What am I working on?

By Vicki Delany

A heck of a lot.

I am juggling a lot of writing balls these days, so I thought this would be a good time to let you know what I’m up to.

Other than a couple of day trips over the spring and summer, I have no book tours planned until the Suffolk Mystery Festival in August.  I am hoping to squeeze in a vacation to London in the fall. I love to travel, both for book events and for holiday, but I have to stay at home sometime and work!

The weather here in Southern Ontario has been nothing but gloomy for the past week. Which is a pretty good thing for the productivity.

As I write this, I have just finished four days of solid writing and managed to do 14,000 words. Which is pretty mind-boggling, as most authors will tell you. That’s about 14,000 good words. Very few of it will be discarded when I do edits.

A lot of people have written to ask me if there will be another Molly Smith, and I am happy to say 

I’m working on the eighth book in that series now. The nice people at Poisoned Pen also asked me for another. How can I say no?

Here’s what on my plate:

Constable Molly Smith #8 – half finished first draft.

Lighthouse Library. #2 – Booked for Trouble.  Completely finished and waiting for copy edits back. Publication date September 2015.

Lighthouse Library #3 – Reading up a Storm. Finished and now with my editor. She may, or may not, want changes major or minor.

Lighthouse Library #4. No contract as of yet. That will depend on how books 1 and 2 do. It’s all up to the readers now (Hint, Hint).

Christmas Town #1 – Rest Ye Murdered Gentlemen. Completely finished, edited and waiting for copy edits back. Publication date November 2015.

Christmas Town #2 – We Wish You a Murderous Christmas.  Ready for me to give it one last polish before going to the editor.

Christmas Town #3. Nothing done yet. (But heck, it’s not due until April. That’s April 2016)

Ray Robertson #2 (A Rapid Reads Novella) – Haitian Graves. Completely finished and in production. Publication date August 2015

Ray Robertson #3 – outline and opening chapters sent to editor for her approval.

Oh, and one last thing.  Proposal for a new cozy series. Three chapters and series outline are now with my agent.  No hints until (if) I have a contract! So stay tuned. 

Working Intuitively

Rick's post earlier this week came at a time when I, too, was wondering how I was going to get everything done. I'm still wondering that, but I stumbled on something this week. I could be wrong, so I'm not offering this as a strategy. I'm just saying that I happened to do this and it worked well enough for me to experiment.

I have been focusing for the past week on a project that I need to get done. My co-editor on the project has finished his part and now I need to wrap up mine by next week. So I've been doing nothing else -- other than what is necessary to teach my two classes. I have been keeping up with obligations like guest posts, but other than that I have put my marketing plan for What the Fly Saw on hold until after next week. I've also not finished making some tweaks to my nonfiction book proposal that I intended to do quickly and send back to my agent. I've been focusing and getting work done. But in the back of mind all my undone tasks have been nagging away and stressing me out.

Then something unexpected happened. I was working on the project that I need to finish, and suddenly the solution to the problem I had been having with the nonfiction book proposal popped into my head. Normally, I would have stopped what I was doing and rushed to the proposal to catch the idea before it was gone. But this time, I had established a rhythm for what I was doing. I was "in flow" and I had made a bet with myself that I could finish the section that I was working on before I stopped.

Today I had planned to plunge right into the next section of the project. Except the day didn't go as I had intended. I had an appointment with a consultant about a cooling system for my house. And then I went to pick up prescription cat food from the vet, stopped at the supermarket -- been trying to get there for three days -- filled my nearly empty gas tank, dropped cat food and groceries at home, and went in to work. By the time I'd finishing sending a librarian the handout I needed copied and my power point for an author's talk on Saturday and checked in with a curator about media for a local history talk next week, it was almost three o'clock.

I was feeling guilty about not working on the project all day. But I found myself opening the file for my book proposal. I started writing and it was effortless. I zipped through several pages of the proposal, revising based on the idea that I thought was only half-formed. I even started revising one of the sample chapters. I was on a major roll. I stopped when I began to slow down. It was getting late anyway.

I drove home, put a frozen lasagna into the oven (takes 50 minutes that way but leaves more writing time than a microwave) and pulled out my project. But my head still wasn't there yet. So, with all the work I had to do, I watched today's episode of "The Young and the Restless". And then I played "bird" with my cat because he needed the exercise. Finally, at around 9:30, I settled down with the project again.

Technically, I had lost most of the day's work on the project. But I'm not feeling as stressed out as I would expect. In fact, I think that I might do better if I work intuitively. That would mean going with what is flowing at the moment. That would mean not allowing myself to be drawn away to something else because I've had an idea. Instead, give that idea time to germinate, assume that I need a break away from that (whatever it is) and that my subconscious will be working away until I get back to it.

Whether this is true or not, I'm going to let myself believe it for the next week. At least, I'll go to bed and get some sleep. I know that five hours or less of sleep a night is not making me more efficient. So to bed, to sleep, and wake up tomorrow and see if I zip through the next section of my big project.

Anyone else tried working intuitively? I'll report back on my own experiment. And I think I'll pick up this book. According to the blurb, the author has some thoughts about intuition and creativity.

A Book is Born

Spring in Arizona

It is spring, the time of new beginnings. Barbara Fradkin has completed her latest manuscript, Vicki Delany’s latest has just been released, and John Corrigan has the end of his WIP in sight. Authors are traveling all over the Western world. And I am happy to say that I just finished the first draft of my eighth book, which is a good thing since it’s due to my editor at the end of this month. Besides, I am now brain dead.

The last few weeks of writing before a manuscript is due in to the publisher is intense and hair-raising. You finish. You send it off. It’s out of your hands. You are like a cork that has been anchored under the water for weeks and months, and now the string is cut and you pop to the surface. You’re floating. The sun is shining, the air is fresh. You are drifting. Aimless. You are disoriented. You’re blinking at the light. You don’t know what to do next. This has happened to me every time I finish a novel. I despair of ever being able to write another word.

This book, All Men Fear Me, which is scheduled for publication in November, was particularly hard for me to finish. It’s long. I have a lot going on. Too much? I don’t know. It seemed to me that everything I put in was necessary to the story. For every book I must come up with a compelling reason for a farm wife and mother of ten to get involved in a murder investigation. I also have to figure out a convincing way for her to either solve the murder or at least contribute to the solution, which as you might guess, isn’t that easy.

I have found over the course of eight books in the same series that I have begun to depart from the usual mystery novel format. The murders take place later and later in the story with each book I write. The later books are constructed more like thrillers than puzzles. In book seven, Hell With the Lid Blown Off, I told the reader who was going to die in the first sentence, but didn’t actually kill him for a hundred pages. In this book…well, I’ll let you see for yourself.

Or it could be that they’re all hard for me to finish and I just don’t remember from book to book, rather like childbirth. It’s a pain, but you’re always so pleased with the result that you forget how you suffered.

Anyway, my beta reader has the MS right now. I have no idea whether the book holds together or makes sense or is any good. I like the way it turned out, but mothers love their ugly babies as much as their pretty ones.

Fun on the road

Barbara here. Today marks one of those milestones in a writer's life, when we press the send button and email our editor the completed manuscript of the book we have spent the last year creating– living the scenes, hearing the characters, wrestling with plot tangles and clunky relationships, imagining the drama.

The timing of this milestone is fitting. It's a new spring. The snow is vanishing, new flowers are poking up, the air is full of birdsong, and my thoughts are already turning to new projects. What to do next? The world feels full of promise and possibilities. Even the next writing project is still only a promise, barely conceived and awaiting its year's gestation.

It's fifteen years since my first novel was published, and I want to do a little reminiscing about the journeys I have taken with my books along the way. Contrary to popular belief, we authors generally pay for our own tours and travels. We may get some financial support from our publishers or from small grants, but the author is almost always out of pocket in the end. From the purely financial point of view, tours are a terrible idea.

But money isn't the only currency. There is the networking and bridge-building, the forging of friendships with new readers, book sellers, librarians, and other fellow book lovers. And there is the pure fun of taking trips, seeing new parts of the world, meeting new people, and having unique adventures. Much of that is, in a word, priceless.

I have lost track of some of the shorter trips, but some highlights stand out. In fifteen years, I have been to every Bloody Words Mystery Conference ever held - I think there were fourteen. The friendships I made with Canadian authors and book people will last forever. I have been to Left Coast Crime conferences in Monterey, El Paso, Bristol, UK, Santa Fe, and Portland– all adventures to unique and interesting places. Highlights I remember include imagining myself in the Roman hot baths in Bath, driving a rental Chevy Suburban up to Santa Fe from Albuquerque in the dead of night because my flight had been delayed (the Suburban was the only vehicle left in the only rental agency still open), and walking across the Rio Grande bridge from Texas to Mexico to have dinner in Juarez with a bunch of crazy Canuck friends. The best part? The dinner was fabulous.

I have been to Bouchercon Mystery Conferences in Austen, Madison, Toronto, and Indianapolis. Besides making unexpected friendships in bars, my favourite moment was Tony Bidulka treating me and Robin Harlick to a champagne limousine ride and special dinner in celebration of his Saskatchewan Book Award. Tony always has the best memorable moments!

I have been on numerous short book tours, usually those that can be managed by throwing a couple of  outfits into the trunk of the car and visiting libraries and bookstores within a day or two drive from home. But a few book tours took me farther afield, usually with another author or two, and the shared experiences still make me laugh. There was the east coast book tour in 2005 with Mary Jane Maffini, where we piled into her small two-door Mazda (a mistake) and covered about two thousand miles and twelve events in less than two weeks. I remember fondly the day we were rocketing through moose country in New Brunswick and realized we were going to be late for our event in Miramichi, so we leaped out of the car in the middle of the forest and changed into our event finery– dress pants, Chico jackets, high heels– behind the largest tree. And the night we encountered Hurricane Wilma on our drive out to a library event on a tiny island off Cape Breton and arrived late and windblown, expecting the place to be deserted, only to find every single person in the town waiting for us with hot tea and cookies.

There was the 2007 Southern Ontario tour I took with Robin Harlick and Rick Blechta, where we covered so many bookstores over four weekends that I ended up at the wrong Chapters at the wrong time in London. Miraculously we were all still friends at the end of it! There was the terrific conference in Calgary, When Words Collide, at which I was the mystery guest of honour in 2013 (this one was paid!), and where I made friends with the dynamic group of western writers. Three highlights of that week stand out - the inspiring speeches by the other guests of honour on opening night, which made me realize regardless of the genre, we are all writers and storytellers; the scotch-tasting party that introduced me to Abelour; and the trip to Drumheller to see the badlands and the dinosaurs.

Also among my most memorable trips (to date, hopefully more to come!) was the sixteen-day tour I took with Vicki Delany to the Northwest Territories and Yukon in 2013. I met so many interesting people and had so many fine adventures that I am hard-pressed to highlight only a couple. Perhaps the "erotica open mike" evening at the NorthWords Literary Festival in Yellowknife, where many of the authors, including Vicki and I, tried our hand at racy writing. Writing hot scenes is easy; reading them with a straight face is not. A second highlight was getting a flat tire in the middle of nowhere at 11:30 at night. A third highlight was arriving to do a library reading in a small village between Whitehorse and Dawson City and discovering our audience was a group of First Nations school children. I learned far more from the discussion we had than they did, I think!

This coming summer, I am going far afield again, as an invited author at the Sunshine Coast Festival of the Written Arts, on the beautiful BC coast. I have never been to Sechelt, and I am looking forward to the adventures and the people I will meet. This event is paid, but even if it weren't, there are experiences that go beyond money. I feel so privileged that my writing gives me the chance to enjoy them.

Keeping all the balls in the air

It never ceases to amaze me how busy things can get around here. Granted, I do take a lot of extraneous things on which is probably not the smartest of ideas, but there are days where I think of just how many things I have to do and I’m instantly anxious, almost to the point of despair. I don’t know about you, but when I’m faced with that hopelessness, I tend to just shut down. Since I can’t accomplish it all, I wind up doing even less.

Yesterday, I wanted to write (and I did) but any number of things kept getting in the way. Emails had to be sent and answered, I worked on two design projects, I had to sort music for a gig I had last night, some kitchen work had to be done, and then I was out from 6:00 until 11:30 playing. The issue is not what I managed to do, but what I didn’t manage to do.

Eventually getting into bed after a small amount of post-gig winding down, it hit me that I’d managed to fall even farther behind, even though I was on the go from 6:45 a.m. to midnight. That job jar had just as much in it and more would be going in as soon as I got up.

What to do?

Well, my motto these days seems to have become “keep on keeping on”, but truthfully? That isn’t going to get me out of this. There simply is too much to do. Chipping away at a mountain is fine — unless the mountain is growing faster than you’re able to chip.

One thing I can do is to maximize my time. Part of that will come from increasing the time I’m working. For the foreseeable future, my days will have to be longer. And no goofing off in the evenings watching something on Netflix, or reading, no matter how brain dead I feel.

The second thing is to not take anything new on. (Work doesn’t count here because that money is needed!) If someone asks for something, whether it be help, advice, or a new project, I’ll just have to learn to say no. That’s always been an issue for me. I’m naturally one of those people who wants to help whenever asked.

The reason for this post topic is I’m looking for any stratagems loyal readers of Type M might have to combat extreme “busy-ness”. Believe me, I need all the help I can get keeping those balls in the air!

Real Life Detection

I am just back from the Crime Writers Association's annual conference which is solely for members. It's always a particular pleasure because this is the only time when authors get together and don't have to perform or try to sell their books.

It's usually held in an attractive place and the venue this time, Lincoln, was no exception. It is a medieval city set on a hill, with cobbled streets descending steeply (and ascending even more steeply, or so it seems) to the town below.  Sung Evensong in the glorious cathedral was a highlight of the weekend, with wonderful music and even the classic small choirboy in his frilled white ruff with spectacles just slightly askew.

It's great to see old friends and the bars do brisk business for the two nights. But the other great thing about the conferences is the lectures that give us those professional insights from insiders into the topics we write about, which are often very difficult to come by in other ways.

We were well-placed this time. The member who organised it was a former policeman and judging by the amazing goodie bag gifted by local businesses he must have known where all the bodies were buried and didn't hesitate to use the information when it came to extortion. He was also able to persuade local coppers, lawyers, a forensic expert and even a High Court Judge to come and talk to us as well.

The talks were all absorbing and often very funny – as when the young lawyer told us about her nervous, early faux pas: 'Is that the same nose you broke when you were young?' 'How close were the two cars when they collided?' – and hugely informative as well.

For me the most fascinating one was a horrific case of torture and murder. The Detective Superintendent who pursued it for over two years was quietly-spoken and undramatic, and he told us his watchword was Attention to Detail. But when he said, 'I'm not obliged to take the first answer I'm given – nor the second one either,' I did feel glad that I wasn't the criminal he had in his sights.

His job, of course, is not down and dirty on the crime scene. He directs the operation and in this case, with no forensic evidence at all in the house where the murder took place, it was a question of slowly and remorselessly piecing together the circumstantial evidence until the jigsaw made a picture and he got his men.

There is a tendency to dismiss this, particularly among defence lawyers, as 'merely' circumstantial' evidence.  Forensic evidence is certainly the gold standard but after that eyewitness accounts are highly-valued – despite the fact that numerous studies have proved how totally unreliable these can be. But in collecting circumstantial evidence there are no shortcuts and the Detective Superintendent's painstaking investigation was a masterclass in how you could build a plot.

'If you find out how he lived you'll find out how he died,' he said. He had expensively-gathered evidence he didn't use because it was a complicating factor and wasn't rock solid and could weaken the case. He said that every so often he would step back from involvement and take the long view – 'What are the strengths and the vulnerabilities?' There is a jury at the end of every investigation.

I scribbled pages of notes and I'm putting in a lot of work this week in applying some of his principles, clearing less than effective scenes and assessing the strength of the plot, in the hope of a favourable verdict when it comes before my jury – the readers

Pirates Ahoy and Closing Fast

I have my email program set to alert me anytime someone writes something about my mysteries. It's a handy little gizmo. Whenever Deadly Descent, Lethal Linage, or Hidden Heritage comes up, I get an email.

The past week I've received a number of messages offering my books for free. It burns me up! Someone has pirated my books. Again. This is so unfair. I don't earn a cent from this kind of operation. I'm going to paste in the contents of the email:

If you want to get Lethal Lineage pdf eBook copy write by good author ... The Lethal Lineage we think have quite excellent writing style that make it

Lethal Lineage PDF eBooks Free Download | Page 1 Lethal Lineage (Lottie Albright Mystery #2) by Charlotte ... Lethal Lineage has 35 ... Carol said: LETHAL LINEAGE Poisoned Pen Press 2011ISBN. Flag as irrelevant

Some English, huh? And please note that it's really my book. Not some other book by the same name. It's clearly labeled as part of the Lottie Albright Series. I would be willing to bet that this company is not based here in the USA.

All of the large publishing houses attached to the giant conglomerates (the Big Five) and large independents such as my publisher, Poisoned Pen Press, send Advance Reader's Copies (ARCs) to reviewers associated with magazines and newspapers well in advance of a book's publication date. Librarians also get their share of goodies. Publishers hope that libraries will order the books for their patron’s enjoyment, and that bookstores will stock the book. ARCs are in paperback and they are surprisingly expensive to produce.

It's well worth the expense and effort to have a book reviewed in one of the big four magazines that are especially influential in the trade. They are Publisher's Weekly, Library Journal, Kirkus Reviews, and Booklist. A good review in Mystery Scene sends us over the moon. Needless to say making the New York Times is almost too much to hope for. That's here in America. I imagine our Canadian friends could contribute a lot more venues.

Imagine the disappointment when three months before a book is published and available for sale to readers, a paperback version of this book is offered on Amazon by a third party vendor at a low price. How does this happen? Well, some reviewers offer their ARCs for sale perhaps even before they have read it. They have a little side business. But the bottom line is that there is no bottom line. The author doesn't make a cent from the transaction.

Pirates are an entirely different matter, although the outcome is the same: no money for the writer. Since my books will be downloaded for free, I'm a bit bewildered as to who makes money on this kind of a deal. There were more links I could have clicked on. I suspected that would be a mistake so I didn't do it. The free books could have been a ploy to collect information and numbers they had no business using.

If you are reluctant to spend the money for a book, please support your local library. This gives an enormous boost to authors. Librarians only stock books the patrons want to read. If no one ever checks out our books, eventually they stop stocking them.

Finishing Strong

The end is in sight. My work-in-progress, Fallen Sparrow, is (fingers crossed) three-fourths completed. I've read and re-read and re-read again, making sure I haven't missed any plot threads, and even outlined the final hundred pages. Now I have to write them and hope to deliver the manuscript by June.

It's a good feeling to be close to the end. It's an even better feeling to know the ending.

Don't chuckle. I say this because you know as well as I do that the ending is the most important part of the novel. I can hook you in the first twenty pages and get you to read to the end, but if you're not satisfied by my conclusion I've wasted your time and mine. We've all finished reading books, sat back, and shook our heads at the (in the reader's opinion) wrong ending. Take The Great Gatsby. What other possible ending could that book have? The conclusion is entirely fitting, albeit sad for many of my students.

I love endings that turn and twist, offering the unexpected. I just finished Chandler's classic The Long Goodbye. The climax occurs a hundred pages before the book's ending. This novel, though, never lets you go, and the final page stuns you. (I had to reread it.) Same with The Last Good Kiss by James Crumley and SJ Rozan's Winter and Night. I'm hoping (as I always do) that readers will be left guessing until the end of my work-in-progress.

I don't usually start a book with a scene-by-scene outline, but, rather, with five to ten pages of detailed notes. Mostly, these are character sketches that serve to make sure I understand each character's motivation. Motivation, after all, is the driving force behind any plot twist. But as I near the end, I usually stop to reread the entire book. And then I outline the plot from there to the conclusion. Often this outline forces me to go back and add or delete scenes. (This time I added three.) I spent three days (4 to 6 a.m.) on this. It seemed like a long time when I was working on the outline. But, three mornings or not, it will (I hope) prove to be time well spent.

If, that is, I can keep you guessing until the final page.

An Unexpected Gift

Even before I became a writer, I was a big-time reader. Fiction, nonfiction, mystery, thriller, historical. You know the drill. I pretty much still am, though I have less time to read these days.

When I do get the chance to pick up a book, I notice things about stories that I never used to. How they're constructed. How the choice of a word makes a difference in how I feel as a reader. And, when I find a novel or short story particularly satisfying, I'll go back and reread parts or all of it, trying to figure out what makes it tick. Why I liked it so much. How the author managed to make me feel sad, happy, angry, etc. at a particular point.

The same goes for television shows or movies though, with them, it's less about the words used and more about the construction of the story. The other day, I watched an episode of a crime drama that involved the kidnapping of a baby. At the end, the child was found. The man who had him was driving a car along a road and the police gave chase. The writers could have just had the police stop the vehicle (after whatever is deemed the appropriate amount of chase time for television) but, instead, they added a further complication. The vehicle ended up in a lake, completely submerged. Don't worry, the baby was rescued after someone dove in, broke a window and grabbed the infant out of the backseat. I don't remember if the kidnapper was rescued. I'm not sure I cared.

I appreciated that plot twist. It reminded me that you can't ever make it too easy for your characters. Just when they seem to be reaching their goal, add a complication. In this case, the car going into the lake and the possibility the baby won't be rescued after all.

This change in mindset is similar to what happened to me when I studied Hebrew in college. When I'd leave class, I started looking at the world from right to left instead of left to right. Things looked just a bit different. And when I did some script supervising on student films I started noticing continuity errors in movies I saw that I would never have noticed before. Though those two abilities both faded away as soon as I stopped studying Hebrew and doing continuity for films.

Some people might consider it an annoyance. You've lost the ability to simply enjoy a story instead of analyzing it. For me, it’s a gift, giving me the opportunity to appreciate an author's work even more.

More on minions — and other minor characters

I loved Mario’s post this weekend. The word “minion” conjures up so many wonderful images, but it was also a very thoughtful piece that caused me to begin thinking about minor characters and even those little walk-ons that happen when one is writing fiction.

We often talk about “colour” and “place” in novels and they are crucial important background items that help a great deal in bringing a story to vivid life – especially if the reader lives there or has visited. That visceral “I’ve seen that building!” or “I know that place”, can certainly add to a novel’s success. For those who haven’t been to that location, the writer must provide clear images to fire the imagination and inner eye of the reader. It really can be the kiss of death when a novelist can’t manage to portray these things believably (or at all).

But maybe there’s a third very important background piece that is too often taken for granted in novel writing: the perfect background character.

I know I’ve been guilty of not giving these important people their due. You know what I mean. If you had to visually represent them, most would be cardboard cutouts. It’s quick and easy to populate a story with the “extras” you need, but I, for one, need to do it with more care.

There is something else that must be considered here, though, before you start to flesh out those walk-ons: how much is too much?

Everyone in a novel can’t be a “character”, those people who are quirky, often memorable, and when used judiciously, can lift the writing directly into the readers’ imagination. I can’t remember now whose novel it was (but it was a well-known, dare I say, famous author who was well thought of), but I do remember not finishing the book. The problem was that every character seemed to have an interesting background, or something quirky about their personality to the point that the main characters seemed overwhelmed by the background and the story rather bogged down. I remember thinking, Too hard to wade through, and set the book aside.

So that’s the back side of this coin. The front side reveals books that are so plot- and/or character- driven that unimportant characters are herded on and off the stage to the point where they seem more like cattle.

Where is the happy medium and how do you know when you’ve found it? And what are the secrets to being in that “sweet spot”?

I’ll have more thoughts on this next week, but first, I want to hear from Type M readers, and not just those of you who are authors. For the readers: how much do you want/need to know about those with whom the main characters in a book interact? What authors do you think handle this particularly well – and why? For the authors: how do you handle this aspect when crafting your novels?

Home again, home again

By Vicki Delany

Here I am relaxing at home. (Not actually relaxing, mind because I have three books still to be released in 2015 and more to write for 2016, but you get the point). Over the months of February and March I visited Arizona, North Carolina, Florida, Oregon, Michigan, and Pennsylvania.  Oh, and my home province of Ontario also.

All in the service of promoting my newest book, By Book or By Crook, the first in the Lighthouse Library series, written under the pen name of Eva Gates.

Its been an exhausting schedule, but as has been said many times before, the best part of being a writer is the friends you make.  I travelled and did appearances with Kate Carlisle, Jenn McKinley, Donis Casey, Erika Chase, and Barbara Fradkin. I talked books with Molly Weston and Barbara Peters. At Left Coast Crime in Portland, I hung around with the great Canadian contingent of Robin Harlick, Cathy Ace, Sam Wiebe, Linda Wiken, Barbara Fradkin, Eric Brown and Madeleine Harris-Callway (some of whom are pictured below).
















And there I met readers galore. Below is the table that Linda Wiken and I hosted at the LCC banquet. 

I am often asked if I find this sort of tour worthwhile, and I say yes.  With some reservations. It`s always difficult to tell what lasting effect (if any) your appearance will have.  I didn’t sell anywhere near enough books to pay for the flights and hotels, nor did I expect to, but I hope it will pay back over time.  I signed at Mystery on the Beach in Del Ray Beach Florida and By Book or By Crook was the number five bestselling paperback (trade and mass market) in the store for February. 

Booksellers who might not have read my new book otherwise, read it because I was coming, and loved it and so they promoted it to their customers. Certainly being on a panel with bestselling cozy authors like Jenn McKinlay and Kate Carlisle is invaluable for introducing Eva Gates as a new cozy author.

Cave Creek AZ with Kate Carlisle and Jenn McKinlay

Wherever I was I managed to find the time to drop into Barnes and Nobel to sign copies of the store stock of By Book or By Crook and slip my bookmarks into them.  Hopefully, browsing readers will come across them.

Next up: Malice Domestic in Bethesda, May 1 – 3, and the Mechanicsburg Mystery bookstore in Mechanicsburg PA on May 3rd. And, best of all, ROAD TRIP! with Mary Jane Maffini and Linda Wiken.

Until then, I had better get some writing done. 

Respect Your Minions

I'm close to priming the BSP pump and start spraying news about my forthcoming Felix Gomez detective-vampire book, Rescue From Planet Pleasure. Early in that story I had a battle between the good vampires and the enemy bloodsuckers. My heroes were cutting down the bad guys by the dozens. Then during the writing of that manuscript I saw the James Bond thriller, Skyfall, and that made me reconsider the body count. Near the climax of the movie, a horde of bad guys close upon Bond and company trapped in the mansion. Our intrepid champions cut through the ranks of the evil doers who kept attacking and attacking like mindless zombies. Then it hit me.

Why are minions so willingly expendable? Why are the bad guy pawns so relentless in their attack despite being slaughtered? These guys are criminals, which means they have only two possible motives. Either they are cultish slaves or they're in the business of murder and mayhem for profit. Even if they are devoted slaves to the master criminal, wouldn't they--as they're being mowed down--ask the boss to reconsider their strategy? What's the point of them dying like vermin? And if they're in it for the money, I think that after one or two bite the dust, the rest would pull back and regroup. Money is only good if you can spend it, something that's hard to do from the grave.

In Skyfall the bad guys arrive in a gigantic helicopter, worth tens of millions of dollars. Flying that machine ain't easy, so it would have to be piloted by an experienced and rather level-headed crew, and despite their competency, the copter is easily destroyed. At what point would the crew hit "minion-override" and decide to quit acting stupid? A band of murderous criminals is like a pack of wolves, and like wolves, once the alpha threatens the pack, then they turn on him.

That realization made me reconsider the slaughter of the minions in my story, and I cut back on the body count. I even had some of the minions rebel against the villain because of their useless loss. As we writers like to say, everyone is the hero of their own story, so it would make sense for the minions to act in their own self-interest. Which actually makes for a more layered and deeper story. Lesson learned.

Until Death Do Us Part

This is going to be a short post because today is a busy one.

Whenever Chicago The Musical, is touring in the Albany area, I always have too much going on to attend a performance. But I was thinking of the musical and the story behind it a few days ago. I showed the students in my crime and mass media class a clip from the movie. As many of you know, the 1926 play was written by Maurine Dallas Watkins, a reporter for the Chicago Tribune, inspired by two high-profile murder cases in which women accused
of murder of a lover of husband had been acquitted. She wrote the play as a satire on crime and celebrity while attending Yale Drama School.

I always think of Watkins' play in conjunction with Susan Glaspell's play "Trifles" (1916) about the murder of John Hossack. Glaspell adapted the play as a short story, "A Jury of Her Peers" (1917).

Glaspell was a reporter for the Des Moines Daily News when she covered the trial of Margaret Hossack. Hossack was accused of killing her husband, a wealthy farmer, with an axe while he slept. Hossack was first convicted and sentenced to prison. But she was freed after a second trial resulted in a hung jury. No one was ever convicted of the crime, but the case affected Glaspell deeply. If Watkins's play is about a garish, brightly-lit world, Glaspell's is about the isolation of Midwestern farm life. I'd be interested in hearing what you think of her story.

The Seasons of an Artist’s Life, or Been There, Done That

As he was ringing us up, the very good looking, very young and studly clerk asked us, "So, are you celebrating tonight? Going to a party? Having some green beer?" It was St. Patrick's Day and my husband Don and I were standing at the check-out counter at Trader Joe's.

"No," I said. "Been there, done that."

"Don't worry," he told us, "I'll take up where you left off."

I thought of this when I read Rick's entry on this blog yesterday. He noted that he no longer has the same energy he had in his youth, and though still creative and infinitely more experienced, one's "fire burns nowhere as hot as it once did."

I know what you mean, Rick. When I was a kid, I started writing stories as a distraction from family trauma. I created worlds and escaped into them. I remember with fond nostalgia the days I would write for hours on end, lost in my stories, feeling an actual love for my characters as though they were my real friends or family or lovers. (Sometimes I loved my characters more than certain friends or family or lovers.) I have a much more business-like relationship with my fiction these days. I don't have the passion I once had. Just more skill.

Well, to everything there is a season, so the Bible says. The body and the brain sputter and fade out eventually. Of course, I never really thought that talent or genius originates in the brain, anyway. Years ago it occurred to me like a flash of lightning that your brain is just like a radio transmitter that picks up inspiration from the Big Mysterious Place and allows you to transform that inspiration into action in the physical world. It's just that as your receptors fray you have a little more trouble picking up the signal.
In other news, I am so close to finishing this new book. Every day for the past two weeks, I've gotten out of bed and thought, "Today's the day!" Thus far it hasn't been.

I had a rather painful writing day today. I sat in front of my computer and did my duty with gritted teeth. I typed a lot of words, most of which I’ll either have to take out later or move to a different scene. But I did it, by damn, and I’m hoping I dug out a lot of slag that has a piece or two of gold in it that I can use later.

I never know why one day is better than another when it comes to writing. Each book seems to be a whole new order of creation for me, and demands its own unique method of coming into being. I’ve been known to outline before I begin when I think that would help me clarify the direction of the plot in my own mind. I have also simply started writing, usually at the beginning, but I’ve started in the middle and the end, as well. More than once I’ve begun a novel on the fly, and then gone back and created an outline because I’ve gotten myself into a muddle and can’t quite figure the way out.he middle of a novel, there may come a moment when you wonder if you're ever going to be able to get it done. You know where you want to end up, but you're not entirely sure how you're going to get there. Sometimes I feel frightened, and wonder if I still have it in me. Will I find my way out of this maze, and do it in such a way that I bring the reader along with me?

It’s not like this has never happened to me before, and I must remember that miraculously it always works out. As I write the first draft, my beginnings never do match the end, for somewhere in the middle of the story, I changed my mind about this character, or this action, or this story line. I try not to waste time by going back to the beginning and fixing it to fit my new vision. No, no, that way lies madness. I can get (and have gotten) caught up in an endless merry-go-round of fixes and never reach the end. I just have to keep going until the book is done. I love writing, but I hate the pressure of trying to get the manuscript done by a deadline. Sometimes I ask myself, do I have to do this? Really, would the world fall apart if I turned it in a couple of weeks late?

Would it?*
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*I'll never know. I'm too neurotic not to do whatever it takes to get the thing done in time.

Is really special creativity only the provenance of youth?

by Rick Blechta

I was away last week and totally oblivious to what day it happened to be, hence one of my rare non-appearances on Type M. My apologies for that. Quite frankly, it’s embarrassing when that happens, but, well, it happens. The world continued to turn. Life as we know it didn’t suffer. And I’m back again this week.

While away, I began reading an account of something that’s always interested me intensely: the soul music of the 1960s that came out of Memphis, Tennessee on the Stax Record label. Yeah, it’s an arcane subject, and most of you reading this have no idea what I am referring to, but that’s okay. It’s not what this weeks post is truly about. It just provides the jumping off point. If you are interested, the book is called Soulsville, U.S.A.: The Story of Stax Records by Rob Bowman.

Stax Records was an anomaly in its time. First and foremost, it was integrated. Its studio musicians, the ones who cranked out all those classic soul tunes by Otis Redding, Sam & Dave, Eddie Floyd, Carla Thomas, etc. got their jobs because of their musicianship. Skin colour didn’t enter into it and that was very rare, especially in the South. This was during a time when the racial turmoil that griped the US was at its height. Once through the doors of Stax, racial differences didn’t matter. Musicianship did.

What amazes me, though, is the incredible musical creativity that existed when those band members got together. Day after day, they crafted astonishing arrangements and recorded literally hundreds of songs. With no written out musical arrangements, just feeling their way through until they were satisfied, this group of young men (mostly) cranked out more era-defining music than nearly anyone else. They’d just cut one song and move on to the next one. Their output is nothing short of brilliant. Yes, it all had a definite “Stax sound”, but the songs never sounded as if they’d come out of a cookie cutter. Each one was its own entity and in the amount that was produced, it’s truly astonishing. (I can provide a listening guide if anyone is interested.)

At roughly the same time, The Beatles were assembling their awesome catalog of era-defining songs. Their output is even more astonishing in the too brief time they flourished as a group.

Now to the crux of the matter. In what way are these two musical ensembles most similar? They all did their best work while rather young and finding their way as musicians. All were playing well “over their heads”.

In much the same way as athletes, pop musicians generally do their best work in their early years. It’s not the same in jazz or classical music, but these artists did do their best “learning” when in their teens and twenties. After that, it’s polish and experience that provides the finishing touches to what they do best and it comes mostly with years and experience.

This is not to say that pop musicians don’t continue to improve in mastering their instrumental ability. But in terms of creativity in making original music, nothing seems to beat those early years for output. None of the members of the Stax house band, as they grew older, created anything near the volume of superb and astonishing music. To be fair, they didn’t have the same chance once things began falling apart at Stax, where they worked five days a week. They weren’t recording at anywhere near the same frenetic pace. So too with The Beatles. Once they split up, their individual shortcomings were exposed simply by the fact they were working alone. Both ensembles were highly collaborative/synergistic. Everyone threw ideas into the creative pot. Solutions were tried and either worked or were found wanting. When the latter was the case, someone else would generally step forward with a different idea. The total was indeed proven to be greater than sum of its parts.

Writers, by definition, work alone. Though there are exceptions, it’s rare to find more than one person crafting the words. Yes, we can join critiquing groups or show our work to trusted allies while we’re still in the “development stages” of our writing, but that’s not really the same thing. In my own small way, I have experienced the (almost) rapture of creating something within a group. It is indeed a heady feeling. Often, it can be a harsh crucible as ideas are thrown out, reshaped, discussed and discarded by the group as a whole, but when the dust clears and you can clearly see the fruits of your labours, it is quite wonderful.

Even though I now write with words rather than sounds most of the time, something is lost. My youth is long since behind me, and with that went youthful energy levels. If I stayed up and worked all night simply because I couldn’t bear turning off the creative tap (as I often did in my youth), I would suffer physically for days, regardless of artistic elation. So that’s no longer on the cards. But I’m also working alone, there’s no one else’s creative energy to feed off of.

I believe I’m still creative in my dotage, but the fire burns nowhere as hot as it once did when I was in my teens and twenties. Shall I say that it appears to be more “rationed” than in the past? And it is nowhere near as fecund. Seldom now do ideas pour out faster than I can hope to catch and write everything down.

The saying is, “Youth is wasted on the young.” We older farts often add, “I wish I knew then what I know now.” Both are sad statements at their hearts, but no less true for being somewhat flippant.

I completely believe in both thing – but can’t do a thing about it.

Tell Me All About Your Book - No, Don't

The other day I came across this quote from British writer Hilary Bailey: 'There are only three statements you can make when writing without being a bore: "I'm writing a book,""I've finished my book," "I've sold my book – break out the champagne!" '

She's right, I thought. The book that so fascinates us that we are willing to spend a year of our lives totally absorbed in it may be of remarkably little interest to anyone else.

I had a spectacular demonstration of this just the other day, when I was away on a research trip. Ian, my husband went up to the hotel bar to order drinks and fell into conversation with a man who told him he was writing a book so Ian mentioned that I was an author.

The man immediately came over to join me and without preamble launched into the story of the book he was writing, the one he'd already self-published, and the one he would be planning to write next, as well outlining his life story which had been their source, in minute detail. When the waitress arrived to say his meal was waiting we greeted her like the US cavalry.

He left without knowing my name or what I wrote - not that I minded. I very seldom talk about a book even once it's published and certainly never, ever, about one that's in progress. Even Ian doesn't read the book until I give him the advance copy.

I often hear friends mention talking through a book with their agent, or reading parts out to friends or doing brain-storming when they're stuck and I feel rather envious – it sounds such a cosy thing to do. But once, very early on, I had what I thought was a brilliant plot and started telling Ian all about it. Next morning when I sat down to write, it had died. My lovely idea was a stone-cold corpse and nothing I could do would revive it.

I don't know why that should have been. The only rationale I can come up with is that for me writing is like telling myself a story and what drives me on is wanting to find out what happens. Once there are no more surprises, the life is gone.

So I am pathologically private about what I'm writing. I almost can't write if someone else is in the room. I loathe having to write synopses in case the worst happens, so I have to hope that my editor will take a lot on trust.

So you're in no danger if you sit down next to me; I promise I won't start boring you about my current book. My grandchildren, now...

Evildoers

I'm not a total wimp. Not spectacularly brave either. My tastes in mysteries are decidedly on the side of physiological literary mysteries. I hate books with no plot. Even if the writing is exquisite, if there is no story I feel cheated. I also lean toward "mean streets" in mysteries rather than cozies.

So I was surprised at my reaction to the beginning of a book a couple of days ago. A rape was so obviously going to take place and I simply could not stomach it. I laid the book aside. I was reading it in bed. Bedtime reading is a well-established habit and I've learned that certain kinds of books keep me awake. If a book is too upsetting it interferes with a good night's sleep. Which means I will be sluggish and unhappy the next day.

The next afternoon I resumed reading the book. It's terrific! I'm not going to identify it right now because I haven't finished it and will review it when I'm done. Here's what impressed me about the dreaded rape scene; it was not described after all. Yes, it took place, but the focus of the book was on the downfall of a young man who was a non-participating bystander who is bribed by the wealthy family the men involved to keep information to himself. The details of the crime emerge slowly as does the consequences of his disastrous choices.

It's a tale of intricate vengeance wrought by the father of the damaged young woman who committed suicide because of the rape.

Part of my reluctance to continue the book that first night was because this book is so well-written, which means literary, I suppose, which I'm beginning to equate with sad unsatisfying tales. I'm fed up with powerful, wealthy people getting away with anything and everything in literature as well as in real life. I'm disheartened by the number of books where such people are never brought to justice. It's a class issue and it's becoming more obvious all the time in our society.

The book has great characterization and I have hopes that the protagonist who is slowly growing in courage and a thirst for justice will decide to do the right thing. Wouldn't that be wonderful?

Evildoers used to be identified as such. I want those days back.  

First-World Problems

I pride myself on posting blogs that come from the heart. I figured that was the expectation -- to tell the truth and the whole truth about the writing life: the good, the bad, and the ugly -- when I signed on to do Thursday posts several years ago.

So here goes.

It hasn't been a great week. I'm oh-for-one on reviews for the second Peyton Cote novel, Fallen Sparrow (June 8). Kirkus ends a summary-packed review with "although Keeley clearly hoped to outdo himself in Peyton's second adventure, he gets in his own way with a monotonous style and a cluster of extraneous characters. Still, his tough but compassionate heroine triumphs against the odds."

Despite the plot summary, the book's most important character, not named Peyton Cote, isn't mentioned, leaving me astonished. My editor had the same response. My agent, as you would expect, is ever-supportive and says the review ends on a high note and there are more important reviews coming.

So what's the point of sharing this?

Writers are supposed to say they don't read the reviews; the reviews don't bother them; or that they never even see the reviews. Let's face it: that's B.S., and we all know it. I read my reviews. I want the feedback. I'm trying constantly to get better. But this one -- ending on a high note or not -- left me perplexed. How does one miss the novel's second most important character? Sour grapes? Maybe. Hell, probably. I put a lot of time into that book, tried to experiment syntactically more than in previous novels, and I admit that I certainly hope other reviews are better.

The only important question after a poor review is Where do we go from here? I was a college athlete before I was a writer, a hockey goalie. I played in hostile rinks where three thousand people chanted my name followed by SUCKS! I know how to get up and dust myself off.

No one was better at doing that than my late father. "It could always be worse" was his mantra. Through esophageal cancer, through chemo, through a loss of sixty pounds, through the final X-ray telling him (and us) the miracle we hoped for was not to be. One of the last things he ever said to me came following that X-ray. He lay on his gurney in the hallway of the Maine Medical Center. I knew what the final X-ray showed, what the results meant, and could think of nothing more poignant than "How are you doing?"

He turned his head to look at me. "It could be worse."

"Worse?" I said. "How could it be worse?"

"There was a little girl leaving the X-ray room when I went in," he said. "She looked like my granddaughter. That would be worse."

So, at the end of the day, I write because I love it. And I write for me. A bad review is only that and quite clearly a first-world problem. Life could always be worse -- and is -- for many others.

To Read Or Not To Read

All of the talk on Type M recently of launch parties, blurbs and author appearances has made me think about how I select my reading material and why I choose one book over another. So here’s my thought process as it relates to fiction. I have a whole other set of criteria for non-fiction, which I’ll mention later on.

The first two things I notice about a book, pretty much equally, are the cover and the title. If either one (or both) catches my eye, I’ll read the text on the back of the book to see if it’s the kind of book I’d enjoy reading. (Okay, I’ll admit to buying a book based on cover art alone, but it has to be a really, really good cover.) A bad cover turns me off more than a bad title.

When I read the text on the back of the book, all I’m really looking for is what kind of book it is (historical, romance, western, crime/mystery...) and a little about the story line. For crime novels, I’m also interested in the sub-genre such as thriller, cozy, paranormal, etc. One of my pet peeves: giving away too much of the plot on the back of the book. I would rather experience it myself. If I’m still not sure, I’ll read the first page to get a sense of the author’s writing style and the main character. (I don’t know if it’s because I’m a writer, but the writing style can make a difference.)

Setting is also key. Stories set in Scotland, Ireland, the English countryside are winners as far as I’m concerned. For a series set in the U.S., I don’t have any real preferences though stories set in places I’ve enjoyed visiting have a leg up.

If the protagonist has an interesting profession or hobby, the book is more apt to get my attention. If there’s a house with secret passages or there’s a historical mystery mixed in with a contemporary one, I’m so there.

If it’s another book in a series I love, I don’t care what the cover’s like or what the back of the book says. I’ll just buy it. But, just because I like an author, it doesn’t mean I’ll automatically buy books in a new series by that author. I have to at least read the back of the book to see if it’s a story line that I’ll like.

One thing I’ve noticed: I’ve gotten pickier as I get older. The thought that I don’t have all the time in the world to read everything I’d like to has begun to invade my head so something I might have read even ten years ago may not get a look from me today.

Where do reviews and blurbs from other authors come in, you ask? I don’t really notice them. I know they may be a factor for other people, but for me they barely register. Recommendations from friends, though, are a different matter. I read “Gone Girl” and “The Hunger Games” trilogy because of glowing reviews from friends. But I still won’t read just anything. It has to have an interesting premise.

I’ve bought books written by people I know just because I like the person. I’ve bought books after hearing an author speak at a convention just because I liked how they came across.

So that’s my take on selecting fiction books to read. For non-fiction, it’s a whole different matter. Book covers and titles don’t matter much. (Though a really good title gives it a slight edge.)

In non-fiction, subject matter is key. Books on languages/linguistics – you’ve got me. History books about time periods or places I find interesting – I’m so there. Books on natural disasters such as volcanic eruptions, major earthquakes – oh, yeah. Historical true crime of the 1800s or the early 1900s – yep.

If I like a non-fiction book by an author, I’ll generally see what else they’ve written. I’ve read a number of books by Erik Larson because I loved his “Devil in the White City”.

As you can see, I’ve discovered a lot of factors go into selecting my reading material. I suspect my reasoning isn’t much different from others. So, I’m curious...what criteria do you use?

Guest Blog : Dennis Palumbo

Donis here. I am inordinately pleased to welcome today's guest blogger and one of my favorite mystery authors, Dennis Palumbo. Formerly a Hollywood screenwriter (My Favorite Year; Welcome Back, Kotter, etc.), Dennis is now a licensed psychotherapist and author. His mystery fiction has appeared in Ellery Queen’s Mystery Magazine, The Strand and elsewhere, and is collected in From Crime to Crime (Tallfellow Press). His acclaimed series of crime novels (Mirror Image, Fever Dream, Night Terrors and the latest, Phantom Limb) feature psychologist Daniel Rinaldi, a trauma expert who consults with the Pittsburgh Police. All are from Poisoned Pen Press.

The Unknown

By

Dennis Palumbo

After 27 years as a licensed psychotherapist, and almost 40 as a working writer, the one thing I know for sure is that I don’t know anything for sure.

Maybe it’s the result of seeing hundreds of patients over the course of my practice, encountering such a wide variety of people, issues and experiences. Maybe it’s the hard-won acceptance of the idea that few things can be reduced to black or white, true or not true, but rather some mixture of the two. Maybe it’s just that I’m getting older.

I was thinking of this a few months back, while serving as a panelist at a local writing conference. I was seated between a talented, successful mystery novelist and an equally talented, successful screenwriter. The audience was made up of sincere, passionately attentive people who seemed to be yearning for something from the panelists: Some answer. Some blueprint for success. Something we three veteran writers Knew For Sure.

What struggling writer doesn’t yearn for this? I’ve taught countless writing workshops over the years, and was always moved by questions like “What are editors looking for nowadays?” “Is it better to write in the morning or evening?” “Should a writer always outline first?”

In other words, What Did I Know and When Did I Know It? The funny thing is, I used to try to answer those questions, as ultimately unanswerable as they are. I could understand from personal experience the yearning behind them, the struggle to find a path through the dense forest of a writing career, or at least to identify some markers.

Not that there aren’t things to teach, and for writers to learn. Things having to do with craft, consistency, perseverance. Things that we all need to learn and re-learn, one unceasing lesson that lasts as many days as we do.

But the most important lesson, the one truth that experienced writers know, is that there’s a limit to knowing. Which means there’s a limit to safety, sureness, technique. Regardless of the pragmatic tools you forge, the creative gifts you were given at birth, the teachers you meet along the way, sooner or later you bump up against the Mystery: the Thing That Can’t Be Known.

Because the truth is, good writing is a combination of the above-mentioned factors, yet it transcends them all. It’s bigger than the sum of its parts. You can do everything “right,” approach the work with talent, diligence and craft---and yet while on Monday the writing sings, on Tuesday it sucks.

Why? I don’t know. More importantly, you don’t have to know. You just have to keep writing.

St. John of the Cross, describing a mystical union with the Almighty, said, “I came into the Unknown, beyond all science.” That may be well and good when it comes to mystical unions, but what does it have to do with making your characters richer or solving some tricky plot problem? More than you might think. Regardless of experience, level of talent or career success, every writer “comes into the Unknown” the moment he or she begins to write.

It’s part of the compact made between the writer and that which is being written. It’s an agreement that reads something like this: “I (the writer) bring to this work my talent, craft and professionalism. I also bring a fair amount of life experience, emotional baggage, grandiose fantasies and inchoate dreads. I’m also throwing in some pragmatic understanding of the marketplace, a few story turns my agent suggested, character nuances from my writing group, and a couple jokes I’m recycling from that last novel (or screenplay, short story, whatever) nobody bought. Finally, I offer my blood, sweat and tears, enough good will to float a hospital ship, and a vague sense of wanting my authentic voice, whatever it may be, to shine through the material.”

And what can the writer expect from the other party to this compact? The Muse, the Unknown, whatever you want to call it?

Not much.

In fact, expect nothing at all. Except the occasional miracle. The great, pitch-perfect line of dialogue. The surprising story turn. Those infrequent moments when you look at something you’ve just written, something wonderful, and say to yourself, “Where the hell did that come from?” And your heart soars.

Talk about a risky business! You pour all your talent, energy and commitment into writing, and there’s still no guarantee that anything good will come of it. And when it does, most of the time you won’t know why it does.

Good writing is damned mysterious, as much to the writer as anyone else, which is probably the source of its power to move, enthrall and inspire.

I say “probably,” of course, because when it comes to writing, you never know.
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Visit Dennis’s website at www.dennispalumbo.com