Lazy, hazy days of summer

 I laughed when I read the last few posts by my blog mates, something I always do when I'm searching for a topic. After many years on this blog, I've written about almost everything, often multiple times. And right now I am facing the very issue being described by these recent blogs. Call it writer's block, procrastination, distraction, whatever. It's also stalling, because I have not one idea in my head, either for the blog or for a book. I am between writing projects. The final, FINAL page proofs of my Amanda Doucette novel are done, and everything is now in the publisher's court. ARCs are being prepared, along with catalogues, distribution and promotional material - all that stuff they do. My brain is on summer vacation. In the past, when I have no deadline or next project in the works, I write a fun short story that's been percolating. In the old days, there was always something percolating and no time to give it attention.

Not this time. All I have are vague ideas for the next books, and I won't do anything about those for now. 

I've been writing all my life. It's in my bones. As my colleagues have noted, unless you love writing or are driven to tell stories, you probably wouldn't be doing it. So I'm going to trust that this blank brain is just me taking a break and revelling in the freedom after years of deadlines, rather than some more permanent sign of mental vacuity. I expect that at some point, a story will pop up that I will have to write down. Will it take a month, or several months? Who knows, but I suspect all this freedom from creativity and the absence of fictional friends in my head will get boring.

Charlotte's idea about dusting off an old manuscript and trying to find it a home intrigued me briefly. Like most writers, I have two or three books that never found a home and eventually I got discouraged and put them in some forgotten basement drawer. Are they salvageable?. Do I like them well enough to haul them out and see what can be done with them? Once again inertia (stalling) interferes. I don't know exactly where they are stored electronically (a floppy disc, a memory stick, or a dead computer?) and whether I can even access them with my current software. They could be in WordPerfect. I don't know where the hard copy is either. And if they weren't good enough to land a publisher back then, why would they be now? I probably would have to make huge revisions. Do I want to commit that time, possibly all for nothing? Do I care enough?

You see where this endless mind meandering is going. Back to my lazy summer. Waiting for the muse to visit again, whispering something exciting in my ear.

How Long?

 by Charlotte Hinger

Wonder of all wonders. I'm very close to getting a historical novel published that I wrote in the '90s. This book is very dear to my heart, and I've never given up on it. I'm not saying anything about the publisher yet. Book deals can fall through at the very last minute. In fact, that happened a couple of years ago. I've learned never to really count on it until the contract is signed by both parties. 

Ironically, this historical novel "came close" to being published twice before. In the first instance, the editor moved to another house and his replacement didn't like it. The second time, the editor was severely injured in a car accident and by the time she had fully recovered, the press had abandoned publication of historical novels. 

When and if this is a done deal, with contract in hand, I'll say a lot more. 

My agent once emphasized the importance of building a body of work. When you finally connect, a publisher is often interested in other manuscripts.

Soldiering on is hard in the face of rejection. Especially for beginners who doubt their talent. The biggest determiner of whether or not one should continue writing is whether or not one likes the process. I really like to write most of the time. Unlike Frankie, I used to be a first draft junkie. Now, I like the rewriting and revision process.

 I have one more historical novel on the shelf and am positive it will find a home someday. 

My first novel required a tremendous amount of research. The other two historicals did too. All of my mysteries have a strong historical thingy that is causing murders in the present. I love concocting tangled plots. 

Getting the historical novel published (finally!) is a surprise. I'm distressed when people say "it's not what you know, it's who you know." That is seldom the case in publishing. Especially with the large New York houses. They want to make money. Sales potential is crucial. However, I'm convinced there is an element of luck involved. It's a matter of stumbling across the right editor at the right house at the right time. The sale of this book proves that. 

Getting published also requires an incredible amount of persistence. Plus guts. My friend Michael Gear once commented that often "those who have the talent don't have the courage, and those who have the courage don't have the talent." 

There's no question who will get published. It's the ones who submit their manuscripts!

Maintaining focus

 I read Frankie's post the other day and I can sympathise. Or is it empathise? I never do get that right!

Anyway, I know where she's coming from (from where she is coming? Good grief this writing lark is fraught with grammatical hurdles).

I am currently writing the second book in a new historical series, the first of which is hitting shelves this September, An Honourable Thief in hardback and ebook from Canelo. That's the word from our sponsor.

I'm not blocked, as such. Well, not any more than I usually am being a committed pantster, which means I can often sit down at the keyboard and wonder where on earth I am taking the story today. 

No, the problem is lack of focus. There is just so much going on, between the fourth Rebecca Connolly thriller coming out here in the UK (the third is hitting US stores in the Fall. Get me, using all the lingo), associated marketing and promotion, festivals, events, vacuuming, dusting and walking the dog. 

Oh, and I've met a wonderful woman so I'm kinda floating a few inches off the ground. Not the best frame of mind to be writing a dark and broody historical thriller but it does keep my feet away from those bits of the rug I miss while vacuuming in my usual cavalier fashion. 

If my publisher and/or agent are reading this, don't worry - I'm on schedule! Mind you, I would say that, wouldn't I? (I am, though.)

Ideally, I would like to take off somewhere isolated for a week or two but I've got so much on that's not possible. 

But here's the moral of this particular story - it will be done, because this writing lark is what I do. If I was a plumber I'd be tapping pipes. If I was an electrician I'd be rewiring. And if I was a carpenter, and you were a lady. 

Yes, we like to think of ourselves as artists (I actually don't) but it is also a profession and we have to be professional about it. The work has to be done and it will be done to the best of our ability. 

My intention is to have a complete working draft within the next two or three weeks, as they say it doesn't have to be good, it just has to be written. Once that's done I can revise. Like Frankie I much prefer that process. Pulling a story, dialogue, characters out of thin air (pantster, remember?) is not easy but once I have that rough lump dropped onto the screen I can hone it, smooth it, add, cut, rewrite, paste, put material in, take material out, in, out, shake it all about.

And then, as if by magic, I have a book.

As Dorothy Parker once said, I don't like writing, I like having written.

I look forward to that moment. I will savour that moment. Because in the very next moment I will realise I have another deadline looming for the sixth Rebecca.

What was it they said about no rest and the wicked?

Living with Writer's Block

 I've been trying for months to finish a 4,000-5,000 word essay for a special journal issue on Edgar Allan Poe and his impact on mystery writers. I have done my research.  But somehow every time I sit down to finish, something else comes up. Something I have to take care of right now. 

The essay is due. The co-editors are waiting for the draft so that they can provide feedback. I finally know what I want to say. I intend to finish today. But for some reason I decided -- after pausing to listen to a discussion about CDC's current recommendations -- that I should schedule my second Covid booster for this afternoon. Then I'm having dinner with a friend (because it would take time to cook and we need to catch up). After that I will come home and finish my essay and send it along. Tonight. . . or tomorrow morning.

Writng this essay should have taken no more than a day or two. But it has been like pushing a boulder up a mountain. 

I've had this experience occasionally in the past -- sometimes when I'm trying to start a book. It is hard to explain unless one believes there is such a thing as "writer's block." 

My own experience is that it is related to either uncertainty about what I am about to do and/or the direction that I intend to take. This is the difference between being a pantser or a plotter. Unlike the pantser, who can jump in and enjoy the process, I plod. In my moments of existential self-doubt when I begin a new project, I wonder if I can even do what I have said I will do. So, I am show I can write another Lizzie Stuart novel in a couple of months. But I have struggled to finish the Poe essay until I finally found the quote that brought it all together. 

In the case of the historical thriller I am trying to write, I can imagine what it will be. But I can't get there. I am so concerned with getting it right, that I can't get it down at all. I think I am on the verge of breaking out of my box, but maybe not.

At least with the essay, having editors who are waiting for me to stop holding them up has forced me to move on. As for the historical thriller. I have the first 50 pages for my agent and the synopsis in progress. I've got to finish this weekend and send it to him. 

The psychology of my "writer's block" requires that I be completely fed up with myself for not getting the work done. Then I need to either have a deadline or be able to apply my own pressure to finish the first draft. 

And -- this is the payoff -- once the draft is done, I am ready to revise. I love revisioning. That is the best part of writing. I have never had writer's block when I am revising. I wish I coulc say that about the first draft. 

Maybe a hot fudge sundae would help. 

Phrogging

 

by Sybil Johnson

Phishing I’ve heard of for years. Only recently did I run across the term phrogging. Being a curious sort, I looked it up.

phrogging – the act of secretly living in someone else’s home

Why don’t they use the term squatting, you say? There is a slight difference. Squatting is someone illegally occupying an uninhabited building. Phrogging is someone illegally living in an occupied building/property.

Apparently, the term comes from “frogs” who hop from lily pad to lily pad. A phrogger “hops around” from house to house. This differs from couch surfing where people you know allow you to sleep on your couch.

At first look, this sounds like an urban legend. But, apparently, there have been instances of it around the world. The singer George Michael had someone living under his floorboards! for four days in 2012. And in Japan a homeless woman was found living on the top shelf of a closet. She’d been there an entire year before she was detected. https://www.theguardian.com/world/2008/may/31/japan 

Attic, basements, crawlspaces, sheds in the backyard all could be places where an unauthorized person could live.

This came to my attention because Lifetime has a new series “Phrogging: Hider In My House” coming to their channel next week. Of course, I’ll check it out. Then there’s the 2019 film called “I See You”. Haven’t seen it, but now I think I should.

I admit this boggles my brain and scares me a little as well. I immediately looked around my house to figure out if there’s anyplace someone could live without us knowing it. Couldn’t find any. At least I don’t think so.

Of course, the mystery writer brain of mine started thinking about possible stories related to phrogging. So many possibilities, so many scenarios come to mind. I’ll let this percolate in the back of my brain. Someday I’ll wake up with the idea of the story I want to write.

If you want to creep yourself out watch this YouTube video: 

Have any of you read/written any stories about phrogging? Has this actually happened to anyone? (I’m hoping the answer is no to that last question!)

Now that I've creeped myself out enough, I need to go watch some cute cat videos. Suggestions welcome.

Old Useage

by Charlotte Hinger 

I've almost let this day slip by without posting. Truth is I've had such a frustrating experience with Amazon that I'm beside myself. Now that's an outdated usage if there ever was one. "Beside myself" I mean. I have plenty more old usages. 

The fact is, I would be much better off if I really were standing beside myself or otherwise completely detached from this problem. Or hovering over myself or psychologically in a pleasant place instead of being completely engaged with this apparently insoluble mind-wrecking situation. 

I will send a complete set of my Lottie Albright mysteries to anyone who can solve my problem. Here it is:

I have sold copies of my first historical novel, Come Spring, on Amazon Vendor Central for many years. Twelve, I think. The company sends an email when it has an order. The orders come from warehouses, not customers. Suddenly, I cannot log in to my account. There is no central support email for Vendor Central without logging in. 

But I can't log in. That's the point. When I try workarounds like changing my password, it changes the email to my customer account. Which I do not want to do. The hang-up may be in the two-step verification which also wants to address my customer account. I don't receive the code on my iPhone, nor will they call me. Which suggests that there is something wrong with the stored phone number. But there doesn't appear to be. Naturally since I can't log in, I can't check the validity of this information. Besides, it's been there for 12 years and worked just fine. 

All the emails sent from Amazon through customer support are boiler plate and address problems with a customer account, not a Vendor Central account. 

Solutions will be gratefully tried. Remember, this is a Vendor Central account, NOT a seller central account. 

Tiredly, 

Charlotte

Clearing Cases

 By Thomas Kies

While doing research for my new book, I came across some numbers that were troublesome.  So rather than keep them to myself, I’ll share them with you.

I have a theory that people love to read mysteries and thrillers because there’s a satisfying ending.  Justice is served, the bad guy is caught and punished.  I think we love that because in real life things don’t necessarily end up being tied up quite so neatly.

According to the FBI Uniform Crime Report data and data from the Murder Accountability Project, in the late 1960s and 1970s, police solved about seven out of every ten murders.  In 2020, they only cleared about half. 

That means fifty percent of all murders in the US went unsolved. According to a piece in the Washington Post, that’s 26,000 unsolved homicides over a ten-year period.

According to a CBS News Investigation, a review of FBI statistics says that the murder clearance rate has fallen to its lowest level in more than half a century. Police are far less likely to solve a murder when the victim is Black or Hispanic. In 2020, the murders of White victims were about 30% more likely to be solved than in cases with Hispanic victims, and about 50% more than when the victims were Black, the data show.  

Part of the problem, according to the CBS Investigation, is the breakdown in trust between communities and the police.  That makes it much more difficult to receive tips or help from witnesses.  

Another theory, according to the Marshall Project, a journalism non-profit organization, is that the methods to clear a crime…that is to identify and arrest a suspect…have changed over the years.  Some of the “methods” of clearing crimes in the sixties, sometimes using “tricks” or shoddy evidence, led to a great many innocent people arrested, convicted, and sentenced. 

Another theory is that more murders are gun related.  Killing by gunfire can mean a certain amount of physical distance as compared to a knife or an object with which to bludgeon someone to death with. There’s less chance of leaving crucial clues. 

But in the mystery novels you find in your local bookstore or library, the “clearance” rate is much higher, nearly 100% I’d guess.  Reading a novel about crime and not seeing it resolved in the end is deeply unsatisfying. 

So, as we write our stories, we interview witnesses who are willing to talk with our investigators.  They may or may not be reliable, but that’s all part of the fun, isn’t it? 

Or investigators gather clues and analyze them, looking for evidence that will lead them to the bad guys.

And in our books, sometimes the bad guys make mistakes. In the movie Body Heat, an arsonist is advising his attorney who has come to him for advice on how to commit a crime.  The arsonist says, “I want you to see if this sounds familiar: any time you try a decent crime, you got fifty ways you're gonna f--k up. If you think of twenty-five of them, then you're a genius... and you ain't no genius.”

By the way, here are a few more sobering numbers, just in case you're interested (these numbers are from 2018): 45.5% of all violent crimes were “cleared”.  

Only 33% of all rapes were solved.

Only 17. 6% of all property crimes were solved.

And just to be concise, “clearing” a crime doesn’t necessarily mean a conviction or even an arrest.  It can mean identifying the perpetrator who might already be in prison or dead. 

So, now that I’ve shared this, I’ll get back to writing.  I have a bad guy to catch.

Venturing into the World

 As I read what my blogmates have written over the past months about venturing out into the world, I feel like the woodchuck who lives under the storage hut in my backyard. He (or perhaps she) pokes a head out of its tunnel to have a look around before emerging out into in my pocket-size but lushly green backyard. There is a grapevine that has been impossible to kill and that every summer intrudes across the low fence into my neighbor's yard. Despite being ripped out by a tree trimming company last year, it is back again and now climbing into a young tree nearby. While looking innocent, that grapevine can kill the tree. But it and the wild flowers around it provide the woodchuck and the rabbit family that live in my backyard with a place they can quickly shelter when I come into the backyard with my dog, Fergus. 

Not understanding the concept of leashes, they don't know that even when Fergus dashes into the yard, I have a firm hold on him. No woodchuck will be pursued into its tunnel or rabbit, squirrel, or chipmunk harassed on my watch. The birds are capable of fending for themselves, but they would all probably be safe even if Fergus were running free. He is a lover not a predator. In all likelihood, he would be front paws down, butt up in the air as he barked at a baby rabbit and waited for it to play. 

But unlike Penelope, the Maine Coon cat, with whom he lives and who alternates between indifference, mild interest, flirting as she brushes by him, stopping to sniff, and meowing in distress as she sits beside the kitchen door waiting to be let down in the basement -- her "cat cave" where she sleeps inside an old work table left by the family who once owed the house or up in a space in the ceiling or behind paint cans or a box of Christmas decorations. She would be more convincing about her need for a place to escape to if Fergus didn't help her out by chasing her to the door and then sitting down beside her to wait for me to let her out -- sometimes barking or scratching on the door with his larger paw so that I will come and open the door for her. 

Penelope, a rescue cat, would love to run out the front door when it is open. She once did in the middle of the night when I took Fergus out. As I searched for her with flashlight in hand, wondering if she would come in on her own if I dared leave the front door open, she ran back up the steps leading down to the street and up the walk and the front steps and back into the house. Penelope had found that venturing out at night in the dark was more freedom than she wanted. But she still waits by the door when Fergus and I go out, and I have learned to close the door from living room into foyer before opening the front door. I am thinking of getting a collar with her name and my telephone number in case she should ever manage to dash by me or someone else and get herself lost before she realizes she is out in a neighborhood where dogs are being walked -- and that we live several cross streets up the hill from an avenue with four lanes where traffic is rushing by.

Although I share Penelope's desire to explore, I feel rather like the woodchuck peeping out from under the storage hut. I have been going out every morning to take Fergus to daycare. I've been doing that for months. I return to pick him up in the afternoon after trying to get some work done. I'm now going to supermarkets and to pick up food. I've even had dinner out with a friend three or four times. I've gone to a mystery conference. Sometimes I wear a mask, sometimes I don't. I find myself matching my behavior to that of others in some settings. It seems -- oddly enough -- almost an accusation to wear a mask when no one else is wearing one. I feel as if I am suggesting the other people might be careless enough to be there if they are ill. But that makes no sense. They could well be contagious without no raging symptoms. When I am going to be in a busy place with lots of other people, I opt for the mask. 

But now -- in September -- I have my first airplane trip since the pandemic began. I am planning to take an international flight from Newark, New Jersey to Dublin, Ireland. After three days in Dublin, I am going to get on a smaller plane and fly over to Torquay for the International Agatha Christie Festival. 

https://www.iacf-uk.org/festival-2022

I am excited about finally being able to accept an invitation to do a presentation at the festival. I'm also excited about going to Ireland for the first time and having the opportunity to do some field research that I can use when I begin writing my 7th Lizzie Stuart.  Book 4 is about to be reissued by Speaking Volumes with a new cover. See below:

I am plotting the 6th book after a lapse of years. It seems a lovely bit of serendipity to be going to Torquay for the festival. My first Lizzie novel, Death's Favorite Child, was set in Cornwall, written during and after a vacation in St. Ives with a friend. In my book, Lizzie and her travel writer best friend Tess Alvarez were staying at the same sort of private hotel. When the young housekeeper, niece of the two sisters who were the proprietors, was murdered, Lizzie had her first crime to solve. The plot and the characters and even the murder weapon were inspired by Dame Agatha.

That first book was the one in which Lizzie met John Quinn, American homicide detective, who was visiting his former partner who had retired to St. Ives with his Scottish wife. Now, two years later in series time, Lizzie and Quinn are engaged and due to be married in Book 7. I anticipate they will be sidetracked from their honeymoon in Paris by a matter involving Quinn's late father (career military) and his Irish roots.

So, I'm venturing out and crossing my fingers that some new variant of Covid won't upset my plans. Even though I purchased travel insurance in case I have to cancel, I'm feeling optimistic. I hope I'll be able to take that flight to Ireland. Although I'm coming back in coach, I'm treating myself on the way over. A chat with my travel agent and a discount sale convinced me that I should splurge on an upgraded seat on my direct flight to Dublin. I'll be able to stretch out in my own little sleep pod. With only three days in Dublin, I want to enjoy every moment -- just in case I come home with Covid and need to go back into my hole.

Barking Mad

 What a strange time we're living through. I read Charlotte's entry, below, with consternation. She finally takes the plunge and re-engages with the world and gets Covid. (Get well, Charlotte!) This is not what I wanted to hear. I'm still cocooning, as I have been over the past two years, and am about ready to bust out of this joint.

But cocooning or not, the craziness of things cannot be kept at bay. Back in May, my husband had a lithotripsy. It's a long story but suffice it to say he can't have normal a lithotripsy. They have to go up and grab the kidney stones with a little basket, or blast them with a laser. I'll leave you to imagine the procedure. The last procedure didn't manage to get all the stones. He has to go back in for another shortly – we hope. The problem is the doc put a stent in one of his ureters, which has been causing mild bleeding. Which has, after several weeks, made him slightly anemic. They don't want to remove the stent until he has the next procedure. But they don't want to do the procedure while he's anemic. But the stent is what is causing the anemia. It's enough to make you tear your hair out. There's more complication, but I won't bore you with all the many nits we've been picking lately. Sometimes I really get tired of being me.

It all reminds me of a fictional "public notice" I wrote for myself ten years ago, after a long period of an even worse medical Catch-22. I never published it anywhere, but I dug it out recently and think it's particularly apt for my current mood, so I shall share it with you Dear Readers at last.

"It is my sad duty to announce that Donis Casey has lost her mind. She was last seen this morning in Kiwanis Park, where she has apparently been living off of partially eaten hot dogs and half-empty potato chip packages, and the remains of picnic lunches left at the ramadas and in trash cans. Police were dispatched after people living around the park reported hearing what was described as a coyote wailing for several nights, but after launching a search, Ms. Casey was discovered squatting behind a cat-claw bush and howling at the moon.

What brought this on is a matter of intense speculation. Ms. Casey was considered by all who knew her to be a well-balanced and thoughtful woman. Psychiatrists theorize that she was unable to reconcile her own mythology with reality and could simply no longer tolerate being this creature she had invented called Donis Casey.

She believed the Roman assertion that fortune favors the bold, and spent her life trying at least not to be a coward. It took her more than half a century to realize that a mouse may try and act like a lion, but it’s still a mouse. No good the half-assed stabs at boldness that punctuated her life. She would have been better off to pick one--mouse or lion--and stick with it. Play it smart and safe or go for broke and hope for bold and lucky. Her downfall occurred when she aimed to be bold but kept tempering it with caution, for caution pulled her up short of the goal every time.

She seems to have considered various alternatives to insanity, such as drugs or alcohol, or creating a false identity and running away to India, but in the end she found it more expedient to go barking mad and be done with it.

It remains to be seen if Ms. Casey can be saved. If not, she will be missed. However, Ms. Casey would like to assure her friends and family that she will not miss herself in the least. 

In the meantime, the family thanks you for your concern." 

The Downside

 Last Wednesday I received an email from Candy Moulton, the executive secretary of Western Writers of Ameria. She said a number of convention attendees were testing positive for Covid. I took a home test immediately and was positive. I immediately ran out and got a PCR test. Yes, I definitely had Covid. 

Boy, you talk about a downside to a convention! I have eluded this bug for two years and then blew it in a very short time. Luckily, my internist ordered an infusion of monoclonal antibodies. I live in Fort Collins and it was over an hour's drive to the infusion center in Broomfield. No one could drive me. I had to do it myself because of the risk of infecting someone else. There simply aren't that many Covid infusion centers available. I was able to make this drive. Good thing, because I felt worse the day after. I don't know if the disease was worse, or the infusion caused more symptoms. 

I've had a low-grade fever and have not wanted to get off the sofa. It could be a lot worse and probably would have been if it weren't for the infusion. 

What a messed up time we are in right now. At WWA I heard multiple complaints about air travel. There were cancelled flights, missing luggage, delayed luggage, and missed connections for this or that reason. 

Our hotel was chronically understaffed. But that is another story altogether. 

My short story "The Book Mama" is a finalist for the Will Rogers Medallion for short fiction. The ceremony is the last of October in Fort Worth. It's a really long drive. Plane tickets are quite reasonable. 

But if I book a flight, will I miss it altogether? Shall I take the risk? Will the airlines get sorted out by then? 

Last night there was a segment on PBS that offered a partial explanation for the royal mess at airports. Apparently when Covid first hit, the airlines laid off a lot of pilots because so many people stopped flying. Also, a number voluntarily took early retirement passengers. Now there aren't enough available and airlines overbook. It isn't working. But alas, training pilots takes a while. 

The last thing I want airlines to do is shortchange pilot training. 

I'll live with the uncertainty. 

Everyone's a critic

 I have a new book coming out here in the UK this week.

Actually, such is the way with retail now, it's already in some stores, although anyone who pre-ordered on that big river place will have to wait until the official publication day, which is Thursday. Sorry, folks - I have no control over such things so don't write in!

(Not yet available in the states. Again, sorry!)

Which brings me to the main thrust of today's chat, and it follows on from the posts by Charlotte and Barbara last week.

To wit, reviews and the multifarious avenues in which readers can either praise you or gut you with a few well-chosen words.

I am often asked for advice for any young writers out there, which is a bit of an insult because I am still young myself. Hey, don't laugh - it could be true in some parallel universe.

I always say this: Never let good reviews go to your head or bad ones get into your head.

My very first review was in a Scottish daily and it was an absolute stinker. It was for my first non-fiction title and the reviewer really did not pull his punches. I was illiterate. I couldn't relate a story. I was even compared to Uriah Heep for some reason. 

I have never said I was humble in my life.

It was so bad my publisher contacted me before I saw it to assure me that the reviewer was being unnecessarily unkind. He was also an academic who had once talked about the golden age of murder. Not the fictional kind. The real-life kind. In my introduction to the book I had dismissed any such notion, pointing out that real-life murder is ugly, nasty and unpleasant. He may have taken exception to that.

Anyway, I've had many reviews since, most of them positive and for that I'm thankful.

Not everyone has enjoyed my writing and that is to be expected. All criticism, whether by a professional or a reader, is subjective and it is impossible to please everyone.

However, as has been pointed out, some people go out of their way to be cruel and will tag authors into bad reviews, thus ensuring they are seen. I'm not sure that's ever happened to me but it's jolly bad form, chaps.

Constructive criticism is fine. The books we write have to please us first but that doesn't mean they are perfect, even though they have been written, rewritten, edited, proofread, edited again, proofread again and then sent out into the wild with a cry of "fly, my pretties" by author and publisher alike. I'll always listen, or read, to such comments that but it doesn't mean I have to agree with them. Readers are entitled to their opinions - and so am I!

Of course, unbridled praise is also very welcome.

I may not let it go to my head but I admit I do bask in it for a little while.

Finally - Happy fourth of July!

Click on the link for a special card.

http://jlcards.com/oh5Om0

More danger

I’m officially a Midwesterner, moved in and (somewhat) unpacked in Orchard Lake, Michigan. I’ve dragged my writing chair to the corner of an office, near the window, where I can sit at 4 a.m. and write until dawn when sunlights drifts in and tells me to start my work day.

I’m whittling my way through a rewrite of a novel I sent to my agents, Julia Lord and Ginger Curwen at Julia Lord Literary, a couple months back. The book is what I hope will be the first in a new series set at a boarding school, a setting I left only a couple weeks ago, after living and working in that world for nearly two decades.

The feedback I got from Julia was simple: the middle dragged a little. “More danger,” she said. I don’t disagree (Stephen King, in “On Writing,” says, after all, “The editor is always right.”), but I’m into the revision and one promised cut –– a twenty-page section in which our protagonist drives out of state to locate the book’s other major player –– I’m not going to make. As I'm re-reading, I'm finding that too many clues are there to fully eliminate the section. I will, however, tweak to add “danger.”

As I'm working, I'm realizing the importance of nuance and that narrative tension can be controlled by subtle language moves.

I’m not changing the plot as much as I am adding and cutting words and lines, changes that punch up the risk and the consequences of a bad decision. In the book a man flees campus, his girlfriend is threatened with physical harm and that threat comes to partial fruition, and the narrator’s son goes missing. Questions that (hopefully) engage the reader and create narrative tension: Is the son with the fleeing man? Was the son taken? And who is behind it all (chasing the man off campus, the vanished boy, and the injured girlfriend)? These questions drive the book, and keeping them at the forefront of whatever decisions I make is important.

All of which has me refining the book's "danger" and even redefining the word. The physical need not take place if the threat of it exists. It's like the music in the horror movie. Toni Morrison said you can’t use fiery language to describe fire. I’m trying to create narrative tension with light brush strokes.

Here’s an example:


ORIGINAL

He heard something in my voice and sat up.

“Where was this picture taken?” I asked.

He held Liam’s laptop, squinting. “I don’t know.”

“You don’t recognize that room?”

He shook his head. “That’s Liam,” he said, “and that’s Taylor. Who’s the third person?”

“They aren’t looking at the camera,” I said, “but look at the picture in the background.”

“It’s Amy and Maggie.”

Given the photo, the person not facing the camera had to be Amy Boyd –– same hair, slight build.


REVISED

He heard something in my voice and sat up.

“Look at this picture,” I said.

He held Liam’s laptop, squinting.

“Recognize that room?”

He shook his head.

“You’ve never been there?”

“I don’t think so,” he said.

"I need you to look hard. Think."

“Dad, you’re freaking me out. I don't recognize the room. Is that where Liam is?”

I ignored the question and pointed. “That’s Liam. That’s Taylor. Who’s the third person?”

“They aren’t looking at the camera.”

“Look at the picture in the background.”

“It’s Amy and Maggie,” he said.

The person not facing the camera had to be Amy Boyd –– same hair, slight build. The location was on the file: Brunswick, Maine. It had to be Amy’s dorm room at Bowdoin College.

*

Aside from revision suggestions, during the call, Julia also shared some news: an agent at ICM, representing Pulitzer Prize and Tony Award-winning playwright Bruce Norris and his screenwriter partner Caroline Wood, reached out to Julia to say the tandem likes my single mom/Border Patrol agent Peyton Cote and waned to talk to me about a “shopping agreement.” I spoke to Bruce and Caroline last week, asking about their vision for what a TV series might look like. It’s exciting because it’s different from one other foray into this discussion I've had. That time, the people who approached me hadn't actually read the series and wanted to move the character from her French-Canadian roots (the books are set in Aroostook County, Maine) to Arizona or Texas. Bruce, Caroline, and I will write a pilot and a pitch for what would be a one-hour-per-episode TV series based on the first book in that series, “Bitter Crossing" (which Caroline has read eight times). If it gets off the ground -- a big "if," of course -- my role will be as “consulting producer,” something I came up with, given I start at new (very) full-time job July 1.

Where does any of this go? Who knows? You and I both know many calls are made, but few shows actually are.

100!

 

by Sybil Johnson

This is a short post today. It’s been a busy couple weeks for me. I finished a short story and submitted it to an anthology. I also finished the book I’ve been working on for way too long, Brush Up On Murder, the sixth in my Aurora Anderson mystery series. I don’t have a publisher for it at the moment. I quite likely will self-pub this one. I’ll decide all that in July. 

For now I’m taking a break to help my mother celebrate her 100th birthday! Yes, that’s right, 100.

This is the card the husband found at CVS. I was impressed that one existed. Can’t be much call for them. He actually bought two cards since we know someone else who is turning 100 in July.

 

It amazes me how much the world has changed in the last 100 years. Heck, it’s changed a lot in the last 30 years or 10 or... My mother weathered the Great Depression, World War II, both of which directly affected her. She had brothers who served in WWII. All of them came back and lived for a long time after. Then there are all of the other wars that have happened and the birth of computers and...

I wonder what the world be like 100 years from now. Will there finally be flying cars like The Jetsons promised? (That was the year 2062, btw. Still got time.) Okay, we sort of have that now. Los Angeles is starting an air taxi service. Not sure how that’s going to work out, but we’ll see. Apparently there are other cities who already have this. Don’t know which ones.

For now, I’m going to enjoy the moment.

WWA Conference

 by Charlotte Hinger

The annual Western Writers of America convention will always be my favorite event. It was due to connections made at this conference that I sold my first book. Ironically, I had been warned away by an official in another writers' organization. He said "it's not for the likes of you. This is a business conference with a lot of New York editors in attendance." 

I decided that's where I wanted to go. Because real editors went. And because it was a business conference

The conference is held in a different locale every year. This year it was in Great Falls, Montana and next year will be in Rapid City, South Dakota. The group is intensely interested in history and the settlement of the West. Learning about different regions and tours is an important feature of the meetings. 

Our attendance was down this year. We are still feeling the effects of the Covid scare. The event was cancelled in 2020.

I wouldn't have missed for anything because my best friend in the writing community is and always will be Irene Bennett Brown, and she received the Wister Award for lifetime achievement. She began with award-winning children's books, then later moved on to novels for adults, and at the age of 90 (this year) Irene signed a new two-book contract. She and her husband, Robert, recently celebrated their 70th wedding anniversary and were married at 19. 

Angela Bates, my friend from Nicodemus, and I drove. Even though it was a 12 hour drive we clipped right along. We got up at 5:00 am and arrived in Great Falls at 5:00 pm.

One of the highlights of WWA is the Roundup Room. Every evening, after sensible members head off to bed, there are a group of musicians who keep us entertained. I always stay until the last dog is hung. I could listen to W.C. Jameson all night. 

Our panels are terrific. One of my favorites involved a spirited discussion about cultural appropriation, censorship, and book burning. As historians, we struggle with over-zealous editors who worry about offending readers. Bad things have always happened and we feel duty-bound to write about them. David Heska Wanbli Weiden, a Lakota Sioux, has won the Spur award for his novel, Winter Count, and this year for "Skin" a short story. 

Next year's convention is at Rapid City, South Dakota. You bet your life I'll be there. Boots and hat and all.

Murder Mystery Dinner

 

By Thomas Kies

Fair warning that this blog will be short.  One of the reasons is that it’s summertime here on the North Carolina coast and it’s too damned nice to be sitting for long in my office behind the screen of my laptop.

The other reason is that when I am in my office (which I do more often than I should) I’m working on a couple of projects including a new one for me.  I’m working on the script for a murder mystery dinner to take place early in September and hosted by our local college's culinary school. 

The characters for the mystery are all recurring from my Geneva Chase mysteries.  Seeing them come to life should be interesting.  We’re going to be holding auditions tonight and the director told me that the interest level is high.

She then went on to tell me that now the word has gotten out, people are asking how they can buy a table. 

When I write a book, there’s a certain amount of internal pressure involved.  I want to write something engaging and tell an interesting story. I want to write something that people want to read and once they have, they’ll say that it was worthwhile.

While writing this script, I’m feeling a familiar pressure, but in a different way.  When someone reads my books, I can’t see them.  Any reaction I get comes later.

There’s an old saying that goes when you write a book it’s like telling a joke and waiting a year or two to see if anyone laughs.

The murder mystery dinner is a different animal.  I’ll see right then and there the audience reaction.

That’s terrifying.

What if they hate it?  Or worse yet, what if they’re bored?

The working title for my mystery dinner is Death of an Author.  I hope that’s not prescient.

I’ve written a script mostly for laughs.  But now that I’ve sent it to the director, I’m thinking that perhaps I should have included more pathos.  But when you’re at a table with friends eating chicken cordon bleu, do you want a lot of soul searching?

This whole thing is a fundraiser for the Carteret Community Theater.  Their building was nearly destroyed during Hurricane Florence and they’re raising money to put it all back together again.  As I said, tonight the theater is doing auditions where they’ll be reading lines from the script.

This whole thing is making me almost as nervous as when I’m waiting for the national reviews for an upcoming book.  Point of information, this dinner was to be the launch of my newest book, WHISPER ROOM.  But the release date is August 2^nd and the dinner is scheduled for a month later.

So, I may be doing a launch/book signing before the theater puts on its show.  But, hey, we can sell dinner tickets while I’m selling books. Can't we?  This show business thing is all new to me. 

 

 

 

 

The Art of the Blurb

 Once you've been published and have achieved even a modest amount of fame, you'll be asked by another writer to provide a blurb. Sometimes the request might be uncomfortable because it comes from a writer whose work you aren't familiar with, or by a writer you don't think much of. In that latter case, a good excuse is to claim that you're too busy... a brush-off I've heard more than once. 

There's an art to writing a blurb. The premise for a blurb is to generate interest in the book by leveraging the technique sales people call a third-party endorsement. It needs to deliver the theme or ethos of the story, be punchy, memorable, part logline and part advertising jingle. Less is more. A blurb by a famous author or celebrity could certainly juice sales. In that regard, I'm bemused other writers think that a blurb by me would get a prospective reader to buy their book. Still, I'm honored that anyone would think enough of me to ask for a blurb and I take each chance as an opportunity to excel.

Here are some of my favorites:

"Supernatural intrigue and criminal mayhem that ricochets from double-cross to double-cross." Paradox by Jeanne Stein

"A twisted, kinetic escapade through darkness and danger." The Legend of Carl Draco, by Gary Reilly

"Humane and brutal but never false...an illuminating critique of American history and myth." Mad Boy by Nick Arvin

"A labyrinth of misdirection and treachery." Angels in the Winds: A Mile High Noir by Manuel Ramos.

You've hit the mark when your blurb gets picked for the book's cover as what happened with these two:

"A quirky and thoughtful reflection on what it means to be human." Fated, by S.G. Brown 

"Raw. Visceral. Compelling. As unforgettable as a stabbing." Ex-KOP by Warren Hammond

And the latest, which I'm especially proud of:

A Love Affair With Writing

 A lot has been happening in my daily life, as usual, and it's been hard to find adequate time to write. Especially considering the fact that I'm trying to write two novels at once. 

When my first mystery novel, The Old Buzzard Had It Coming, was published by Poisoned Pen Press in 2005, I was hardly a neophyte author. I had been writing professionally for untold years, and though I had never had any fiction published before, I expected that being a novelist was not going to hold any surprises for me.

My twelfth novel, Valentino Will Die, came out last year, and after twelve books I’m here to tell you that I was wrong. Oh, I held no illusions about the romance of the authorly life. I knew it was going to be hard, and it is. I knew there would be days when you sit and stare at the screen, unable to type a single word that isn’t crap and you know that you’ll never be able to write again.

I knew that it was going to be wonderful, that there would be days that deathless prose flows so effortlessly that it makes you believe in God and divine inspiration. 

I knew you had to have a hide like a rhinoceros and never take your reviews to heart, good or bad. I was perfectly aware that you have to know your craft. You have to practice, practice, practice, like a concert violinist, because it doesn’t matter if you have the skill of your art like Leonardo DaVinci and the genius in your field of Albert Einstein, if you don’t actually sit yourself down and put words to paper with ruthless determination, you ain’t a writer.

I was well aware that, unless the planets aligned and the gods conspired, I was not going to be able to support myself on royalty payments. Thus far, the planets have not aligned nor have the gods conspired.

I knew that you must never give up, even when you wonder why on earth you’re putting yourself through this for so little reward. I even knew how brave you have to be, to persevere, to trust the process, to write what you know you should write without wondering if it’s going to sell. (And believe me, that takes more courage than I sometimes have.)

I even knew that it was going to take over my life.

What I didn’t fully realize is how much writing is like being in love. You do things for it that you never thought you’d do. You long for it when something keeps you from it, and yet you resent how it takes over your life. You break your heart for it. You can’t give it up.

But when it loves you back, there’s nothing like it.

More on reviews

 Charlotte's post yesterday on writing reviews caught my attention. I loved her thoughtful, sensitive, but honest approach. In a world where independent professional reviewers are becoming scarcer than hen's teeth, online, "ordinary man" reviews are becoming not only the norm but the main guide to decision making. This goes for almost everything we buy nowadays. It seems before I buy anything, whether it's a vacuum, a patio umbrella stand, or a new car, I read the reviews. These reviews, taken as a whole, are enormously helpful. If half a dozen ordinary Janes tells me the patio stand crumbled within a week, or the vacuum can't handle pet fur, I give the product a pass. Those are objective, observable faults that can be easily recognized by everyone.

Books are a different story. Judging a book is subjective. Not only do people have different preferences and tastes, but different standards. Rarely is a book universally bad, but almost all will be considered bad by some readers. It's extremely difficult to remove your own preferences from your evaluation of a book. I don't read romance or fantasy and know nothing about either genre. Most likely, I would apply my standards for literary or mystery novels, both of which I do read, and my review would not only be worthless but potentially damaging not only to the book's sales but to the author. As an author, I know how much it hurts to get a negative review, particularly one that is ill-informed or mean. As Charlotte says, writing is hard. It can take more than a year, and a lot of heart and sweat, to write a book, and no matter how it turns out, it is very personal to the author. 

Because of this, I almost never write reviews. The writing community is small and close-knit. I have a lot of author friends, and although I know how important reviews are to our sales and rankings, and thus to our chances of getting our next publishing contract, but I value my friendships more. I can't give Author X a five-star rating and Author Y a three-star rating, leaving that author wondering why I was so stingy. For the same reason, I can't review Author X and not Author Y, leaving self-doubts and questions in Author Y's mind. 

A similar problem arising with cover blurbs, which we authors get asked to write frequently. Some authors refuse all requests, others accept all, and many of us pick and choose. I do the latter, but always with trepidation and the explicit caveat that I will read the book before deciding. If it's a friend or a connection of some kind (same publisher, met you at a book event), I will probably agree to read it. If the book seems to fit my style or preferences, I am also more likely to agree to read it. I will not accept a book by someone I've never heard of who writes books entirely different from mine unless the author or publisher makes a very good case.

I say trepidation because what if I hate it? What if the writing is appalling? We authors put our name and reputations on the line when we endorse a book, and I won't be misleading, even for a friend. But it's extremely difficult to find a gentle way to refuse once I have read the book. Fortunately so far, I have been lucky. Sometimes I have loved the book and had no trouble saying so in the blurb, and at other times, I have managed to find positive things to say even when the book wasn't to my taste. But I dread the day when I encounter a book that I can't endorse at all. I will have to think up some convoluted excuse such as "I'm sorry, I realize I have no time after all..." or "Once I started to read your manuscript, I realized it's not my strong suit...".

Writing a good review or a blurb takes time and careful thought. Any less, and 

Reviews and Mean People

by Charlotte Hinger

I don't give nasty reviews. But I don't lie either. This philosophy puts me in some rather delicate situations.

First of all, I'm deeply aware that it's much easier to find what's wrong with a book than what is good about it. In fact, looking for what's right instead of what's wrong is not a bad approach for assessing human beings. When it comes to evaluating a book, I always keep in mind that writing a book is hard. Even if the book stinks, it's hard.

Commenting on a book I love is easy. Descriptive words come easily. It's a joy to urge readers to run down to their local bookstore and add the title to their collection. If I'm really crazy about it, I'll foist it off on all my friends. "You gotta read this. Just gotta."

Next down the list are books that I don't really like but recognize their merit. These are mysteriously painful reads that I simply don't care for. I simply soldier on and do my best to expand on themes and or point out some special strength.

Next are books that are competent, but mediocre. The plotting is predictable, the characters trite, and the writing lazy. I simply come up with a completely objective plot summary, with no praise whatsoever. It goes something like this: "John Doe's historical novel, Blue Against the Grey, is set during the Civil War. Doe follows the story of two families caught up in the Late Rebellion." I don't recommend these books, but don't make negative comments either.

And then there are the books I simply refuse to read beyond the first five pages. When that happens, I turn them back to the editor with the comment that I don't feel like I could do a good job reviewing this book. Find someone else!

An author I met at Bouchercon one year told me about a situation she was in and asked my advice in handling it. Although it had never happened to me, I knew what I would do. A lady who was very aggressive asked her to review an ebook and post the comments on-line. Blatant Self Promotion was the lady's middle name. She was shameless in pursuing people to offer their opinions.

My new friend finally agreed to give her a review. She herself wrote hardcore ebooks, but when she reached the lady's second page, she knew it was the most depraved book she had ever read. What should she do? She loathed the book, but the lady was quite influential. She knew a lot a people.

I told her to nevertheless to refuse to have anything to do with the book. Refuse immediately and firmly. Use polite wording if you can in this kind of situation.  Something like "Your writing is completely different than mine. A recommendation from me wouldn't help your book. Find someone who supports your genre."

In fact, not only would I ditch the book, I would ditch the person. There's something blackmailish about someone throbbing with a veiled threat of "Give me a good review or I'll ruin your career."

Keep your distance from mean people.

As others see us

Even though I have been writing stories for almost as long as I can remember, which is about two weeks back, I didn't always want to be a writer.

I was going to be an actor.

That was my dream for a very long time. I performed in school plays. I took part in amateur drama. I attended a course at the Royal Scottish Academy of Music and Drama. I took a bow every time someone switched on a light. I even took elocution lessons because it was felt that an actor's diction had to be closer to Received Pronunciation. That was garbage then and it's garbage now and was little more than prejudice against any kind of regional accent, an insistence that we should all talk as if we've just stepped in from the cricket pitch in search of cucumber sandwiches.

I hated those classes and only attended, I think, half of the sessions. At the end I had to take an independent audition/exam, presenting two readings - one from the court scene of 'To Kill a Mockingbird', the other as Fagin teaching Oliver Twist how to steal. The tutor was sniffy about my chances, telling me that I didn't have a chance.

I passed. 69 per cent, if I remember correctly.

I took great pleasure in returning to her studio and telling her. She accepted it with ill grace. (I hope Grace got well soon)

Despite my still fairly strong Glasgow accent,  I still thought I could have been a contender for the big time.

Until I landed a small part in a BBC TV show called 'Sutherland's Law'. I played a young car thief.

Don't get me wrong, I thoroughly enjoyed the experience, filming during the day and overnight near Oban on the west coast. I believe I've written about that on Type M before.

The problem came when I saw myself on screen.

I was horrified and right there I decided that an actor's life was not for me.

So I concentrated on the writing, which I had been doing since childhood anyway, thinking that TV and I were finished.

But it wasn't finished with me.

Don't get me wrong, I still performed. Community theatre. Comedy shows for hospital radio. Mostly material I wrote myself. But I didn't trouble anyone's screens.

But then I became involved in a campaign regarding a miscarriage of justice here in Scotland. I won't go into the details but it did lead to me being asked to comment for TV news and documentaries. And that has extended to appearing in segments concerning Scottish true crime. 

That particular case has been with me for 30 years now and last year I presented an hour-long documentary on the case that required me to drive around Glasgow in a vintage 1990s Ford Capri. A beautiful car, to be sure, but a nightmare to drive. How on earth did we survive in the old days without power steering? 

More recently I contributed to a programme that I have vowed will mark my last word on the subject. I am mindful, however, of the old adage to never say never.

I have made a point of never watching anything that I do, because seeing yourself as others see you can be something of a shock. They say that a mirror merely reflects reality but let me tell you that's not true. Mirrors lie like a grifter on the long con.  

In the past few years my TV appearances seem to have ramped up in documentaries concerning various true crime matters in Scotland and almost sounding as if I know what I'm talking about, but I've still never watched them and I don't think I ever will. I recorded a segment for another just this week and the chances are I won't ever see that, either.

I'll stick to hiding behind a keyboard. If I want to be disturbed I'll watch the horror channel. 

On another note, my last Rebecca Connolly book has been longlisted for the McIlvanney Prize here in Scotland. 

It's my third time up to bat - one every three years - so maybe this time it will be a charm. Or maybe not!

Whatever the outcome, it's nice to have work recognised and I am proud to be on this roster.

Summer Plans and Agatha Christie

I've lost track of my posting schedule, but I'm sure I missed last Friday. Mid-week I went down to New York City to do an interview for a documentary. That was fun. But the documentary won't be out until 2023, and I wasn't told I could talk about it. Since I could end up being left out of the final cut, I will wait to share the details.

Last weekend, I attended the Maine Crime Wave. I had intended to drive because there is no train or plane that would have taken me directly from Albany to Portland. But as it happened, the production company that asked me to come down to NYC for the interview flew me to Portland for the festival. Then I flew back to NYC and took the train back to Albany.

The festival was on the campus of University of Southern Maine. It was a wonderful gathering with great panels and guests of honor. Lovely weather. Highly recommended. 

But I was glad to get home without delays along the way. Penelope, the cat, was pleased to see me because -- although she'd had a sitter who came in twice a day -- she was in the house alone. Fergus, my bouncing boy, had spent the week boarding with the owner of his doggie daycare. We have been getting back to our regular routine this week as I try to finish an article for a special issue of a journal. The article is about Gothic literature, Edgar Allan Poe, and "haunting" in works by several African American mystery/detective writers. I'm aiming to have that out the door this weekend. 

Then I'm going to start my summer projects with fall in mind. I have a sabbatical coming up in this fall. I intend to savor every minute of it, and try to actually get some writing done. In the lead-up, I need to finish my book about gangster movies and get it polished and out to my publisher by the end of August. 

Then in September . . . a coincidence that Agatha Christie came up in the posts this week. I'm about to settle into a couple of months of reading/re-reading her novels and short stories. I'm scheduled to do a presentation during the International Agatha Christie Festival in September and seeing my travel agent next week. 

 https://www.iacf-uk.org/festival-2022/if-you-like-agatha-christie-then-you-ll-like-with-professor-frankie-bailey

I was first invited to present in 2020. Then came the pandemic. Last year, I was invited again and decided to wait one more year. This year, I want to go to Torquay and deliver my talk in person. I love England. My first Lizzie Stuart novel is set in Cornwall. That first book, Death's Favorite Child, was my tip of the hat to Dame Agatha. The victim is a young housekeeper in a private hotel. My sleuth and her best friend, a travel writer, are guests there. A friend had invited me to meet her for a week's vacation in St. Ives, and I began writing the book during that delightful week. 

My festival presentation will have an observation or two about Christie's 1939 And Then There Were None. I've already shared my thoughts about that novel in Out of the Woodpile, my book about black characters in crime fiction. Christie's plot itself is one that other mystery writers would love to pull off with such finesse. That's why every writer of crime fiction should read Christie's books and short stories. She was not only prolific, she has influenced us all. 

Personally, I also love the movies. My favorite is Death on the Nile  -- gorgeous photography and great cast. After I get my article done, I'm going to make a bowl of popcorn and watch it again. What better way to launch my summer with Agatha.

 

Live from . . .

I’ve been off the grid for a couple weeks, in transit, between Massachusetts and Michigan, between schools (Northfield Mount Hermon and Detroit Country Day), and between lives. The dog and I drove 14 hours ahead, arriving in Lake Orchard, Michigan, to meet the movers. Now we’re surrounded by boxes, awaiting my wife and daughters.

On the writing front, I’ve gotten positive feedback from my agents about a book set at a boarding school that I hope will be the first book in a new series. Now, I’m revising. There’s one more stop before we submit, and, for me, it’s a unique one: I’m sending the book to one more reader, this one an editor.

Boxes and boxes and boxes

This is new for me. I’ve never used an editor before when writing on spec, only my friends, but the opportunity makes sense to me, at this time. She’s had a storied career at a host of publishers, and considering everything I’ve had going on this year (a move, a surgery, a new job), I welcome the chance to have someone look for plot holes and call my bluff(s)

It'll be a new experience, one I never considered previously, but I want the book to be as strong as it can be when we go out with it, and the price seems reasonable.

The dog discovered a new neighbor

Well, I’m sensing that the dog isn’t going to unpack any boxes, so . . .

More On That Hot "New" Writer

 

by Sybil Johnson

I read the recent Wall Street Journal article Thomas mentioned in his post on Monday, the one about younger readers discovering Agatha Christie. I admit that I was surprised that she wasn’t already well known to the younger set. This ranks up there to when I first met someone who didn’t know who the Beatles were.

Dame Agatha was still alive and writing when I first checked a book of hers out of the library in junior high. I still remember how sad I felt when I saw the newspaper headline announcing her death in 1976.

She’s often labeled a writer of cozies, but people forget how many different kinds of crime stories she wrote over the course of her career. The only ones I would label as cozies are her Miss Marple books. Poirot I would classify under traditional mystery. She also wrote spy stories, romances under Mary Westmacott, and even some stories with supernatural elements. My favorite of her books, “And Then There Were None”, I would even label as noir. (Only the book version, not the play version that has a different ending.)

I’ve read all of her mysteries, some of them numerous times. They are my go to read when I need some comfort. It seems strange to say a murder mystery brings you comfort, but Agatha’s books always do that for me.

I’ve also enjoyed a lot of the film adaptations done over the years. My absolute favorite is the Helen Hayes version of “A Caribbean Mystery”. That’s also a go-to for me when I’m needing some comfort and I don’t feel like reading.

I’m glad people are rediscovering her books, but I haven’t much enjoyed the newer film adaptations that seem to have sparked that interest. Kenneth Branagh’s Poirot is too athletic for my taste, though his version of “Murder on the Orient Express” was beautifully shot and decent. I really disliked his version of “Death on the Nile”, though. The David Suchet and Peter Ustinov versions are far superior. The 2020 version of “The Pale Horse” was also not to my liking. I honestly found the ending very confusing and very un-Agatha.

A lot of the newer films and TV shows add sex scenes and back stories for characters that I really don’t see any need for. The only time I didn’t mind the addition of a backstory was the series with Geraldine McEwan as Miss Marple. They moved the stories into the fifties and gave Miss Marple a bit of a backstory that was interesting but not intrusive.

All in all, though, I’m glad Agatha continues to find new readers.

Will Rogers Medallion Award

 

by Charlotte Hinger

What a surprise! When I picked up my mail this evening there was a brown envelope sent from Fort Worth. It contained a letter from Chris Enss, the Executive Director of the Will Rogers Medallion Award Committee. My short story "The Book Mama" is a finalist for the Will Rogers Medallion Award. I am absolutely thrilled. 

I was honored to be included in this quartet of writers and am proud to announce that of the six finalists for the Short Story Award, Randi Samuelson-Brown, Mark Warren, and Candace Simar--the other three contributors to Librarians of the West--are also contenders for the coveted medallions. Our publisher, Gale Cengage/Five Star has been a leader in supporting westerns and historical novels about the American West. 

My historical novel about the African American community of Nicodemus, Kansas, The Healer's Daughter, won the silver medallion in the Western Maverick category in 2020. How I wanted to attend that ceremony, but Covid was rampant that year and I decided not to try it. Wild horses can't keep me away this year. 

The Annual Awards Banquet is held in Fort Worth in October. I'm going all out. I'll attend the Friday afternoon book signing and the evening Meet-and-Greet. It's terrific to see organizations and conventions return to their regular activities. So many events in the publishing world were cut back or eliminated in 2020 and 2021.

Luckily, I'm close enough to drive. I've heard from a number of people who have had problems with airlines. 

My daughter and son-in-law were going to a Lisbon, Portugal to a business sponsored retreat. The first stumbling block was that she tested positive for Covid. He was negative. Then when they both had proof of negative test, the plane was delayed several hours, then a day. Finally, they were able to board. Then I received a text that the plane was broken. They couldn't fly. No chance of making the connecting flight. Then after a harrowing bought of rescheduling everything worked. 

My good friend, Angela Bates, and I will be traveling to the Western Writers of American convention next Tuesday. Unless I develop a miraculous reserve of energy, we will have to break the trip into two days. 

I very much love the energy boost I get from writers' conferences. However, since I write both historical novels and mysteries, for financial reasons I select carefully. I could easily attend a conference a week. 

And then where would I be? Besides, broke, I mean.

Another writer who isn't actually writing. That's where.

Younger Readers Discover Agatha Christie

 By Thomas Kies

A little a week ago, I attended Thrillerfest in New York.  It was my first in-person conference since 2019 and I loved it.  The organizers of the conference did a terrific job even though it was at a different venue than it’s been in the past.  The Sheraton Times Square is a wonderful facility, but it took me a couple of days to figure out the configuration of the conference area.  

Because of Covid, it appeared that attendance was down, and I noticed that a couple of the panels were missing some of the participants.  Toward the end of the conference, there was a panel on News and Investigations.  Three participants were missing leaving only two authors and the facilitator.  In an interesting quirk of fate, John DeKakis, formerly a CNN writer for Wolf Blitzer, and I were drafted to sit on the panel.

Yes, I had my own panel the day before.  This was just extra and something fun.

But even with the threat of an uptick in Covid, there were hundreds of attendees including authors, publishers, agents, and most importantly, readers and fans. Everyone seemed to be enjoying themselves.

In Friday’s Wall Street Journal, there was in an interesting article entitled “Young People Discover a Hot New Writer—Agatha Christie.” It talked about how a young generation has “discovered” Christie.  Indeed, scrolling through TikTok, videos labeled #AgathaChristie have clocked in at 26 million views. 

Sales of Agatha Christie books in the US have risen 39% in the first quarter from last year’s period according to book tracker NPD BookScan. 

Part of the reason may be the popularity of the 2017 movie “Murder on the Orient Express” that featured Kenneth Branagh as Hercule Poirot.  Then there was another spike in popularity when the 2022 movie “Death on the Nile” arrived.  

Indeed, at ThrillerFest, it appeared there was an increase in interest in mysteries and thrillers from those who are under 40, both readers and writers. I have no hard evidence of that.  Only my observations in the panel rooms, the cocktail parties, and at the hotel bar.  You know…the typical mystery writer hangouts.

So, let’s go to the basics.  Why do people like mysteries and thrillers?  It’s an opportunity to sit at home, or on a train, or in a coffeeshop, safely, and experience danger, fearsome scenarios, and life and death struggles with some really nasty villains. In a world fraught with injustice, nearly all of these books have a satisfying ending.  The bad guy is brought to justice, the good guys win.  That’s life as it should be. 

It also gives us a chance to match wits with the detective.  If the mystery is well written, the clues are all there.  You simply have to recognize them and figure it all out…before the ending. 

But if it’s well done, the reader should get to the ending, slap his hand against his forehead and say, “Of course, I should have seen that coming.”

And that’s another reason why Agatha Christie is finding a renewed audience. She wrote 72 novels, 150 short stories, and 20 plays over a writing career that spanned fifty years.  She’s synonymous with writing intricate stories, incredibly clever plotting, and red herrings…leaving trails of false clues. 

In addition to meeting some great people and interesting characters at a conference like Thrillerfest, you inevitably bring home a new cache of books, many from authors you’ve never heard of.  That’s part of the thrill of Thrillerfest.  While some readers are just discovering Agatha Christie, others are discovering new mystery writers. 

Speaking of new…my newest Geneva Chase Mystery, WHISPER ROOM, will be released on August 2nd.  I hope you’ll read it and let me know what you think. 

Guest Blogger Mary Anna Evans

Type M is thrilled to welcome our friend and guest blogger Mary Anna Evans, author of thirteen award-winning Faye Longchamp mysteries. Her fourteenth mystery novel, The Physicists' Daughter, is the first in a fabulous new series set in WWII-era New Orleans and introduces Justine Byrne, whom Mary Anna describes as “a little bit Rosie-the-Riveter and a little bit Bletchley Park codebreaker". What's it like to start anew after a long successful run? Mary Anna has some thoughts about that.*

The Terror of Starting Something New

Mary Anna Evans

It has just now occurred to me that there is a strange symmetry to my writing career as of this moment. From the time I submitted my first short story to a magazine (and was rejected) to the time I sold my first novel, Artifacts, about eighteen years passed. 

Now, I wasn't writing and submitting and being rejected continuously all that time. I had jobs. I had children. I published a few poems. But, by and large, the publishing world spent eighteen years telling me "No," loudly and often. 

It has now been about eighteen years since I sold Artifacts, so my writing life hands in the balance, at least in terms of time. Is it a coincidence, I wonder, that I'm doing something new? And is it any wonder that I'm nervous about it, after writing thirteen books about Faye Longchamp, a protagonist whom I still admire and enjoy? I could easily keep writing about Faye, and I may well write about her again, but life and art are about learning and growing. It's time to flex some new muscles. 

The Physicists' Daughter went out into the world this month. It's a historical novel, and 1944 is a new time period for me. While still published by a mystery imprint, it's as much a spy thriller as it is a traditional mystery. I had enormous amounts of fun learning about 1944 and World War II and top secret weapons and mid-twentieth-century science. My new protagonist, Justine Byrne, is young and awkward and brilliant and loyal, and I think my readers will have as much fun spending time with her as I do. Her best friend, Georgette Broussard, has been another gift to me as a writer. These two women were born for adventures, and I hope I get to the intrepid pair on many of them.

None of these things makes the nervousness go away, but you know what? I think we're supposed to be nervous. It's not good for us to get complacent. Who wants to live in a rut?

I like to think that I've brought everything I've learned in the years I wrote Faye to this book. I like to think that those things have made The Physicists' Daughter the best book I can write today. Next year, I'll know enough to write one that's even better.

In the meantime, don't mind me. I'm just sitting here in my corner of the internet, watching my new baby go out into the world and worrying about her.

_________

*p.s. Mary Anna has nothing to worry about. The Physicists' Daughter is an absorbing, heart-pounding read - Donis

visit Mary Anna's website at https://maryannaevans.com

Random Thoughts on Writing

I (Donis) have been doing my best to write over the past months - though it's hard to concentrate these days. I'd plead that I've had writer's block, but I've thought for years that “Writer’s block” is not really a thing. If you’re stuck, put something down, some reminder, or thought, a place-filler, or just a blank. Recently I read about an author who writes the word “bagel” when he can’t think of anything else. This allows him to keep moving. He can always go back and find the perfect term later. Believe me, even Shakespeare’s first draft looked like the dog’s dinner.  I live by this philosophy, especially lately, since I am not only not bringing my A game when I sit down to write, I’m not even up to my W game. But you must plug on. Later, after you have something to work with, you rewrite, and then you go back and do it again. And again. I think that most authors are never really satisfied with what they’ve created.  As for me, I’ll tinker with a book until I absolutely have to turn it in for the last time. Years after the book is published, I’ll find myself coming up with fresh ideas for a scene and wishing I could go back and work on it some more.

I once read an essay that postulated that a person’s thinking patterns might be formed by the geography of the place he grew up. I don’t know if that is true. However, I have observed that people are happier in some places than others, possibly due to where they were reared. My husband was raised on the wide-open Great Plains, and becomes claustrophobic in heavily wooded country. A friend from the Ozark Mountains once told me that she loves the woods. She feels protected and secure in wooded country, and exposed and vulnerable on a treeless plain. Many a city-raised person is disoriented in the wilderness, and vice-versa for someone who grew up in the country. It’s what you’re familiar with, I suppose. I read a piece in the newspaper several years ago about an unusually long period of sunshine in Iceland, which is normally has cloud cover for some 300 days a year. An interviewee said that the clear sky was nice at first, but after a week, she was beginning to feel nervous and unhappy. I’m sure there is a story idea lurking in there somewhere.

If I’m going to spend two or three days of my life reading a novel, I would prefer to like at least some of the characters. I try not to spend too much time with real-world people I dislike, after all. I once read a well-known book by a Very Famous Author and found the mystery quite interesting and the writing excellent.Very Famous Author really knew how to invoke a setting and construct a plot. The characters were  well drawn, but they were  all so unpleasant that even though I really wanted  to know how the story turned out, I had trouble finishing the book. I finally skimmed through just enough to get the gist and then read the end. I take a lesson from this experience and try to create characters who the readers will enjoy spending time with. Not to say that all the characters should be nice. Where’s the fun in that? I  do enjoy seeing evil people get their comeuppance.