it was more like a good sized campfire. The family would sit around it and roast wieners and marshmallows on sticks and stretched-out hangars. I have no idea where the family tradition came from, but I'm guessing it was passed down through the family from the misty past, for such traditions are remarkably enduring. So, if you live in the country or don't worry about being fined for building an open fire in your back yard, stretch out those hangars and get yourself a bag of marshmallows, and take a trip into the past with some campfire s'mores.
Put a slab of Hershey bar on top of a Graham cracker, put a melty-hot roasted marshmallow on the chocolate, top with another Graham cracker, and enjoy.
Of course Halloween didn’t used to be about s'mores, or trick-or-treat, or candy. In the Celtic tradition it is the turning of the year, the one day that the veil between the world of the living and the world of the dead thins, and thus we may be able to see our departed loved ones.
The Celtic peoples who came to the New World early on and settled on the frontiers and the back woods, from whom many, many of us descend, myself included, had a view of existence that is very different from contemporary Westerners see things. We wonder how such tough and practical people could have so readily believed in ghosts and haints. It had to be because they were ignorant and uneducated, we think, and obviously not as smart as we are.
But I say, au contraire, my friends. As I travel through this life, I begin to have an intimation that things are not necessarily what they seem. We perceive the world as we have been taught to do. We see what we are looking for.
My great-grandmother, whom I was privileged to know when I was a girl, knew there were spirits abroad just as firmly as she knew the sky was blue. She had seen them, and she believed the evidence of her own eyes. Did she really see them, or was she deluded? I’ve never seen a ghost. Am I realistic, or am I blind? How does a sighted person convince someone who has never seen that there is a color blue?
My protagonist, Alafair, perceives the universe in the same way my great-grandmother did, and I do not judge her for that. In fact, maybe I’m a bit envious.
Every Halloween, my father-in-law dug a pit in back of the house, lined it with bricks, filled it with wood, and lit what he called a "bonfire", though it was more like a good sized campfire. The family would sit around it and roast wieners and marshmallows on sticks and stretched-out hangars. I have no idea where the family tradition came from, but I'm guessing it was passed down through the family from the misty past, for such traditions are remarkably enduring. So, if you live in the country or don't worry about being fined for building an open fire in your back yard, stretch out those hangars and get yourself a bag of marshmallows, and take a trip into the past with some campfire s'mores.
Put a slab of Hershey bar on top of a Graham cracker, put a melty-hot roasted marshmallow on the chocolate, top with another Graham cracker, and enjoy.
Of course Halloween didn’t used to be about s'mores, or trick-or-treat, or candy. In the Celtic tradition it is the turning of the year, the one day that the veil between the world of the living and the world of the dead thins, and thus we may be able to see our departed loved ones.
The Celtic peoples who came to the New World early on and settled on the frontiers and the back woods, from whom many, many of us descend, myself included, had a view of existence that is very different from contemporary Westerners see things. We wonder how such tough and practical people could have so readily believed in ghosts and haints. It had to be because they were ignorant and uneducated, we think, and obviously not as smart as we are.
But I say, au contraire, my friends. As I travel through this life, I begin to have an intimation that things are not necessarily what they seem. We perceive the world as we have been taught to do. We see what we are looking for.
My great-grandmother, whom I was privileged to know when I was a girl, knew there were spirits abroad just as firmly as she knew the sky was blue. She had seen them, and she believed the evidence of her own eyes. Did she really see them, or was she deluded? I’ve never seen a ghost. Am I realistic, or am I blind? How does a sighted person convince someone who has never seen that there is a color blue?
 |
| My great-grandmother |
My protagonist, Alafair, perceives the universe in the same way my great-grandmother did, and I do not judge her for that. In fact, maybe I’m a bit envious.
Wednesday, November 04, 2015
Hearing voices
Since I've embarked on my new Amanda Doucette series, I am now writing from the POV of a thirty-something woman who (despite our age differences) is a lot more like me in terms of values, interests, and spirit than Green is. I thought this would be an easy switch for me; in fact I was concerned about my own personality bleeding into hers. But instead, I find it difficult to capture her voice. There are two male 'co-stars' or sidekicks in the series who also have their own POV scenes, and I have found it much easier to slip into their thoughts and reactions than those of Amanda.
Initially I thought it was because she was a new character and I didn't know her very well yet. There is some truth to that, but I have already completed one novel about her and am well into the first draft of my second. And I find myself effortlessly slipping into the shoes of the two male sidekicks.
There are two aspects to capturing the essence of a character on the page. First is getting her behaviour right. How would this character react, what would they do next, what would they say? The character guides the direction and evolution of the scene by their actions in it. I have found I can do this with Amanda. I DO know her. I know when she's outraged, afraid, amused...
Is it because after all these years, I am more at home creating a man's voice (my Rapid Reads series also has a male protagonist)? Is it because I am more concerned with getting her "just right" because she carries the weight of the series on her shoulders? Am I second-guessing the thoughts she has, trying to make sure she's not me? Trying to make sure she has enough complexity and appeal? Trying to make sure she is unique and compelling?
When I creating Green, I stumbled upon him and created him bit by bit as the series developed. I didn't know I was creating a series character and luckily hadn't read all the advice about how to make him unique and memorable. I hadn't read countless reviews reducing main characters to a string of cliches. Men were gritty, women were feisty, everyone was flawed. So perhaps now I am too aware of these pitfalls, and my inner editor is shutting Amanda off before she can really get into full swing.
This is not to say that she is an empty shell. She's a great character. From the very beginning, I have been very excited about who she is and what she is trying to do, and I think she's a unique character worth spending time with. But she has been through a life-changing ordeal, and she is guarded. She doesn't let people in easily, and it's fascinating to me that that includes me!
My books are written in third-person. It is infinitely easier to find a character's voice when writing in first person. The moment you write the word "I", you are in their head. Because my books are multiple POV, I can't do that, but as an exercise and writing aide, I'm going to write a few Amanda scenes in first person to see if I can hear her more clearly. That's my task for the next few days. Stay tuned! And if any of you have experience with this dilemma, I'd love to hear it.
Tuesday, November 03, 2015
Well, we made it! Or did we?
by Rick Blechta
Late yesterday afternoon at 4:52 EST, the page view counter on Type M for Murder clicked past 500,000. Champagne corks were popped, pate served on little crackers and we all celebrated in our own ways. I did it by going out and playing some hot jazz with the Advocats Big Band. But that’s another story...
Time to get on with it here at The Olde Blog. No use resting on our laurels.
As we begin work on our second half million, I’ve been in an introspective mood, having been in this game for a whole lot of years.
Things have changed — mostly for the worst. Anybody can put out a book of any kind and not have to shell out a lot of money to do it. Many want to be published in the worst way, and they often succeed. Traditional publishing is floundering, self-publishing is way up. No one knows what the outcome will be for e-books since the sales of them have begun dropping.
The big (old) news is this: everyone is still trying to find a way to make a buck in the publishing biz, regardless of how it’s done. (Some things never change.) As always, at the bottom of the pile are the creators of books. Without us, there is no product. Problem is, above us, sharks are circling thicker than ever. If you go traditional, you usually get very tiny advances (if any), which sort of defeats the purpose of advances (to allow a writer to be able to afford to write the contracted piece). If you want to self-publish but appear traditional you can make use of the services of many vanity presses. Trouble is, you’ll get nickeled and dimed to death. I’ve posted about authors who are paying to do book signings at festivals. That’s nuts.
But for everyone, regardless of how your work comes out, there is a common problem: with more books than ever being released every year, how do you get any sort of notice at all?
So, I would like to pose a question to all you Type M readers, and I’d really appreciate getting some answers on this:
In your opinion, what is the biggest single obstacle to an author’s success in the publishing world of 2015?
I surmise there’s not just a single answer. But I think a splendid discussion could be kicked off on this, and maybe even some solutions found.
Will you help out?
Late yesterday afternoon at 4:52 EST, the page view counter on Type M for Murder clicked past 500,000. Champagne corks were popped, pate served on little crackers and we all celebrated in our own ways. I did it by going out and playing some hot jazz with the Advocats Big Band. But that’s another story...Time to get on with it here at The Olde Blog. No use resting on our laurels.
As we begin work on our second half million, I’ve been in an introspective mood, having been in this game for a whole lot of years.
Things have changed — mostly for the worst. Anybody can put out a book of any kind and not have to shell out a lot of money to do it. Many want to be published in the worst way, and they often succeed. Traditional publishing is floundering, self-publishing is way up. No one knows what the outcome will be for e-books since the sales of them have begun dropping.
The big (old) news is this: everyone is still trying to find a way to make a buck in the publishing biz, regardless of how it’s done. (Some things never change.) As always, at the bottom of the pile are the creators of books. Without us, there is no product. Problem is, above us, sharks are circling thicker than ever. If you go traditional, you usually get very tiny advances (if any), which sort of defeats the purpose of advances (to allow a writer to be able to afford to write the contracted piece). If you want to self-publish but appear traditional you can make use of the services of many vanity presses. Trouble is, you’ll get nickeled and dimed to death. I’ve posted about authors who are paying to do book signings at festivals. That’s nuts.
But for everyone, regardless of how your work comes out, there is a common problem: with more books than ever being released every year, how do you get any sort of notice at all?
So, I would like to pose a question to all you Type M readers, and I’d really appreciate getting some answers on this:
In your opinion, what is the biggest single obstacle to an author’s success in the publishing world of 2015?
I surmise there’s not just a single answer. But I think a splendid discussion could be kicked off on this, and maybe even some solutions found.
Will you help out?
Monday, November 02, 2015
The Back List
How often do you re-read your published books?
There was a wonderful admission from PD James that when she was going to the US to talk to various groups of students who were studying her books, and since it was a long time since they had been published and they would have read them meticulously quite recently, she thought she ought to renew her own acquaintance with them on the flight across. History doesn't relate which book it was, but when she reached the denouement she found that she had misled herself so completely that she got the murderer wrong.
I have to say I have more than once been put on the spot by a reader who has asked a question about a particular character ( not one of the principals) in a book I have written some time before and I have to ask for a resume before I can hope to answer it since it's obviously much fresher in their mind than it is in mine.
To be honest, I can't remember when was the last time I re-read one of my books. I'm not quite sure why: part of it, perhaps, is that having read it at least 193 times before it went to my editor, and at least twice before the hardback publication and again before it went into paperback, I don't feel it holds any surprises. But the other part, I think, is that once I have started on a new book I just don't want to.
In the first place, when you're writing a series the characters develop, shaped by their experiences. Marjory Fleming in Cold in the Earth is not the same woman as she is in The Third Sin, years later, so it is confusing.
And then there is writer's insecurity. A book that has been published successfully, with readers who love it and a publisher who wants the next book, a book that is on the shelves in bookshops just like a proper book,it looks very different from the book that is still on the computer, the book that still needs to be finished and edited – a flimsy sort of thing.
On the odd occasion when I have re-read one of my books, I've quite often found myself thinking, 'Good gracious, where did that come from?' And then, as I work to pull all the bits of the new one together, it starts me thinking, 'And what if it doesn't come from there again?'
So my books sit there on the shelf, and I like to look at them. But I don't often read them.
There was a wonderful admission from PD James that when she was going to the US to talk to various groups of students who were studying her books, and since it was a long time since they had been published and they would have read them meticulously quite recently, she thought she ought to renew her own acquaintance with them on the flight across. History doesn't relate which book it was, but when she reached the denouement she found that she had misled herself so completely that she got the murderer wrong.
I have to say I have more than once been put on the spot by a reader who has asked a question about a particular character ( not one of the principals) in a book I have written some time before and I have to ask for a resume before I can hope to answer it since it's obviously much fresher in their mind than it is in mine.
To be honest, I can't remember when was the last time I re-read one of my books. I'm not quite sure why: part of it, perhaps, is that having read it at least 193 times before it went to my editor, and at least twice before the hardback publication and again before it went into paperback, I don't feel it holds any surprises. But the other part, I think, is that once I have started on a new book I just don't want to.
In the first place, when you're writing a series the characters develop, shaped by their experiences. Marjory Fleming in Cold in the Earth is not the same woman as she is in The Third Sin, years later, so it is confusing.
And then there is writer's insecurity. A book that has been published successfully, with readers who love it and a publisher who wants the next book, a book that is on the shelves in bookshops just like a proper book,it looks very different from the book that is still on the computer, the book that still needs to be finished and edited – a flimsy sort of thing.
On the odd occasion when I have re-read one of my books, I've quite often found myself thinking, 'Good gracious, where did that come from?' And then, as I work to pull all the bits of the new one together, it starts me thinking, 'And what if it doesn't come from there again?'
So my books sit there on the shelf, and I like to look at them. But I don't often read them.
Saturday, October 31, 2015
Guest Post: Sue Ann Jaffarian
Please welcome prolific author Sue Ann Jaffarian to Type M. I’ve lost count of how many books she’s had published since I first met her at a Sisters in Crime/Los Angeles meeting. She's run the gamut in the publishing world from self-publishing to being traditionally published by both large and small presses. One of her series has a ghost in it, which seems so appropriate for Halloween! Take it away, Sue Ann...
It’s no secret that the publishing business has been in chaos for several years. Bigger publishers are merging, reducing staff, and facing restructures, while smaller publishers are cropping up like weeds and some disappearing just as fast. Authors are being cut or abandoned by publishers left and right and new authors are finding it tough to get a foot in the door. And then there’s self-publishing, which is a whole ‘nuther kettle of fish.
Frankly, I think it’s an exciting time to be an author. Never before have we had such a smorgasbord of choices for our work. On the flip side, never before have we had so many chances to screw up.
As Charles Dickens wrote at the beginning of A Tale of Two Cities, “It was the best of times, it was the worst of times… .”
Whether you are a newbie trying to get your first book published, or an author left high and dry after a few published books, or an author like me with many books under your belt and still under contract, you have to take the time to decide which path is best for your work. It used to be you wrote the book, found an agent, and the agent tried to sell it. Each step was a long and arduous process with no guarantee of success.
But here’s the thing, whether you opt for traditional publishing or self-publishing, or a hybrid, it’s still a long and arduous process. There is no getting around that. A lot of authors, usually first timers, think that they can skirt a lot of the hard work and time by going self-published. Not so. If anything, it takes even more work to be a successful independent author, but if you are successful, you reap bigger royalties.
But don’t let the bright and shiny bigger royalties blind you. Not all authors should go the self-published route and most don’t make those big royalties, at least not out of the gate. For many authors, wearing all the hats doesn’t suit them or overwhelms them. They take shortcuts in editing, proofreading, cover art, and marketing that dooms them almost from the beginning.
Early on, decide what you want out of your writing. Not all publishing options fit all books or authors. Don’t be swayed one way or the other by the traditional vs. independent debate. Look at all of your options and make the best decision based on your goals, time, and skill set. I think a lot of authors give in to peer pressure in this area and end up unhappy.
If it is important to you to have a big name traditional publisher, then by all means pursue that by finding an agent and giving that route a shot. It may take a hundred rejections to find an agent, but if it’s important to you, do it. Don’t settle for your second or third choice without giving your first choice a fair chance.
A lot of the smaller publishers will consider un-agented manuscripts. If you are set on a traditional publisher but are frustrated in your search for an agent or getting rejected by the big name publishers, check out some of the smaller companies that are putting out great books. Ask your writer friends for suggestions or even referrals to their editors at these smaller publishing houses.
If you think you’re cut out for going independent, first talk to several indie authors who have done it successfully. LISTEN to them. Take notes. Copious notes. Don’t think you can build a better mousetrap when you’ve never been in the business before. These people are experts. I’m starting to publish more of my own work and, believe me, I’ve bent the ears of countless indie friends with questions on everything from covers to editing services to marketing. And be ready to spend money to do it right. Freelance editors and cover designers cost money. Slapping something together is career suicide.
And once you choose a path, remember, you can change your mind down the line. Maybe your first book will be with a small press. The second self-published. And maybe your third will catch the eye of a major publisher. You just never know, so don’t lock yourself in. My work is in all three venues and it works for me.
In the end, whether you decide to go traditional or independent, there’s no excuse for laziness. First you have to write the best book you can. Without that, the rest is a waste of time. Sending an agent or publisher a sloppy manuscript will get the door slammed in your face. Self-publishing such a manuscript may tank your career before you even have one. Once those doors are shut or readers turn away from you, it’s extremely difficult and often impossible to get a do-over.
Do it the right way, or don’t do it at all.
There’s so much more to being an author today besides writing a book. You have to look beyond the book, to where it’s going and how it’s going to get there. No matter which path you take, writing a novel is not a casual joy ride on a summer’s day. It’s long journey that deserves your best effort, preparation, and commitment.
Sue Ann Jaffarian is the author of three critically acclaimed mystery series: The Odelia Grey series, the Ghost of Granny Apples series, and the Madison Rose Vampire Mysteries. She also writes the Winnie Wilde erotic romance series under the pen name of Meg Chambers, as well as short stories. In addition to writing, Sue Ann is a full-time paralegal living in Los Angeles. Kirkus has said of Sue Ann, "Like Stuart Kaminsky, Jaffarian juggles her franchises deftly, giving each a unique voice and appeal." Visit her at www.sueannjaffarian.com, or on Twitter or Facebook.
Publishing: Plan Your Journey
by Sue Ann Jaffarian
It’s no secret that the publishing business has been in chaos for several years. Bigger publishers are merging, reducing staff, and facing restructures, while smaller publishers are cropping up like weeds and some disappearing just as fast. Authors are being cut or abandoned by publishers left and right and new authors are finding it tough to get a foot in the door. And then there’s self-publishing, which is a whole ‘nuther kettle of fish.
Frankly, I think it’s an exciting time to be an author. Never before have we had such a smorgasbord of choices for our work. On the flip side, never before have we had so many chances to screw up.
As Charles Dickens wrote at the beginning of A Tale of Two Cities, “It was the best of times, it was the worst of times… .”
Whether you are a newbie trying to get your first book published, or an author left high and dry after a few published books, or an author like me with many books under your belt and still under contract, you have to take the time to decide which path is best for your work. It used to be you wrote the book, found an agent, and the agent tried to sell it. Each step was a long and arduous process with no guarantee of success.But here’s the thing, whether you opt for traditional publishing or self-publishing, or a hybrid, it’s still a long and arduous process. There is no getting around that. A lot of authors, usually first timers, think that they can skirt a lot of the hard work and time by going self-published. Not so. If anything, it takes even more work to be a successful independent author, but if you are successful, you reap bigger royalties.
But don’t let the bright and shiny bigger royalties blind you. Not all authors should go the self-published route and most don’t make those big royalties, at least not out of the gate. For many authors, wearing all the hats doesn’t suit them or overwhelms them. They take shortcuts in editing, proofreading, cover art, and marketing that dooms them almost from the beginning.
Early on, decide what you want out of your writing. Not all publishing options fit all books or authors. Don’t be swayed one way or the other by the traditional vs. independent debate. Look at all of your options and make the best decision based on your goals, time, and skill set. I think a lot of authors give in to peer pressure in this area and end up unhappy.
If it is important to you to have a big name traditional publisher, then by all means pursue that by finding an agent and giving that route a shot. It may take a hundred rejections to find an agent, but if it’s important to you, do it. Don’t settle for your second or third choice without giving your first choice a fair chance.
A lot of the smaller publishers will consider un-agented manuscripts. If you are set on a traditional publisher but are frustrated in your search for an agent or getting rejected by the big name publishers, check out some of the smaller companies that are putting out great books. Ask your writer friends for suggestions or even referrals to their editors at these smaller publishing houses.
If you think you’re cut out for going independent, first talk to several indie authors who have done it successfully. LISTEN to them. Take notes. Copious notes. Don’t think you can build a better mousetrap when you’ve never been in the business before. These people are experts. I’m starting to publish more of my own work and, believe me, I’ve bent the ears of countless indie friends with questions on everything from covers to editing services to marketing. And be ready to spend money to do it right. Freelance editors and cover designers cost money. Slapping something together is career suicide.
And once you choose a path, remember, you can change your mind down the line. Maybe your first book will be with a small press. The second self-published. And maybe your third will catch the eye of a major publisher. You just never know, so don’t lock yourself in. My work is in all three venues and it works for me.
In the end, whether you decide to go traditional or independent, there’s no excuse for laziness. First you have to write the best book you can. Without that, the rest is a waste of time. Sending an agent or publisher a sloppy manuscript will get the door slammed in your face. Self-publishing such a manuscript may tank your career before you even have one. Once those doors are shut or readers turn away from you, it’s extremely difficult and often impossible to get a do-over.
Do it the right way, or don’t do it at all.
There’s so much more to being an author today besides writing a book. You have to look beyond the book, to where it’s going and how it’s going to get there. No matter which path you take, writing a novel is not a casual joy ride on a summer’s day. It’s long journey that deserves your best effort, preparation, and commitment.
Sue Ann Jaffarian is the author of three critically acclaimed mystery series: The Odelia Grey series, the Ghost of Granny Apples series, and the Madison Rose Vampire Mysteries. She also writes the Winnie Wilde erotic romance series under the pen name of Meg Chambers, as well as short stories. In addition to writing, Sue Ann is a full-time paralegal living in Los Angeles. Kirkus has said of Sue Ann, "Like Stuart Kaminsky, Jaffarian juggles her franchises deftly, giving each a unique voice and appeal." Visit her at www.sueannjaffarian.com, or on Twitter or Facebook.
Friday, October 30, 2015
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.
Thursday, October 29, 2015
Writing empathy
I'm a six-foot-one, straight, white male, who 30 pounds ago was a college athlete, and am a guy who usually votes Democrat. The character I write is a female, who is ultra fit, also straight, and is a moderate; and she'd vote for whoever offers the best border-security policy. We don't have much in common, other than we both notice the nuances and the situational ethics involved in the criminal justice system.
Because of these differences, some of the nicest compliments I receive are from readers who say, "I assumed you were a female," when they come to a signing. Or, "How do you write the dating scenes from Peyton's perspective?" If I don't have time to really elaborate, I have a go-to response, something I hope is funny: "I live with a wife, two teenage daughters, a first-grade daughter, and am the dorm parent to 55 other girls. Hell, even my dog is a female." Sometimes, this draws a chuckle.
Jokes aside, though, empathy is the #1 attribute a writer must possess. You need to be able to stand in another's shoes and walk the proverbial mile. Especially in our genre. Michael Connelly wrote in his brilliant essay "The Mystery of Mystery Writing": "When it comes to the mystery novel the writer must be inclined to write what he or she does not know and never wants to."
That can be a frightening thought. Writers in our genre step into many roles that challenge us and our beliefs. For two hours a day, I'm an actor, playing the part of a 35-year-old single mom. I enjoy the challenge. And, despite Connelly's statement, I want to know Peyton's worldview and political beliefs. Do I need to be like Peyton Cote to write her well? No. Do I need to understand her to write her well? By way of an answer, Aristotle said, The aim of art is to represent not the outward appearance of things, but their inward significance. I understand Peyton well enough.
At a time when empathy might be the most important skill one can possess, it's good that I learn a lot by thinking as Peyton would think. Our views on border and amnesty laws, for instance, certainly differ.
In the end, my moderate character teaches me a lot and challenges my views.
Because of these differences, some of the nicest compliments I receive are from readers who say, "I assumed you were a female," when they come to a signing. Or, "How do you write the dating scenes from Peyton's perspective?" If I don't have time to really elaborate, I have a go-to response, something I hope is funny: "I live with a wife, two teenage daughters, a first-grade daughter, and am the dorm parent to 55 other girls. Hell, even my dog is a female." Sometimes, this draws a chuckle.
Jokes aside, though, empathy is the #1 attribute a writer must possess. You need to be able to stand in another's shoes and walk the proverbial mile. Especially in our genre. Michael Connelly wrote in his brilliant essay "The Mystery of Mystery Writing": "When it comes to the mystery novel the writer must be inclined to write what he or she does not know and never wants to."
That can be a frightening thought. Writers in our genre step into many roles that challenge us and our beliefs. For two hours a day, I'm an actor, playing the part of a 35-year-old single mom. I enjoy the challenge. And, despite Connelly's statement, I want to know Peyton's worldview and political beliefs. Do I need to be like Peyton Cote to write her well? No. Do I need to understand her to write her well? By way of an answer, Aristotle said, The aim of art is to represent not the outward appearance of things, but their inward significance. I understand Peyton well enough.
At a time when empathy might be the most important skill one can possess, it's good that I learn a lot by thinking as Peyton would think. Our views on border and amnesty laws, for instance, certainly differ.
In the end, my moderate character teaches me a lot and challenges my views.
Wednesday, October 28, 2015
Go Team Cozy!
Last week I participated in a Cozy v. Noir Mystery Author Smackdown with other Sisters in Crime/Los Angeles and SoCalMWA members. Part of the North Hollywood Lit Crawl, the smackdown showcased the broad range of mysteries available to today’s reader. In the words of our referee/moderator/organizer, Stephen Buehler, the goal was to “get people to see that mysteries/crime dramas come in every form and they should be able to find one that suits them.”
Here are the two teams:
Team Noir: Sarah M. Chen, Craig Faustus Buck, Laurie Stevens, Gary Phillips, Travis Richardson
Team Cozy: Linda O. Johnston, Ellen Byron, Diane Vallere, me
Referee (in both photos): Stephen Buehler
Notice how Team Cozy is wearing more colorful clothes while Team Noir went for the darker shades.
We battled it out on the mat at XMA (Xtreme Martial Arts) World Headquarters. Five noir writers v. four cozy writers, going head-to-head, each reading passages from books, short stories or works in progress.
For purposes of this event, the definitions of cozy and noir were given to the audience as follows:
NOIR: Usually the protagonist is a regular guy (sometimes a criminal) who makes bad choices, then worse choices. Almost always it has a bad ending for the “hero”. Noir is dark, gritty, bleak, graphic. It’s usually more of a crime drama than a mystery.
COZY: The protagonist wins at the end, solves the crime. It is usually a lighter tone, sometimes with humor. Dead bodies are discovered not killed on screen. Many have cats or dogs. Usually the book/story takes place in a small town or community. The crime is solved or resolved at the end. They tend to be more “whodunits”. There are usually plenty of characters besides the hero.
The passages each of us read were fairly short, a few paragraphs, sometimes only a sentence or two. For each category (best noir/cozy scene, best death scene, best description of a character, best description of a location/room, best sex/romance scene) two of us battled head-to-head. After the two finished reading, the audience voted by applause on which one came closer to the given definition of noir or cozy. Our ref judged the applause level and kept track of the score. The cozy team was one author down but still managed to take the evening...barely. Yeah Team Cozy!
It’s great to have bragging rights, good for a lot of good-natured kidding in the future, but it was really just fun to hang out with my fellow authors and listen to all of the great and diverse writing in the mystery field.
I tried to select passages that went with the category, but that would also be fun for the audience to listen to. One of the noir writers came up to me afterward and commented that one of the ones I read had quite a noir bent to it, something that I’d briefly thought to myself at the time I selected it. Still, I’d characterize my novels overall as being pretty squarely in cozyland.
I don’t often read my work in public so I was surprised that I was only moderately nervous and, when the time actually came for the event, excited. I’ve talked on this blog about how I stutter so for me this was a great victory. I think the major reason for this was the passages I read were short and I wasn’t the only author participating so the focus wasn’t entirely on me.
I was originally going to read directly from my books, but decided to print the passages out on paper. This turned out to be a wise idea. I didn’t have to worry about flipping pages in a book while holding a microphone.
I’ll be reading from one of my books at the November meeting of Sisters in Crime/LA. All by myself. For five minutes. Now, I’m a little nervous about that. I feel privileged to be reading in front of the group. It’s a friendly and familiar environment, but I’m a lot more nervous about the meeting than last week’s event.
I have my selection ready. Like I did for the smackdown, I’ve been periodically recording myself reading to see where I need to slow down or speed up. I’m gradually imprinting in my brain the appropriate speed so, I hope when the time comes, I’ll read fast enough people won’t get too bored and slow enough they can actually understand what I’m saying.
Wish me luck and Go Team Cozy!
Here are the two teams:
Team Noir: Sarah M. Chen, Craig Faustus Buck, Laurie Stevens, Gary Phillips, Travis Richardson
Team Cozy: Linda O. Johnston, Ellen Byron, Diane Vallere, me
Referee (in both photos): Stephen Buehler
 |
| Team Noir |
 |
| Team Cozy |
Notice how Team Cozy is wearing more colorful clothes while Team Noir went for the darker shades.
We battled it out on the mat at XMA (Xtreme Martial Arts) World Headquarters. Five noir writers v. four cozy writers, going head-to-head, each reading passages from books, short stories or works in progress.
For purposes of this event, the definitions of cozy and noir were given to the audience as follows:
NOIR: Usually the protagonist is a regular guy (sometimes a criminal) who makes bad choices, then worse choices. Almost always it has a bad ending for the “hero”. Noir is dark, gritty, bleak, graphic. It’s usually more of a crime drama than a mystery.
COZY: The protagonist wins at the end, solves the crime. It is usually a lighter tone, sometimes with humor. Dead bodies are discovered not killed on screen. Many have cats or dogs. Usually the book/story takes place in a small town or community. The crime is solved or resolved at the end. They tend to be more “whodunits”. There are usually plenty of characters besides the hero.
The passages each of us read were fairly short, a few paragraphs, sometimes only a sentence or two. For each category (best noir/cozy scene, best death scene, best description of a character, best description of a location/room, best sex/romance scene) two of us battled head-to-head. After the two finished reading, the audience voted by applause on which one came closer to the given definition of noir or cozy. Our ref judged the applause level and kept track of the score. The cozy team was one author down but still managed to take the evening...barely. Yeah Team Cozy!
It’s great to have bragging rights, good for a lot of good-natured kidding in the future, but it was really just fun to hang out with my fellow authors and listen to all of the great and diverse writing in the mystery field.
I tried to select passages that went with the category, but that would also be fun for the audience to listen to. One of the noir writers came up to me afterward and commented that one of the ones I read had quite a noir bent to it, something that I’d briefly thought to myself at the time I selected it. Still, I’d characterize my novels overall as being pretty squarely in cozyland.
I don’t often read my work in public so I was surprised that I was only moderately nervous and, when the time actually came for the event, excited. I’ve talked on this blog about how I stutter so for me this was a great victory. I think the major reason for this was the passages I read were short and I wasn’t the only author participating so the focus wasn’t entirely on me.
I was originally going to read directly from my books, but decided to print the passages out on paper. This turned out to be a wise idea. I didn’t have to worry about flipping pages in a book while holding a microphone.
I’ll be reading from one of my books at the November meeting of Sisters in Crime/LA. All by myself. For five minutes. Now, I’m a little nervous about that. I feel privileged to be reading in front of the group. It’s a friendly and familiar environment, but I’m a lot more nervous about the meeting than last week’s event.
I have my selection ready. Like I did for the smackdown, I’ve been periodically recording myself reading to see where I need to slow down or speed up. I’m gradually imprinting in my brain the appropriate speed so, I hope when the time comes, I’ll read fast enough people won’t get too bored and slow enough they can actually understand what I’m saying.
Wish me luck and Go Team Cozy!
Tuesday, October 27, 2015
Nearing a MAJOR milestone!
by Rick Blechta
Sometime in the next week (possibly even today if a gazillion people show up to read this post), our little mystery writing blog, Type M for Murder will welcome its 500,000th visitor. I don’t know about you, but I think that’s pretty darned amazing. There aren’t too many writing blogs that last long enough or have a loyal following to allow it to reach that kind of number.
We first appeared on the Interweb in late June of 2006, so this milestone did not happen quickly. During our first few years our posts often didn’t attract many readers. For instance, my first post got 10. One early post had (has) only two readers! As time passed, though, word got out and our readership began increasing steadily. We now often have more than 10,000 pageviews a month and that never ceases to amaze me.
Why did Type M get to where it is? The first place to look is our bloggers. There have been a lot of them over the years. We started with five: Vicki Delany (who first set the page up after a bunch of us decided at a Bloody Words conference that a mystery blog would be a Good Thing to Try), me, Alex Brett, Michael Blair and the august Charles Benoit who, even though from the US, had Canadian forebears (how can you not with a name like that?). We had a lot of fun even if we didn’t have a lot of readers.
We decided that our blog needed more of an international flavor, so as bloggers departed, we cast our nets wider. Of our current members, Barbara showed up briefly in early 2007, then returned to stay permanently in August 2010. (Okay, she’s Canadian, but she’s also a damned good writer and blogger.) Donis first appeared in July 2007. In May 2009, John Corrigan arrived on our (virtual) doorstep and was heartily welcomed. Speaking of 2009, we also began inviting guest bloggers on the weekends and that brought us some really amazing posts over time. Frankie’s byline first appeared in February 2011, closely followed by Aline a month later, and Charlotte a month after that. Mario has been with us since March of 2012, then Vicki returned (Huzzah!) after a few year’s away. Our most recent arrival is Sybil who came on board in August of last year.
Other long-time members who should not be left off the list are Deborah Atkinson, Hannah Dennison, and Tom Curran. Peter May was here for a couple of years and we had someone named Pip early on for a few months (I don’t remember the details of that.) I’m sure I’ve forgotten someone along the way, and if it’s you, first, please accept my apology, and then, wave your hand so we can call out your name!
Next June 26th will be our 10th anniversary. Of the original members, only Vicki and I remain, but that’s not a bad thing. I’m sure I can speak for her, too, when I say that a lot of firm friendships have been made over the years. We’ve always had a great crew here at Type M.
But while all this back-patting has been going on, don’t think that you, our loyal readers, have been forgotten. Type M for Murder wouldn’t still be here if it weren’t for you, and for that you deserve a special salute and our heartfelt gratitude. And thanks for the great comments over the years. Keep ’em coming. They’ve given us some great discussions.
I wish there was some way to identify the person who keys typem4murder.blogspot.com for the half millionth time. Alas, it’s not possible. But to all of you who show up week after week to read our salient thoughts and deathless prose, thank you very much from the bottom of our hearts. We really appreciate it!
See you on the other side when we start on the quest for our 1,000,000th pageview!
We first appeared on the Interweb in late June of 2006, so this milestone did not happen quickly. During our first few years our posts often didn’t attract many readers. For instance, my first post got 10. One early post had (has) only two readers! As time passed, though, word got out and our readership began increasing steadily. We now often have more than 10,000 pageviews a month and that never ceases to amaze me.
Why did Type M get to where it is? The first place to look is our bloggers. There have been a lot of them over the years. We started with five: Vicki Delany (who first set the page up after a bunch of us decided at a Bloody Words conference that a mystery blog would be a Good Thing to Try), me, Alex Brett, Michael Blair and the august Charles Benoit who, even though from the US, had Canadian forebears (how can you not with a name like that?). We had a lot of fun even if we didn’t have a lot of readers.
We decided that our blog needed more of an international flavor, so as bloggers departed, we cast our nets wider. Of our current members, Barbara showed up briefly in early 2007, then returned to stay permanently in August 2010. (Okay, she’s Canadian, but she’s also a damned good writer and blogger.) Donis first appeared in July 2007. In May 2009, John Corrigan arrived on our (virtual) doorstep and was heartily welcomed. Speaking of 2009, we also began inviting guest bloggers on the weekends and that brought us some really amazing posts over time. Frankie’s byline first appeared in February 2011, closely followed by Aline a month later, and Charlotte a month after that. Mario has been with us since March of 2012, then Vicki returned (Huzzah!) after a few year’s away. Our most recent arrival is Sybil who came on board in August of last year.
Other long-time members who should not be left off the list are Deborah Atkinson, Hannah Dennison, and Tom Curran. Peter May was here for a couple of years and we had someone named Pip early on for a few months (I don’t remember the details of that.) I’m sure I’ve forgotten someone along the way, and if it’s you, first, please accept my apology, and then, wave your hand so we can call out your name!
Next June 26th will be our 10th anniversary. Of the original members, only Vicki and I remain, but that’s not a bad thing. I’m sure I can speak for her, too, when I say that a lot of firm friendships have been made over the years. We’ve always had a great crew here at Type M.
But while all this back-patting has been going on, don’t think that you, our loyal readers, have been forgotten. Type M for Murder wouldn’t still be here if it weren’t for you, and for that you deserve a special salute and our heartfelt gratitude. And thanks for the great comments over the years. Keep ’em coming. They’ve given us some great discussions.
I wish there was some way to identify the person who keys typem4murder.blogspot.com for the half millionth time. Alas, it’s not possible. But to all of you who show up week after week to read our salient thoughts and deathless prose, thank you very much from the bottom of our hearts. We really appreciate it!
See you on the other side when we start on the quest for our 1,000,000th pageview!
Monday, October 26, 2015
Life Writ Large In Christmas Town
By Vicki Delany
I have a new book coming out next week.
What, another new book! you say.
Yup. Another one. My fourth this year. What can I say? I write a lot.
The first in my new Year Round Christmas series comes out on November 3rd. The book is titled Rest Ye Murdered Gentlemen and it’s published by Berkley Prime Crime.
As you may be able to tell by the title of both the book and the series, it’s a Christmas book. Set in the town of Rudolph, New York, which calls itself America’s Christmas Town, the main character is one Merry Wilkinson, owner of Mrs. Claus’s Treasures, a shop on Jingle Bell Lane.
Sounds twee?
Sure it is. And it’s supposed to be. It’s nothing but fun, and what’s wrong with that?
I’ve come to realize that cozy mysteries are about real people living real lives (except for that pesky murder bit), although writ large. Everything is exaggerated. The nosy neighbour is nosier, the ditzy friend is ditzier, the mean girl is meaner. And the handsome man is, well, handsomer. Even better if there are two of them.
Instead of one Christmas-themed shop (and don’t those seem to be everywhere these days) we have an entire town of them.
After putting in my time writing police procedurals and psychological thrillers, I’m having a lot of fun writing cozies. Keep it light, keep it funny, and have a good time with it.
What could possibly go wrong?
So, pull up a comfortable arm chair, light a blaze in the fire place, switch on the lights in the tree, put on that Bony M’s Christmas album, pour yourself a mug of hot toddy, nibble on another piece of shortbread, watch the snow falling outside your window, and enjoy the adventures of Merry and her gang in “America’s Christmas Town” when a spate of disasters, including the murder of a journalist form an international travel magazine threatens to turn Rudolph into the Ghost of Christmas Towns Past.
I’ll be launching the book at Different Drummer bookstore in Burlington Ontario, on Tuesday Nov 3rd, 7:00 pm; I’ll be signing at Books and Company in Picton, Ontario on Saturday the 7th;and I’ll be the guest author at Coffee and Crime at Mystery Lovers bookstore in Oakmont, PA on Saturday Nov. 14 at 10:00. Then on Nov 17th, I’m joining with my good friend RJ Harlick for a joint launch in Ottawa. I’ll be talking more about that next time, and how you definitely should be able to tell a book by its cover.
I have a new book coming out next week.
What, another new book! you say.
Yup. Another one. My fourth this year. What can I say? I write a lot.
The first in my new Year Round Christmas series comes out on November 3rd. The book is titled Rest Ye Murdered Gentlemen and it’s published by Berkley Prime Crime.
As you may be able to tell by the title of both the book and the series, it’s a Christmas book. Set in the town of Rudolph, New York, which calls itself America’s Christmas Town, the main character is one Merry Wilkinson, owner of Mrs. Claus’s Treasures, a shop on Jingle Bell Lane.
 |
| The Perfect Christmas Town? |
Sounds twee?
Sure it is. And it’s supposed to be. It’s nothing but fun, and what’s wrong with that?
I’ve come to realize that cozy mysteries are about real people living real lives (except for that pesky murder bit), although writ large. Everything is exaggerated. The nosy neighbour is nosier, the ditzy friend is ditzier, the mean girl is meaner. And the handsome man is, well, handsomer. Even better if there are two of them.
Instead of one Christmas-themed shop (and don’t those seem to be everywhere these days) we have an entire town of them.
After putting in my time writing police procedurals and psychological thrillers, I’m having a lot of fun writing cozies. Keep it light, keep it funny, and have a good time with it.
What could possibly go wrong?
So, pull up a comfortable arm chair, light a blaze in the fire place, switch on the lights in the tree, put on that Bony M’s Christmas album, pour yourself a mug of hot toddy, nibble on another piece of shortbread, watch the snow falling outside your window, and enjoy the adventures of Merry and her gang in “America’s Christmas Town” when a spate of disasters, including the murder of a journalist form an international travel magazine threatens to turn Rudolph into the Ghost of Christmas Towns Past.
I’ll be launching the book at Different Drummer bookstore in Burlington Ontario, on Tuesday Nov 3rd, 7:00 pm; I’ll be signing at Books and Company in Picton, Ontario on Saturday the 7th;and I’ll be the guest author at Coffee and Crime at Mystery Lovers bookstore in Oakmont, PA on Saturday Nov. 14 at 10:00. Then on Nov 17th, I’m joining with my good friend RJ Harlick for a joint launch in Ottawa. I’ll be talking more about that next time, and how you definitely should be able to tell a book by its cover.
Saturday, October 24, 2015
New York, New York!
I'm on a seventies retro kick lately. Those times were the formative years of my adolescence and early adulthood, and I don't have fond memories; I wanted the era to be done with and we should move on already. The way we process ''the good ole days" means that people are now cycling through the 1970s using the rosy-tinted lenses of nostalgia. To help ground me with the past I've watched some movies from that decade, specifically The French Connection and Taxi Driver. I saw both when they were first released, and at the time, neither impressed me. Mostly because I was young and those stories challenged my notions of right-wrong as I had little regard for moral ambiguity. What further tainted my appreciation--as it were--of the 70s was that I visited New York City at its worst.
Fast-forward to today. Every modern depiction of the city shows it as a polished theme park for the well-to-do. There might be shots of grungy alleys and forbidding sewers, but that's to establish mood. Pan the camera away and we're back to an urban landscape catering to the affluent and hip. Everybody seems lives in a spacious pad decorated with designer appointments, with a sweeping view of course. (However, not all who've lived recently in the city share this opinion. The comedian Emo Philips says that whenever he misses New York, he simply fills his humidifier with urine.) What jumps at me from movies like The French Connection and especially Taxi Driver is the unremitting grime and seediness. Garbage piled the streets. In TD, Robert De Niro lived in a squalid apartment that today is probably a million-dollar condo. His surroundings were filthy, his kitchen cabinet was a battered milk crate nailed to the wall, clothes hung from extension cords strung about the place. Even fancy destinations in the city were gilded in plastic tawdriness. In today's New York, everyone aspires to a bite of the succulent big apple and its promise of opulence and fortune. In the 70s New York, the decay sank everyone to the same filthy level. Mostly you wanted to survive without getting too dirty.
Fast-forward to today. Every modern depiction of the city shows it as a polished theme park for the well-to-do. There might be shots of grungy alleys and forbidding sewers, but that's to establish mood. Pan the camera away and we're back to an urban landscape catering to the affluent and hip. Everybody seems lives in a spacious pad decorated with designer appointments, with a sweeping view of course. (However, not all who've lived recently in the city share this opinion. The comedian Emo Philips says that whenever he misses New York, he simply fills his humidifier with urine.) What jumps at me from movies like The French Connection and especially Taxi Driver is the unremitting grime and seediness. Garbage piled the streets. In TD, Robert De Niro lived in a squalid apartment that today is probably a million-dollar condo. His surroundings were filthy, his kitchen cabinet was a battered milk crate nailed to the wall, clothes hung from extension cords strung about the place. Even fancy destinations in the city were gilded in plastic tawdriness. In today's New York, everyone aspires to a bite of the succulent big apple and its promise of opulence and fortune. In the 70s New York, the decay sank everyone to the same filthy level. Mostly you wanted to survive without getting too dirty.
Friday, October 23, 2015
George By Any Other Name
Frankie here. The subject of naming characters has come up here on occasion. In fact, I probably bring it up more than anyone else. Well, I'm back there again -- resorting to everything from name generators on the Internet to staring at the names on the books on my bookshelves. A first name here, a last name there.
I've been struggling with this because I'm starting a new book. The only characters who have names that haven't changed in the past few days are my protagonist and the police chief. And I still don't know the police chief's last name. Well, I have managed to name a dog and a cat, but I looked at a lists of popular canine names to find one for the dog.
The problem is that I need to do a synopsis for my editor for this book. I would like to get it done before I'm a whole lot older. I have the basic plot. I've even managed to write chapter summaries. I won't be able to move any further until I have given my victim, killer, and suspects names. I certainly can't begin to write the book until my characters all have names. Placeholder names are dangerous because they can end up sticking.
However, I think I may have had a breakthrough as I was waking up this morning -- or rather between the time I turned over because the light outside was seeping around the blinds and the moment when my cat, Harry, decided it was time I got up and meowed outside the door. Luckily, this morning, he let me sleep in. That gave my brain long enough to process the thoughts that were drifting through it.
What occurred to me was that maybe I was going about naming my characters the wrong way. For example, I had an image in my head of one character and assigned a name based on that image. But this morning before I was completely awake I started playing with other names. Silly names. And one of them stuck and the character morphed into someone else. And suddenly I had a solution to how to handle that character's essential presence in the book.
Having solved that problem, I got up and began to think about "George". George is the name I gave to a character who I wanted the reader to think of as an average guy. But this morning, it occurred to me that each reader will bring his or her impressions of and experiences with "Georges" to the book. Maybe I'm thinking George Wendt, who played "Norm" on the TV sitcom "Cheers".
Maybe they're thinking George Washington. And then I thought of my own two grandfathters, both named George. I was too young to have known my paternal grandfather well and my maternal grandfather died before I was born. But they were both farmers, and I suspect not the kind of average guy the George in my book was intended to be.
What if instead I named this character Malcolm or Ross. How would my former George, who would be playing the same role in the book be different? Maybe instead of rejecting a name because it doesn't seem to fix my character, I should think about who my character might be if he had that name. How would George's life have been different if his parents had named him Donovan or Adam.
Yes, names conjure up images in our heads and we all associate certain names with certain personalities. We expect Brandi (with an "i") to be more likely to be a stripper than a lawyer. We might expect Cyrus to be a bit gruff or at least taciturn.
But what if the stripper were named Catherine? How would a Catherine have become a stripper?
I confess that I am thinking a bit about my own name here. Being a woman named "Frankie" has certainly give me a different view of the world than if my given name were Ann because I have to take into account that some people may anticipate a male person when they see my name. For example, the driver of the airport shuttle bus who was picking me up at my hotel a couple of weeks ago -- he was surprised when the male passenger he had anticipated turned out to be a woman -- which caught me off-guard because I was thinking about something else and had forgotten the driver might expect a man. I could always put a "Ms" in front of my name, but that's a real drag -- although it seems "Drew" one of "The Property Brothers" on HGTV, does have "Mr." in his email address.
But I digress. My point is that I've stumbled on this idea of picking interesting names and then thinking about who that character might be if he or she had that name. But I am naming-challenged. I discovered a few days ago that I had given the victim in my new book the same name as the victim in my last book. Two very different guys but I'm apparently fascinated by the name "Kevin" -- which would suggest that a name can send one in a number of different directions. Or maybe I was just desperate to find a name for my new victim and plucked the first one that occurred to me out of the air.
Thoughts? How do you go about finding names that suit your characters? Name first or personality first?
Thursday, October 22, 2015
Did I Forget Something? Or, Launching a New Book.
Donis here. I've been carrying on about the upcoming launch of my new book, All Men Fear Me, for months. I've mentioned before on this blog that in comparison to some, I am not a fast writer. I can manage a book every year or so, which is certainly faster than George R.R. Martin, but not nearly as fast as someone like Rhys Bowen or our own Vicki Delany. So it takes me six to eight months to finish the draft, another month or so for revisions and corrections. Then after the book is accepted it's another several months before it's published and released.
By that time I'm well into the next manuscript. By the time the new book is released, I've half-forgotten the details and have to spend a little time re-familiarizing myself with whichever book I'm going to be promoting. Otherwise I find myself telling the audiences at my events all about the fascinating details of the work in progress.
All Men Fear Me is due to be released by Poisoned Pen Press on November 3, so a couple of days ago I re-read the book, just to make sure I hadn't forgotten any important plot points. I must say that I enjoyed the story, and after I was finished I felt rather proud of myself for having written it. Of course one writes the kind stories that one likes in the first place, which doesn't mean they suit anyone else. But, hey, it's a good thing if you can at least please yourself.
The other problem with only having one release every year or so is that as the launch date approaches, I have to remember all the promotional necessities. I don't want to forget to send new release announcements to Sisters in Crime, or Women Writing the West, or Historical Mystery Writers, or Mystery Writers of America, or... who have I forgotten? How about the mailing list, both electronic and non-electronic? Events? Conferences? Blog tour? How much can I afford to travel this year? Where is the most effective place to put my limited resources? Oh, how I wish I could do a giant Jenny Milchman-like tour of the entire country.
One thing I did do was update my website with new book information, including the entire first two chapters for your reading pleasure.There is also an entirely new page of traditional Southern American recipes. So many readers have told me they enjoy the old-fashioned food and cooking lore and recipes that are included in each of the Alafair books that I decided to add the Recipe page to bring all the recipes together and to add a few that are not in the books. I'm beginning with just a couple of recipes, but I'll be adding a new one at least once a month, or as often as I can make the dish at home and take a picture of it for the site!
All I can do is the best I can do. And I think that nothing is more effective than writing the best book I can write and hoping it finds its audience. Till then, Dear Readers, if you're in Arizona over the next couple of months, check out my event schedule at www.doniscasey.com. Perhaps there will be an event happening near you. I'd love to see you and say hello.
By that time I'm well into the next manuscript. By the time the new book is released, I've half-forgotten the details and have to spend a little time re-familiarizing myself with whichever book I'm going to be promoting. Otherwise I find myself telling the audiences at my events all about the fascinating details of the work in progress.
All Men Fear Me is due to be released by Poisoned Pen Press on November 3, so a couple of days ago I re-read the book, just to make sure I hadn't forgotten any important plot points. I must say that I enjoyed the story, and after I was finished I felt rather proud of myself for having written it. Of course one writes the kind stories that one likes in the first place, which doesn't mean they suit anyone else. But, hey, it's a good thing if you can at least please yourself.The other problem with only having one release every year or so is that as the launch date approaches, I have to remember all the promotional necessities. I don't want to forget to send new release announcements to Sisters in Crime, or Women Writing the West, or Historical Mystery Writers, or Mystery Writers of America, or... who have I forgotten? How about the mailing list, both electronic and non-electronic? Events? Conferences? Blog tour? How much can I afford to travel this year? Where is the most effective place to put my limited resources? Oh, how I wish I could do a giant Jenny Milchman-like tour of the entire country.
One thing I did do was update my website with new book information, including the entire first two chapters for your reading pleasure.There is also an entirely new page of traditional Southern American recipes. So many readers have told me they enjoy the old-fashioned food and cooking lore and recipes that are included in each of the Alafair books that I decided to add the Recipe page to bring all the recipes together and to add a few that are not in the books. I'm beginning with just a couple of recipes, but I'll be adding a new one at least once a month, or as often as I can make the dish at home and take a picture of it for the site!
Wednesday, October 21, 2015
Politics and the Arts
Barbara here. In case you haven't noticed, we Canadians have been a little distracted of late. Moreover, that little alert on my Apple Calendar, which was supposed to warn me to write my Type M blog, didn't work, so once again my post is late. My apologies for that, and for this short, admittedly political post.
We've had a long national election campaign during which many issues were raised, some laudable and others vile, and many promises were made. For much of it, the three parties were running close to neck and neck, all of them firmly aiming their pitch and their promises to "hard-working middle class families". This despite the fact that seniors now outnumber kids, and more and more people live alone. The politicians argued a lot about the needs of small businesses and the manufacturing sector but one would be hard-pressed to find any mention of the arts, either in terms of the needs of artists to earn an income above the poverty line or the contribution of arts and culture to the financial health of the country (never mind its spiritual health). The general public's awareness of the needs of the arts community seems minimal. They likely see the mega-million dollars earned by the big Hollywood stars and don't realize that most actors, directors, and other performing artists struggle to pay the groceries, let alone the rent, without juggling half a dozen part-time jobs. People see the bookcases of Dan Brown and JK Rowling books stacked high in Chapters and don't realize that most authors are lucky to get four books buried in the back corners of Chapters and many get none at all. They don't realize authors don't get a penny from the purchase of a used book nor from a free (usually illegal) download site. As an aside, a "bestseller" in Canada means it sold 5000 books. Do the math. From a $20 book, at the standard 10% royalty rate, the author earns $2 a book. That bestseller, which very likely took more than a year to write, earns $10,000. The music industry has the same struggles. A few millionaires, and the rest barely fitting in to the lowest income bracket. The middle class is a distant dream for most of them without a second income source, an inheritance, or a well-earning spouse.
In Canada, there are a few government programs designed to bolster the income of artists, for which we are grateful. There is the Access Copyright fund, which repays artists for the use of their copyrighted material through photocopying and other free content sharing. This program pays a few hundred dollars, but even that is under threat by the latest government's legislation which allows free use of huge swaths of material without compensation to the writer. Secondly, there is the Public Lending Right fund, a wonderful program which samples libraries across the country and compensates authors for the presence of their books in libraries. This program has a cap, however, so that the income to any one author is less that $4000.
In addition, authors or hosting agencies such as libraries and festivals can apply for grants for readings, research, and travel, but competition is fierce for these, and only a lucky few receive anything. The reading fee is $250, and an author would be lucky to get more than a couple of these a year. All sources of government support are not likely to raise even the luckiest author's income much above $5000.
A lot was made in this past election of tax breaks and tax credits. Tax breaks for the middle class and small businesses, tax credits for children, for home renovations, for fitness classes and for special interest groups. The out-going government was so fond of tax breaks, credits, income splitting, and so on, that filing an income tax return at tax time almost required an advanced accountancy degree. None of them was of much use to self-employed artists and writers.
During this frenetic election campaign, the out-going government made few promises relating to culture, likely having correctly perceived that was not their base, and having given the impression over the years that artists and writers were part of the pampered cultural elite divorced from the "bread and butter" issues of the man on the street. Ironic, since bread and butter issues loom very large in the lives of most artists. The other two main parties made varying commitments to provide tax incentives and breaks, increase grants, and so on.
One proposal, touted by arts organizations and resurrected once again by at least one of the parties, is the idea of income-averaging for self-employed artists, which exists in Quebec and in the UK (and probably elsewhere). This may be of use to artists and authors who do well one year (hit play or record, best-selling book, etc.) after toiling in poverty both before their lucky year and afterwards. This seems like a sensible way to try to even out the feast or famine nature of an artist's income, which will fluctuate far more than most other small businesses. It takes years to write a book, and much of the income from that book will occur during its first year in print. If one is lucky enough to win a prize for it, the income may spike further, only to plunge again the next year.
Income-averaging seems a simple way to try to address some of the struggles the arts community faces in trying to generate a consistent, livable income. Do any readers have experience with it? What do you think?
We've had a long national election campaign during which many issues were raised, some laudable and others vile, and many promises were made. For much of it, the three parties were running close to neck and neck, all of them firmly aiming their pitch and their promises to "hard-working middle class families". This despite the fact that seniors now outnumber kids, and more and more people live alone. The politicians argued a lot about the needs of small businesses and the manufacturing sector but one would be hard-pressed to find any mention of the arts, either in terms of the needs of artists to earn an income above the poverty line or the contribution of arts and culture to the financial health of the country (never mind its spiritual health). The general public's awareness of the needs of the arts community seems minimal. They likely see the mega-million dollars earned by the big Hollywood stars and don't realize that most actors, directors, and other performing artists struggle to pay the groceries, let alone the rent, without juggling half a dozen part-time jobs. People see the bookcases of Dan Brown and JK Rowling books stacked high in Chapters and don't realize that most authors are lucky to get four books buried in the back corners of Chapters and many get none at all. They don't realize authors don't get a penny from the purchase of a used book nor from a free (usually illegal) download site. As an aside, a "bestseller" in Canada means it sold 5000 books. Do the math. From a $20 book, at the standard 10% royalty rate, the author earns $2 a book. That bestseller, which very likely took more than a year to write, earns $10,000. The music industry has the same struggles. A few millionaires, and the rest barely fitting in to the lowest income bracket. The middle class is a distant dream for most of them without a second income source, an inheritance, or a well-earning spouse.
In Canada, there are a few government programs designed to bolster the income of artists, for which we are grateful. There is the Access Copyright fund, which repays artists for the use of their copyrighted material through photocopying and other free content sharing. This program pays a few hundred dollars, but even that is under threat by the latest government's legislation which allows free use of huge swaths of material without compensation to the writer. Secondly, there is the Public Lending Right fund, a wonderful program which samples libraries across the country and compensates authors for the presence of their books in libraries. This program has a cap, however, so that the income to any one author is less that $4000.
In addition, authors or hosting agencies such as libraries and festivals can apply for grants for readings, research, and travel, but competition is fierce for these, and only a lucky few receive anything. The reading fee is $250, and an author would be lucky to get more than a couple of these a year. All sources of government support are not likely to raise even the luckiest author's income much above $5000.
A lot was made in this past election of tax breaks and tax credits. Tax breaks for the middle class and small businesses, tax credits for children, for home renovations, for fitness classes and for special interest groups. The out-going government was so fond of tax breaks, credits, income splitting, and so on, that filing an income tax return at tax time almost required an advanced accountancy degree. None of them was of much use to self-employed artists and writers.
During this frenetic election campaign, the out-going government made few promises relating to culture, likely having correctly perceived that was not their base, and having given the impression over the years that artists and writers were part of the pampered cultural elite divorced from the "bread and butter" issues of the man on the street. Ironic, since bread and butter issues loom very large in the lives of most artists. The other two main parties made varying commitments to provide tax incentives and breaks, increase grants, and so on.
One proposal, touted by arts organizations and resurrected once again by at least one of the parties, is the idea of income-averaging for self-employed artists, which exists in Quebec and in the UK (and probably elsewhere). This may be of use to artists and authors who do well one year (hit play or record, best-selling book, etc.) after toiling in poverty both before their lucky year and afterwards. This seems like a sensible way to try to even out the feast or famine nature of an artist's income, which will fluctuate far more than most other small businesses. It takes years to write a book, and much of the income from that book will occur during its first year in print. If one is lucky enough to win a prize for it, the income may spike further, only to plunge again the next year.
Income-averaging seems a simple way to try to address some of the struggles the arts community faces in trying to generate a consistent, livable income. Do any readers have experience with it? What do you think?
Tuesday, October 20, 2015
I am numb
We had a federal election yesterday here in Canada. I am completely rung out from the whole 78-day campaign and then watching the results. I also couldn't tear myself away from the punditry and images until nearly 2 a.m.
Needless to say, I can't think of a single thing to write this week.
Not only that, I don't have time. I'm about to leave for the Jays/Royals game in less than a half-hour.
Yikes!
I don't want to leave you all here with nothing, though, so I will include this and it covers both the Canadian Election and the Blue Jays playoff game -- in a very clever way. For those who don't know the names and faces, instead of hitting a baseball, Jose Bautista hits Canada's former PM, Stephen Harper out of the ball park.
See you all next week, when my brain will hopefully be working fine once again...
Needless to say, I can't think of a single thing to write this week.
Not only that, I don't have time. I'm about to leave for the Jays/Royals game in less than a half-hour.
Yikes!
I don't want to leave you all here with nothing, though, so I will include this and it covers both the Canadian Election and the Blue Jays playoff game -- in a very clever way. For those who don't know the names and faces, instead of hitting a baseball, Jose Bautista hits Canada's former PM, Stephen Harper out of the ball park.
Let's get him outta here!!
Posted by Paul Piche on Monday, October 19, 2015
See you all next week, when my brain will hopefully be working fine once again...
Monday, October 19, 2015
The Effects of Weather
We have just seen American friends off on a tour of the Highlands. It's always a nervous business when visitors to your country for the first time arrive, particularly when it's here in Scotland.
I want them to get a good impression but being Scots in this situation is a bit like being the mother of a difficult child who can be quite amazingly charming when it wants to but which may equally sulk, brood, or even throw a spectacular tantrum. I have studied the weather forecast for weeks with fingers crossed and muttering ancient Celtic spells for sunshine.
It worked. Today it is the absolutely perfect autumn (fall) day, sharp first thing with just the sort of hint of frost in the air so that it tingles as if you were inhaling champagne, and the sky is clear and eggshell blue. The leaves are showing orange and flame and red in windless sunshine and I know the lochs they pass with be mirror-smooth and making perfect reflections of the hills and dark pine forests round about.
We are promised the same for the rest of the week, when our guests will return by way of the west coast, which has scenery to rival the best in the world. Looking out to the Summer Isles, a string of tiny islands that on a calm sea look as if they are floating is, on a sunny day, almost unreal in its perfection.
Phew! Relief. Because, as every Scot knows, it can be quite different. Rain can come down in steady torrents, mist can obscure the majesty of the scenery for days on end; the first time I visited mountainous Skye, it could have been a flat plain for all the evidence I saw of anything above sea level.
And then there is the darkness. Already the nights are lengthening and until the winter solstice it's a journey into shorter and shorter days, less and less light. Perhaps it's no suprise that the novels written in the northern countries tend to have a very dark side – Tartan Noir, Nordic Noir.
I've just been reading one of Andrea Camilleri's brilliant Inspector Montalbano series where you feel you're basking in Sicilian sunshine. Perhaps it is our environment that makes up the sort of writers we are.
Still, it looks as if our American friends will go home wondering why on earth people moan about Scottish weather.
I want them to get a good impression but being Scots in this situation is a bit like being the mother of a difficult child who can be quite amazingly charming when it wants to but which may equally sulk, brood, or even throw a spectacular tantrum. I have studied the weather forecast for weeks with fingers crossed and muttering ancient Celtic spells for sunshine.
It worked. Today it is the absolutely perfect autumn (fall) day, sharp first thing with just the sort of hint of frost in the air so that it tingles as if you were inhaling champagne, and the sky is clear and eggshell blue. The leaves are showing orange and flame and red in windless sunshine and I know the lochs they pass with be mirror-smooth and making perfect reflections of the hills and dark pine forests round about.
We are promised the same for the rest of the week, when our guests will return by way of the west coast, which has scenery to rival the best in the world. Looking out to the Summer Isles, a string of tiny islands that on a calm sea look as if they are floating is, on a sunny day, almost unreal in its perfection.
Phew! Relief. Because, as every Scot knows, it can be quite different. Rain can come down in steady torrents, mist can obscure the majesty of the scenery for days on end; the first time I visited mountainous Skye, it could have been a flat plain for all the evidence I saw of anything above sea level.
And then there is the darkness. Already the nights are lengthening and until the winter solstice it's a journey into shorter and shorter days, less and less light. Perhaps it's no suprise that the novels written in the northern countries tend to have a very dark side – Tartan Noir, Nordic Noir.
I've just been reading one of Andrea Camilleri's brilliant Inspector Montalbano series where you feel you're basking in Sicilian sunshine. Perhaps it is our environment that makes up the sort of writers we are.
Still, it looks as if our American friends will go home wondering why on earth people moan about Scottish weather.
Saturday, October 17, 2015
Geese and Graves and Other Writerly Concerns
The husband and wife team of Mary Reed and Eric Mayer published several short John, Lord Chamberlain detections in mystery anthologies and in Ellery Queen Mystery Magazine prior to 1999's One For Sorrow, the first full-length novel about their protagonist. The eleventh in the series, Murder in Megara, will be published in October 2015. The Guardian Stones, set in rural Shropshire during World War Two and written as by Eric Reed, will appear in January 2016. Both novels are from Poisoned Pen Press.
When writing I occasionally find sudden doubts about possible anachronisms creep into the room on nasty little kitty feet. Almost always this distressing development relates to the content of informal conversations.
The OED and various slang dictionaries are, I do agree, most useful tools and furthermore available in the clock-round library the internet represents but, being a fool to myself, I feel more comfortable seeking confirmation that whatever the phrase in question might be has been used in novels contemporary to or before the era in which the work in progress is set. Perhaps it is because this method gives a better idea of the context than the necessarily telegraphic notes found in the works I mention? In any event, when such circumstances arise I hie myself off to the Gutenberg and Bartleby sites and run a search for the relevant phrase or word through them.
Let me give a working example from The Guardian Stones, our January 2016 title. Set during World War Two in rural Shropshire, a retired schoolteacher residing in the village recalls the description of one of those familiar sudden shivers we all get now and then as having been caused by a goose walking over the person's grave. Not having heard this particular saying before it was mentioned by my co-writer Eric (although I wot of the common variant "someone walked over my grave") I was not certain if it was known in the UK at the time. A quick shufti in my two go-to sites established it was indeed known before 1941, the year in which the book is set, and therefore appropriate to use for our purposes.
What I discovered was Rudyard Kipling refers to the grave-crossing goose in his rather nasty short story “At The Pit's Mouth” in his collection Under The Deodars (1888). A couple rendezvous in a Simla cemetery where, as Kipling puts it, they "enjoyed each other's society among the graves of men and women whom they had known and danced with aforetime." One day they see a grave being dug and the man remarks to his companion, a married woman whose husband is away, "I have got a chill down my back just as if a goose had walked over my grave."
Even better in terms of proposed inclusion in a mystery, I was particularly happy to see Agatha Christie used essentially the same phrase in The Mysterious Affair At Styles (1924). In her novel it crops up in a conversation when the daughter in law of the matriarch of the family residing in Styles mentions she had been told that, due to the medical profession's general ignorance of uncommon poisons, it was thought countless cases of poisonings had gone unsuspected. To which her mother in law declares the conversation "...makes me feel as if a goose were walking over my grave."
Needless to say in due course Poirot solves the titular affair and cooks the goose of...but no, I must not reveal anything further. Those who perchance have not read the novel can take a gander at it on the Bartleby site at http://www.bartleby.com/112/1.html.
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