The Dream

I (Donis) would like to talk about dreams today, Dear Reader. Have you ever had The Dream? You know the one. You wake up in the morning and realize that something extraordinary has happened.

A couple of days ago I conducted a journaling and memoir workshop. I pulled out some of my own old journals beforehand and went through them in hopes of finding a couple of creative examples of entries I could share with the class. Here is what I discovered: It’s horrifying to go back in time and see what was on my mind twenty or thirty years ago. Mainly because I really haven’t changed much. I was hoping I’d have learned a thing or two.

The journal that interested me most was one that I kept about a dozen years ago. At the time I was going through a period of recording my dreams.

   Mar. 5, 2004 — I dreamed that Lois and Beckie and I were sitting around smoking weed…

I have always been a big dreamer. When I was very young, up through my twenties, my dreams were incredibly vivid and sometimes prescient. As the years passed, my dreams became more mundane. Now that I am no longer young, I mostly dream about something I read or ate or just saw on television.

   October 12, 2004 - last night I dreamed I was driving John Kerry to a political rally but I got hopelessly lost. He was very patient. I kept acting like I knew what I was doing.

Like everyone else, I have the occasional weird, archetypal dream of the sort that you can find in any dream interpretation book.

   June 11, 2004 - I dreamed I went to a deli for a sandwich. I realize I’m naked, so I wrap myself in my newspaper, which turns into a gauzy blue scarf and looks very pretty. Finally I order a roast beef sandwich but realize that I can’t sit and read my paper without getting naked again…

I actually believe that many of the dreams of my youth were out-of-body experiences—floating around the house, or over the house, or visiting people in my sleep. Oh, yes, I do believe that dreams can be a portal to something. The other side, the past, the future, the answer to the question that had no answer. Early on in our relationship, my husband and I had a long discussion about The Dream that sometimes happens when someone you love dies. This is a dream that is different from all others, and I don’t care how many logical people try to explain it away for you, you know you’ve been a party to something extraordinary.

Don said three of his five siblings reported that before they knew their mother had passed, she had come to them in a dream so real that they all swore they were awake. In fact, she woke his brother by squeezing his toe. Maybe they were awake. Who am I do say otherwise?

My own mother told me that a few months after my father's unexpected death, he visited her in a vivid dream and assured her that he was all right.

Many, many years later, the January that my mother died, I told Don that I had never had The Dream, even though for decades I had really wanted some contact with my father, and now I longed to know that my mother was okay. Wanting does not make it so. But that didn’t keep me from wishing.

   Sept. 20, 2005 - I dreamed that my father was leading me through a forest. We found the nest of a tiny hummingbird, with a tiny blue egg in it. I said I wished I had a little egg like that, and my father produced one and told me to hold it in my mouth. I put it between my lips and a little bird flew up and took from my lips with its bill, and I realized the egg would eventually hatch into a blue butterfly. I knew I was being given a gift of magic words.

Awards and the elusive reader

Barbara here. Am I in the mood to rant or crow today? Well, a little of both, actually. Last Thursday night, Crime Writers of Canada held its annual awards dinner at the Arts and Letters Club in Toronto, at which the winners of the 2015 Arthur Ellis Awards were announced and feted. The Arthurs are juried awards administered by Crime Writers of Canada and given to the best in Canadian crime writing in seven categories. You can look up the winners here.

My latest Inspector Green novel, NONE SO BLIND, was a finalist in the Best Novel category, and although I didn't win, I was thrilled to be shortlisted from among 74 submitted books, and felt like a winner already. The Inspector Green series has been shortlisted four times out of ten books, and has won the award twice, which is none too shabby. Not too many series can boast that record, especially if they're written by a woman, but that's a rant for another day.

Being a finalist or winner of a prestigious award accords the writer a level of gravitas and respect that is hard to quantify. It makes them more likely to be reviewed, considered by libraries, invited to festivals and events, and so on. But does it add to their book sales? In the case of highly publicized literary awards like the Giller, very likely. In the case of the Arthur Ellis, probably not. And that is largely because the awards get almost no media attention. Since the winners were announced five days ago, I have tried to track down all the media coverage, and it is dismal. CBC had an announcement on their book page of their website, but only the truly persistent would likely ever track it down. Quill & Quire had an announcement (thank you, Quill & Quire, for your continued support of all things literary and Canadian!), which means the list will at least be read by book industry people although not likely the reading public.

But from the large daily newspapers such as the National Post, the Globe and Mail – which only a few days ago wrote that opinion piece on starving artists that Rick Blechta referred to– the Toronto Star, Ottawa Citizen, Edmonton Journal, and the major dailies in Vancouver, Winnipeg, Halifax, or Calgary... not a peep. I hasten to add that this is not for want of trying. For years, Crime Writers of Canada has conscientiously sent out press releases to a long list of media, not only of the short lists but of the winners, but rarely do the major media pick them up. As with many things these days, it is left to online bloggers, specialty online magazines, and mystery book sites to carry the flag.

When I do book signings in malls, I meet committed mystery readers who are hard pressed to name a single Canadian mystery writer. There were 74 books submitted in the Arthur Ellis Best Novel category this year alone, and there are at least 200 active mystery writers in Canada, but the public can be forgiven for thinking there is no indigenous writing community, for who ever hears about it?

Apart from a few big stars and award winners, Canadian writers are becoming increasingly invisible. The Writers' Union of Canada recently conducted a survey of its members' earnings, and determined that writers' incomes are dropping; similar studies have documented comparable drops in the UK and US. The average Writers' Union member earns about $12,000 a year. I remember thinking that's higher than I expected, until I realized it was income reported by members of the union. The union costs nearly $200 a year, so many marginal or beginning authors wouldn't even join.

Okay, so that's the rant; now the crow. Readers are learning about new authors through online blogs, Goodreads, and other internet social media avenues all the time, but another way for authors to connect with readers is through festivals, conferences, and other grassroots book events such as Word on the Street, which is held in several big cities across the country. Ottawa, to its shame, has not held a Word on the Street in over ten years, but finally, thanks to the vision and hard work of a local group, Ottawa has a new full-day outdoor festival of the written word. The first annual Prose in the Park is being held this Saturday June 6, at Parkdale Park beside Parkdale Farmers' Market from 11 a.m. to 6 p.m.

Here are some of the highlights.  As of this writing, 150 Canadian authors will be there selling their books and talking to the public, 20% of them Francophone. Fifteen author panels and numerous special events and readings will be held, by everyone from poets to crime writers. I myself am on a mystery panel at 3:30 called With Criminal Intent, along with fellow crime writers Brenda Chapman, Vicki Delany, Dave Whellams, Robin Harlick, and Erika Chase. Our books will all be for sale in the Capital Crime Writers Tent.

It's a great new initiative, and a wonderful chance for those who love the written word to learn about the talent in their own country. In some cases, right on their own doorstep. Pray for good weather, and come browse, chat, and meet the artistic creators who reflect on and chronicle your own life and country. That's the best part about the day. The second best part is that it's free!

If the artists starve, we’ll all go hungry

A few weeks ago I was trolling the internet (meaning searching, not writing snotty responses to postings!) and came across the linked opinion piece on The Globe and Mail website. After my posting of last week, I think it’s entirely appropriate to follow up with this view. It certainly hits the nail squarely on the head. Why don’t you read it? Click HERE. I’ll wait for you…

As you know if you’ve hung around Type M for any amount of time, I wear two hats, artistically speaking. Not only do I write, I also play music. I have many friends who are creators of art in many fields. I think we could all say the same thing: it’s nearly impossible these days to make a go of it.

To be honest, it always has been. In times past, artists used to have sponsors and supporters, people who felt that their art was important and valuable – and were willing to put their money where their mouth was to support starving artists. Sometimes these people commissioned works. Sometimes they just gave money. The important point was, the chosen artists had the financial means to devote their life to the creation of their art.

Such sponsors still exist, but they’re  few and far between. Philanthropists tend now to bestow their largesse on institutions. That’s worthy, too, but it doesn’t necessarily create new art.

When I first came to Toronto, I was playing in a band, a very good band called Devotion. We could actually make reasonable money playing in bars on weekdays and doing one-nighters on weekends. This allowed us to work days on original material, rehearsing it, refining it in front of audiences, all with an eye to getting that chance at the big time with a recording contract. It didn’t happen, of course, but that wasn’t the fault of anything but our own stupidity and inability to rise above our egos.

The point was, though, we could survive doing music full-time.

Now? Good luck. Very few clubs have live music and almost zero hire bands for a week. You’re lucky if you can get one night per week in a particular club. The money also hasn’t kept pace with inflation at all. In fact, it’s less than what we made in 1974! It’s said with gallows humour in music circles that a musician is a person who piles $50,000 worth of instruments into a $5000 van to drive 500 miles to play a $50 gig. The sad thing is, it’s actually true.

As noted in last week’s post, it’s pretty much the same thing for mid-list authors.

Even combining what I make in both my artistic endeavors, I wouldn’t be able to even make the dividing line between poverty and “doing okay”. Hence the graphic design job I also do.

Does anyone owe me a living? No. I do what I do because I’ve chosen to. I probably could have been an excellent lawyer or doctor. I chose music as my career (the writing came later and more slowly) because I couldn’t imagine doing anything else with my life. I spent a hell of a lot of time and quite absurd amounts of money to learn my craft, and I’m good at it.

It sure would be nice to be able to pay all the bills and have a little disposable money left over at the end of the month, though…

How Real is Real?

I wrote a previous blog just before I went to CrimeFest, the big Bristol crime convention. I always enjoy these events: interesting panels, nice parties, kind readers and old friends – what's not to like? But afterwards when I think back it's often one of the topics I've been asked to discuss that stays with me long after the parties are only a fond and distant memory.

On one of the panels I was on, the question of realism came up. Realism – often described as 'gritty' – is all important now; the flippant fiction of Golden Age detectives who wonder round explaining to the police where they are failing is long gone and TV crime dramas parade their consultants with on-the-ground experience to prove they have got things right.

But one of the panel members was Elizabeth Haynes, who had actually been a police intelligence analyst working to make sure that police effort is, given the available evidence, directed to the areas of investigation most likely to produce results. It sounds exactly the sort of background you might choose for a protagonist – a little off the beaten track, not just quite another copper – yet she admitted that in reality her job was actually sitting in front of a screen, trawling through reports.

I think we all know, though we may not often say it directly to our readers, that any book that accurately depicted the life of a detective would be so boring that the reader would be asleep before the end of the second chapter. If our protagonist was a humble DC, his life would be spent knocking on doors. More than likely the breakthrough would come when someone turned up at the police station to tell them what happened, possibly even in exchange for money.

The crime scene job is so specialised now that a DI would never be at a crime scene; he'd see the photos or read the reports on screen. By the time he or she reached the dizzy heights of senior rank, their working life would be administration and meetings.

What we write is fiction and the good thing about fiction is that you can make your own rules. On the other hand, there was a highly successful TV drama in Britain called Broadchurch that had everyone on the edge of their seats. It was brought back for a second series but this one involved a court case which was so ludicrous in its inaccuracies that it lost thousands and thousands of viewers, despite a very compelling story. (I stopped watching till the court part was over but I confess I dropped back in for the denouement.) They stepped over the line and forfeited what Keats called 'the willing suspension of  disbelief',' the tacit agreement we all hope to have with our reader.

So does 'realism' actually have any proper relationship with reality, or is it no more than the painted flats at the back of a stage that pretend to be a landscape?    

Guest Blog: Aly Monroe

Aline here. This time it's my pleasure to introduce you to the sharply intelligent and impressively thoughtful Aly Monroe.

Aly lives in Edinburgh though she lived in Spain for many years. Her Peter Cotton series – The Maze of Cadiz, Washington Shadow, Icelight and Black Bear – follows the fortunes of a young British intelligence agent amid the changing realities of the post-war world. She was shortlisted for the prestigious CWA Historical Dagger for Washington Shadow and won it with Icelight.

A Time to Kill

My first book, The Maze of Cadiz probably started one Christmas, many years ago, when we lived in Spain.

About a week before Christmas, in the building where we lived, I met a twelve-year-old neighbour who was accompanied by a turkey on a lead. I say lead but it was really a red ribbon. The girl, who was called Maria de los Angeles, explained to me that she was taking the Christmas Eve meal home. The Spanish start celebrating Christmas on the evening of December 24.

Throughout December, it was quite common to see gaggles of live turkeys in the street, brought into the town from the country, without having voted. People would install them on their verandas to fatten them up.

Being British, I was not accustomed to meeting meals when they are still able to walk. Since I have a son who lives in the US, I’m pretty sure Americans will know what I mean. The day before Thanksgiving I have never seen a turkey blinking at me.

I complimented Mari Angeles on her turkey – ‘Nice and plump,’ and she seemed quite excited. Then she told me it would be killed the next day.

 ‘Ah, ‘I said, ‘and who does that?’

She turned to me with a gleam in her eye. ‘I do,’ she said. ‘I do it every year.’ Her mother, she said, was ‘too squeamish’. I nodded politely. ‘I cut the throat, like this,’ she said. ‘Zas!’ Zas is Spanish comic strip speak for something like ‘Zoom’ or even ‘Kerpow!’ in English. In case I was in any doubt she added. ‘I like it.’

We had arrived at her floor. ‘ Come on,’ she said to the turkey. “Feliz Navidad,’ she said to me.

I did wonder on the remainder of my trip upwards what it would take to kill a person. Would a young man intent on assassination be a sufficient justification? I wasn’t sure but I decided to see what I could do with what became my first Peter Cotton book.

The next year my elder daughter’s Godmother sent us a turkey from their farm. Since she knew me, the turkey arrived plucked and very recently dead on the evening of December 23.

‘Ew!’ said my younger daughter. ‘Why is the meat twitching?’

No, I didn’t become a vegetarian, but I sometimes wonder what became of my little Spanish neighbour. I do hope she developed a taste for crime fiction.

www.alymonroe.com
http://alymonroe.blogspot.co.uk

Touchy Situations

There are so many things they don't tell you about when you become a writer. Recently, I've had to side-step a situation that is very uncomfortable for me. That is telling friends they absolutely cannot come along on an interview.

This is a hard and fast rule that I've developed because of my first experience. I was working away on a historical book back when I lived in Kansas. A lady I hardly knew wanted to come with me to Atchison, Kansas and show me around. I could have shown myself around. It's not hard to find places in Kansas. But it was important to her to go that day, so I foolishly said yes.

I appreciated all the things she could tell me about the town. But things fell apart when we went to a convent and I interviewed a nun who knew a great deal about her order. My companion could not have been more insulting. An interview to collect an oral history is not an antagonistic interview.

I don't conduct an interview with the stance of a lawyer or a reporter from CNN. I want to gain the person's trust and evoke memories. I am interested in their opinion. That's all. Objectivity is a myth when it comes to family stories. Your own account of an event will differ widely and wildly from your sister's brother' memories.

Sometimes it's easy to gain an interviewees trust. Sometimes not. However relationships change the moment someone new enters a room. Like throwing a rock in a pond. Ripples pulse.

My companion that day obviously hated Catholics. I mean seriously. She challenged every statement. Her attitude ruined the interview.

Writing is such a learning process. There are so many things that are not written down.

The good (little) guys and Big Macs

I read Rick's excellent and thorough post How writing is a mirror of what is happening throughout society and was struck by how accurate – and bleak – his take on the current state of publishing is.

Make no mistake, if you're a mid-lister, the publishers hold the upper hand.

But I was also struck by Rick's conclusion: "But there are a lot of good guy publishers out there, manned by people who get it. Here’s to the companies that resist temptation and are interested in everyone making money fairly. They seem to be few and far between – and are an endangered species themselves."

I've never been with a large publisher. In my twenties and agent-less, I sold my first novel, Cut Shot, to tiny Sleeping Bear Press, which was sold to a conglomerate a couple years later. Then I moved the series, in 2001, to the University Press of New England, which published the next four Jack Austin books. In 2013, Five Star/Gale published This One Day, a standalone. And I'm with Midnight Ink, an indie specializing in crime fiction, now.

Based on my experience with Midnight Ink, I'd say this house fits Rick's description of a "good-guy publisher." This opinion is based on an embarrassing trend emerging in my own writing life: for the second consecutive year, I missed my May 1 deadline, and Midnight Ink Publisher Terri Bischoff has read the work-in-progress and offered a thorough critique that I use as a write the final third of the novel. What this means for me is that I get Terri's input before I get my editor's feedback. Therefore, I'm getting two thorough reads on each novel. Lots to think about, yes, but I'm thrilled for the feedback.

This example speaks to the differences I see between working with a large publisher and an indie. When my agent was shopping my Peyton Cote US Customs and Border Protection series, she got some interest from New York. I called a trusted writer friend who has been in the game longer than me and who has been successful enough to be writing full time. I asked him about the New York house and about Midnight Ink. "Everyone I know who's with Midnight Ink is happy. Everyone I know who's with [large New York house X] isn't." The large publisher's business and promotional models that my friend described (and which, based on discussions my agent had with them, seems accurate) was simple: offer a two-book contract, publish them, and see what happens. If (when) they don't sell, walk away. Throw them at the wall, and see if they stick.

Indie houses don't use this mass-production business model; they can't afford to. That model seems better suited for Big Macs than books. It might mean the smaller advances Rick wrote about, but, as a writer, I'd rather take less advance than have my work be treated like a fast-food product.

Here's to the little good guys.

___________________

As an aside, tonight I'll be at the 2015 Maine Literary Awards given by (this is somewhat ironic, given this post) the Maine Writers and Publishers Alliance in Portland, Maine. Bitter Crossing is a finalist. It should be fun.

As Sick as a Parrot

Sybil here. I’ve been working through the comments from my editor for my next book, Paint the Town Dead. As usual, she has many useful things to say. And, as usual, some cliches have managed to slip through. To keep the flow of writing going, I don’t worry about cliches in the first draft, but I do try to excise them from the one I send to my editor.

This exercise got me thinking about cliches and how to get rid of them so I consulted my trusty(?) internet and came up with a few websites that I thought you all might find interesting.

The first one that popped up was from the Oxford Dictionary, which had a procedure to help get rid of cliches in your writing. (‘Cause as a former programmer, I can relate to algorithms and procedures.) What struck me as funny about this one was the first “cliche” noted on the site: as sick as a parrot. Well, as a United Statesian*, I had never heard of this one. Had to look it up on the internet to find out it means “to be very disappointed”. I’ve never read or heard this anywhere here in the U.S. I assume, given this is an Oxford Dictionary site, this is a British thing. Is it common in Canada as well? Has anyone heard it in the U.S.?

The next site I visited was tips from Grammar Girl on avoiding cliches. This one has some interesting historical tidbits on where some cliches come from as well as suggestions on how to get rid of them. Plus there are some links at the bottom of the article that I found interesting.

One in particular was the Phrase Finder where you can type in a word like “cat” and it’ll tell you phrases that include that word. Raining cats and dogs, no room to swing a cat,... For each phrase there’s a discussion on its origins. Great fun if you want to avoid doing real work.

And the last site I found before I gave up on searching was http://writing2.richmond.edu/writing/wweb/cliche.html

I’m sure there are a lot more sites out there with tips but I must get back to my edits since they’re due in a week.

*United Statesian – see Donis Casey’s post awhile back on Thanksgiving where she mentions the phrase in a footnote: http://typem4murder.blogspot.com/2014/11/thanksgiving-already.html

How writing is a mirror of what is happening throughout society.

by Rick Blechta

It seems as if every day brings a new report of some corporation or other shuttering factories or closing down altogether. “The jobs have are all being moved to [enter third world country name here],” as if these things happen by accident. It’s almost like “Honest! We came in Monday morning and all the jobs had gone to China. We have no idea how that happened! When we locked the doors on Friday all the jobs were here. Then this morning, poof! Every single job (except mine, of course) has moved out of the country.”

Another trend is making do with less. Taxes are as high as ever but the services they pay for keep shrinking. Here in Toronto, we get far less garbage pick-up, door-to-door postal service is being phased out, we’re paying more and more for programs that used to be free, and our infrastructure is still falling about. That’s just on a local level.

Closer to home (for writers), we’re also being expected to do far more for far less. When the idea of advances against royalties was first adopted, it was put forward so that a writer could support him/herself while writing the book. It wasn’t free money by any stretch. If the book did reasonable business, the advance would be paid off and the company would begin handing out more royalties when it was. In the meantime, the writer didn’t have to try to juggle a day job and writing or risk starving to death along with their families. An advance against royalties was also a vote of confidence by the publisher that the book would do well enough. If they picked well and promoted well, they’d get their advance paid off.

In more recent times, the playing field has shifted dramatically and each shift has been away from writers. Here’s a partial list:

• The value of advances has plummeted. These days a writer is lucky to get even $5000. Quite often it can be under $1000. For most of us, that’s a few weeks of very frugal living, certainly not long enough to write a full-length book.
• Authors are expected to do the majority of their own promotion. Publicity departments even ask us to write ad copy. Ad copywriting is a very refined and arcane art. I don’t believe most authors are equipped or experienced enough to do it effectively. Why are publishers asking for this to be done when it’s in no ones’ best interest?
• Most authors have to organize their own live appearances, book signings, readings.
• We’re expected to have websites and pay the cost of them.
• We’re expected to blog (which is precisely why I and the rest of the Type M members are here).
• Need to travel for research? Pay for it yourself.
• Need to travel for an appearance? Get someone else to pay for it.

The real changes in publishing, though, have gone by with fairly a whimper.

Here’s one: Advances given out for one book, may be paid for by the royalties of another. It works like this: Book 1 gets an advance of, say, $1000. It does okay but royalties on sales made only reach $500. Book 2 also gets a royalty advance of $1000 and is far more successful, paying back its advance quickly. The royalty statement comes in. What’s this? The author should have received $400 in royalties from Book 2, but they aren’t there. They’ve been applied to what was owing on Book 1. That is not the way the system was set up. Advances become a much more win/win situation for the publisher. (And don't get me started on the dodge that royalty periods are now a year because it’s “so expensive to calculate and produce royalty statements”. It’s done by computer. You must have bought the wrong software, bunky!)

Here’s another: Due to technology changes, books no longer go out of print. Even if they don’t have stock, a publisher can do a print run as low as 1 book at any time. Voila! We’re back in print. E-books serve the same function since they only exist as a file stored on a computer. Technically, the book is always in stock. So if the author wants the rights to their work back, good luck with that.

A third one (and this is a really troubling trend): An author gets a book deal for a new series. A clause in the contract states that the publisher gets the rights not only to the novel but also its characters. Huh? That way, if the author moves on, the publisher holds the rights to the characters so no new books in that series can be written by the creator for another publisher. The goal of this is two-fold: the publisher can hire another author to continue the series, or the publisher can demand cash to sell their rights to the character. Either way, the author is left in a terrible bind. This one is on the new-ish side and not all publishers are doing it, but my guess is that it will spread.

Agents can help with all of these things, but in the end, the publisher generally holds all the cards or has at least a very strong hand. Quite often (with new authors especially) it’s presented as “take it or leave it”, and many are desperate enough to get published that they take it.

We’re all in this together. Publishers have always claimed poverty. In some cases, it’s true, in others, not so much. Either way, we’ve been so conditioned to expect less and less, who can blame corporations and businesses by trying to use the paradigm shift in general society to their own advantage?

But there are a lot of good guy publishers out there, manned by people who get it. Here’s to the companies that resist temptation and are interested in everyone making money fairly. They seem to be few and far between – and are an endangered species themselves.

The Perils of Technology

By Vicki Delany

I enjoyed Barbara’s post on the complications of crafting a plot around modern technology, cell phones in particular. In the Constable Molly Smith series, I have to always be thinking of DNA results, fingerprint analysis, cell phone records, bank warrants, and on and on, when what I really want my characters to concentrate on is what the suspect says, and how they react, what the witnesses saw, and what they only think they saw.

But now that I’m writing cozies for Obsidian and Berkley Prime Crime, I am delighting in not having to worry about most of that stuff. Because the so-called-sleuth isn’t a detective or police officer, she doesn’t have access to any forensic methods, or computer data bases. She can’t order suspects to talk to her or obtain a warrant to check bank or phone records.  

Cozy mysteries are often called traditional mysteries. Somewhat of a misnomer, I think, but in this one aspect the name fits. The sleuth has none of modern policing and forensics at her disposal. All she has to go on is her observation of human beings, what she knows about people, what she can detect from what’s happening immediately around her. And gossip, of course, where would the amateur sleuth be without gossip?

Usually obtained at the bakery or coffee shop over a latte and blueberry scone.

I am enjoying writing these books a lot, and part of the reason is that I can forget about all that techo stuff, and just concentrate on the people. It’s all about the people. Sometimes people lie, or they forget, or they misrepresent, and it’s up to the amateur sleuth to parse her way through lies and misdirections. Sometimes she’s not so good at it. And that’s the fun of the writing too.

However, there’s still the sticky problem of cell phones and calling for help. Even an amateur sleuth has a cell phone. In the second book in the series, Booked for Trouble, I had to tie myself into knots when someone is kidnapped and spirited away in a car and Lucy Richardson chases them in her mother’s Mercedes SLK (and was that a fun scene to write!) Why the heck, the reader might ask, does Lucy not just phone the cops and tell them what’s going on?

You’ll have to read the book to find out how I got around that one.

Up and at 'em!

Finally, after five long years, my new book is out, Rescue From Planet Pleasure. What took so long?

Well, first of all, I had to write the damn thing. But it's more complicated than that. In 2010, after my fifth book in the series was released, HarperCollins chose not to renew my contract. The reason? Sales. The situation baffled to me. Everyone told me each book was better than the previous, but as you tracked my sales numbers, they declined with every new title. So I was frustrated and bitter with publishing. Seems that no matter what I did, I felt like Charlie Brown trying to kick that football. Let me qualify that. I was and am grateful for all the success that I've had, but I can't deny my frustration at trying my best and coming up short.

I had cooked up some new stories which I submitted as partials. But no bites. So for two years I was spinning my wheels with nothing new in the pipeline. Since no one in publishing showed interest in my stories, I didn't finish them. Meanwhile, the Amazon ebook boom was taking off, and I had nothing to offer. But day by day, fan emails trickled into my mailbox. "Where's the new Felix story?" "You left so much unresolved. You owe us." So I picked myself up, dusted myself off, and got back on that horse to start writing book six. My intention was to self-publish but at Comicpalooza in Houston, TX, I ran across the WordFire Press booth in the dealer's pavilion. I was impressed by their hustle and presentation. WordFire is a regional press owned by SF writer extraordinaire Kevin J. Anderson. He and his stalwart crew have not only put together an impressive stable of writers, they also formed partnerships with other publishers to juice everyone's authors. I decided to throw my hat into their ring. I commissioned an artist friend, Eric Matelski, for the cover and he did a fantastic job. WordFire did the legwork with the editing and formatting. This weekend an advanced copy will be available at Denver Comic Con.

Am I happy? You bet. How am I celebrating? By writing Book 7, Steampunk Banditos. Coming next year.

Finding a Character's Achilles Heel

In the mythology of Archaic Greece, Thetis, a sea goddess, marries the mortal hero Peleus. To give their son, Achilles, immortality, she – in one version of the myth – dips the infant into the Styx, the river of Hades. But she holds him by his heel, and that part of his body remains vulnerable.

Although Achilles becomes a legendary warrior, he is killed by Paris with an arrow to his heel.

I have been thinking about Achilles and his heel. I've also been thinking about the "tragic flaw" that is the undoing of Shakespeare's heroes – Othello's jealousy, Macbeth's ambition, Hamlet's indecision. I've been thinking about vulnerabilities because of the two main characters in my 1939 historical thriller. I have an upright, highly moral hero who right now would be chewed up and spit out by my villain. I have a villain who is vile and despicable, who will not hesitate to do what is required to achieve his goal. My hero is a black college-educated sleeping car porter and son of a Southern Baptist minister. My villain is a white New South business man, the son of a doctor and grandson of a Civil War general. Right now, I'm finding my hero's minister father and my villain's father, the doctor, a lot more interesting than hero and villain.

Something's wrong. And I know what it is. My thriller is a big story – moving through the real life events of 1939.  But my hero isn't up to the task. Easy enough to have him discover that something is a-foot. But not at all believable right now that he would pull together his own team of men to pursue the villain and his co-conspirators. Right now, I can't imagine my sweet, idealistic hero doing battle with my villain at the end of the book. My hero must grow. I need to find what it is that would push him to do the things that he can't imagine doing – taking charge, going after the bad guys, taking them down. Idealism will only get him so far.

And then there's my villain. I need to get him out of that black cape – not that he's wearing one. In fact, he seems to be a amicable, cultured, man of integrity. But in my head, he is wearing a black cape and twirling his mustache. I don't like him. But I need to know him. I need to find the Achilles heel, the tragic flaw (from his point of view) that will make him vulnerable. What will shake my villain? What will make him hesitate or make a questionable choice? He will have all the advantages in this game, but I need him to have an Achilles heel.

I've been thinking about these characters for a while, and I had hoped to know them better by now. I've never tried to write a thriller, but I know that the kind of thriller I want to write requires characters who are both three-dimensional and bigger than life. My villain has a plot of epic proportions. He has the money and the knowledge and the access to carry it off. But the question is why would he? Making him a mad man is too easy. I need him to be a zealot, a believer in his cause, a man who thinks he is can do this and get away with it. I need him to at the same time be a son and a friend and a man who is in love. I need to use what is "good" about him to make him three-dimensional. And then I need to give him an internal conflict. He needs to be a man bent on a course, but something makes him stumble or overreach or get careless.

As for my hero – my poor, sweet, kind hero – what is going to fire him up? The book will only work if he is who he is. Right now, I can hear his voice, but it's a voice that is so alien to me that I'm resisting letting him be who he is. I think my only solution is to dig deeper in my historical research and understand him better. College-educated, working as a porter, saving money to go to law school – about to take on a task that he could never imagine. Why? Because he is who he is and can't turn to the police or the FBI with his suspicions. But he's still not up to this. He is smart enough, but not determined enough. He believes in justice. He is optimistic about the future. Now, I need to have him believe that the future he imagines for himself and his country is in jeopardy. He needs to believe as passionately as my villain does that he needs to do what has to be done.

My hero, my villain, and I have a long way to go before the final confrontation. But writing this post has helped me see what I need to do. I need to believe in this story that I want to tell. I have a plot. I have characters. One more dip into research and then I need to start writing and see what happens. Sometimes a writer needs to take a leap of faith.

I Feel Your Pain...

I, Donis, get so many ideas for blog entries from my fellow Type M-ers. When they write about their writing influences, about being over-committed, on-line presence, plotting and characterization, conferences... Oh, I understand every word. I feel you pain, your worry, your love and longing, your satisfaction, in my bones. It's the joy of writing. I had difficulty deciding which theme to follow up on this week, but when I read Rick's post of May 12 (Ah, the Writer's Life for Me), I was immediately reminded of a post I did many years ago about what really runs through an author's head when she's doing a book signing. I would bet that there is not a published author living who has not had at least one of these thoughts run through her head. Please indulge me, Dear Reader, as I repost an entry about an experience to which we can all relate.

What did you just say?

The Author is spending her afternoon in a bookstore, doing a signing. She is pulling out everything she has in her bag of tricks, trying to interest shoppers in her latest book.  She does not sit.  She has all kinds of things to give away, including candy, on the table.  She hands bookmarks and flyers to anyone who comes within ten feet of her table.  She smiles so much that her cheeks hurt.

She does not bother those who pass her table with their faces averted in order to avoid eye contact, but she engages with anyone who seems interested, and she talks about whatever they want to talk about, all the while trying gently to steer the conversation around to her book.She is tact itself.  She knows exactly what to say to the questions and comments that are directed at her again and again.  But what she says and what she is thinking bear little relation to one another.  Let’s listen in…

COMMENT 1: I don’t like mysteries.
THE AUTHOR SAID: What sort of thing do you like to read? OR Do you know someone who does like mysteries?
BUT SHE WAS THINKING: What do you mean you don’t like mysteries, you knucklehead?  Have you ever read one?  Do you know what a mystery is?  A good mystery is a psychological drama extraordinaire.  Even Hamlet is a mystery – did Uncle Claudius kill Daddy, or is Hamlet just nuts?

COMMENT 2 : I don’t read anything that doesn’t have a contemporary setting.  If it happened before I was born, it doesn’t interest me.
THE AUTHOR SAID: Sometimes you can learn a lot about what is happening today by reading about the past.
BUT SHE WAS THINKING: Come over here so I can slap you upside the head, whippersnapper.  Don’t you know that people in the past were exactly the same as they are today?  Don’t you know that people never learn, and the same things keep happening over and over again?  That those who don’t learn from the past are doomed to repeat it?  Of course you don’t, since you were either born yesterday or just fell off the turnip truck.

COMMENT 3:   I have a great idea for a novel.  If I tell it to you and you write it we can split the profits and become millionaires.
THE AUTHOR SAID:  I’m sorry, but I’m under contract to write X number of novels for the next 20 years and just don’t have time to ghost write.  But there are people who do that.  Look on the internet.
BUT SHE WAS THINKING: Are you too busy/handicapped/lazy /illiterate to do it yourself, or do you simply have no concept of reality?

COMMENT 4:  You’re the first real author I ever met.  I just finished my first novel.  Will you show it to your editor/edit it for me/recommend me to your agent or publisher?
THE AUTHOR SAID:  I’m sorry, but my agent/editor/publisher won’t allow me to read or recommend unpublished manuscripts in case one of my future stories has similar elements and we get sued for plagiarism. But I can give you some tips on how to get started.
BUT SHE WAS THINKING: No.  I’ve never seen you in my life.  How do I know you’re not a psychopath? Get away from me.

COMMENT 5: I’m not interested in your book.  I’ve never heard of you.
THE AUTHOR SAID: (she launches into a long tale about how years ago she bought a signed first edition of Outlander before anyone ever heard of Diana Gabaldon and now that book is worth at least $650.)
BUT SHE WAS THINKING: Actually, I’m going to be on the six o’clock news tonight after my arrest for assault.

(The author is just joshing.  I LOVE everybody who speaks to me during a signing and would never have an ungenerous thought about any of them.)

Those pesky cellphones

Barbara here. We have all seen the park benches, restaurant tables and buses where everyone is hunched over their favourite electronic devices, thumbing through data on a minuscule screen to the complete exclusion of the outside world and their friends beside them. The art of conversation, and of real-time, real-life connection, is being lost, and at times I despair of the future of humanity.

I am not writing about the demise of humanity today, however. That's a post for another day. I am writing about the challenge of writing a suspenseful thriller or mystery in our digital, over-connected world. Almost everyone has a smartphone, and digital towers are springing up all over the world, even in remote deserts. Not only can these phones communicate instantly by text or voice, but they have built-in GPSs and location functions, so you can look up where you are, and others can look up where you are. In addition, the phones have cameras, so you can take photos of bad guys, pursuers, and suspicious characters and instantly text or email them. Help is rarely more than a click away. Danger is averted and the murder solved, possibly within fifty pages.

That is a serious problem. As cellphones slowly encroached on our lives, we writers devised ingenious ways of disabling them in order to ensure that the suspense and drama could continue to escalate. The wretched things have been dropped in puddles or absentmindedly left on bedside tables. The batteries have died. But we are running out of fresh ideas. Our hero can forget her cellphone once, but do it twice, and the writer risks an impatient eye roll from a reader who, having seen this ploy before, has been silently screaming from the sidelines "Don't forget your cellphone, you idiot!" Or "Not another puddle!"

In the city, a writer has to stand on her head to get around the problem of cellphone coverage, public wifi (and old Starbucks or Tim Hortons will do), and Google map functions that can tell you the location of any place you want and how to get there. It's really hard to be lost or out of touch in the city. It used to be that there were enough dead zones in rural areas that a writer could get away with having no signal for their hapless hero to use. This still happens, but it's increasingly rare. Add to that the availability of satellite phones, and the excuse of no signal becomes tenuous. What halfway competent, forward-thinking hero would head into the wilderness without a satellite phone, beacon locators, or at least a hand-held GPS?

Well, mine. In my latest book,  FIRE IN THE STARS, which was just submitted to the publisher, there would have been no story if she'd had those things. She would have phoned the RCMP, they would have pinpointed her location, and that would be that. I was forced to use some ingenuity to explain why she had no sat phone, GPS, or even a functioning compass, when she headed into a remote region of northern Newfoundland. I knew she was a smart, resourceful woman, so I had to explain why she would risk her life and continue on rather than going back for help or being prepared in the first place. Many remote parts of Newfoundland have spotty cellphone coverage, and handily even the police radio signals are not always reliable– another challenge for the writer of modern crime novels. Satellite coverage– whether for radios, phones, or GPSs– can also be disrupted if a hill or other obstacle blocks the signal, but using that excuse more than once or twice also risks an eye roll from jaded readers. "Just climb the freaking hill", they would shout.

The problems really started with the advent of 911 (or possibly with telephones themselves) but has steadily worsened. We have all read books where the hero gets herself into a ridiculously complicated situation while the reader is silently thinking "Oh for Pete's sake, why doesn't she just call 911?" Modern readers are savvy, and you can bet some of them know the latest tech gizmos that every intrepid hero should not leave home without.

Cellphones and other devices can be used to advantage for the writer too, of course. A cellphone can be found by the dead body, and its history and messages can provide clues. Cellphone conversations can be choppy or incomplete, the signal fading at the crucial moment when the killer's name is being mentioned. Computer search histories and emails are a gold mine of information to enhance the mystery. We writers have embraced that. Now if we could just lose that pesky smartphone when we need to. Anyone out there have any other ideas?

Old friends

I really enjoyed Aline’s post yesterday. There are a lot of former bestselling crime writers whose literary light has dimmed over the years. Sometimes it’s for a good reason: their work has gone out of print, just wasn’t that good, or possibly their stories don’t related to the world we now live in. But for some of these writers, there’s just no explanation. They simply faded away – usually after they died or stopped writing.

I remember quite clearly when I started reading a lot of crime fiction. It was in my 18th year and I was working as the “pool attendant” at a resort in Maine. The clientele was older and many never came down to the pool. My job was to hand out towels, serve soft drinks out of one of those great, water-filled coolers that were once very popular, and take food orders which I’d phone up to the kitchen. I guess I was also supposed to be the life guard, although I didn’t have any official papers in that regard. I did have to fish out the odd youngster who got down to the deep end without sufficient swimming skills.

Needless to say, many of my days were filled with mostly nothing work-related.  Unless it was raining, I had to be there at all times from 9:00-6:00, if memory serves, and there were whole days where no one came down. (Sidebar: I wish I’d been a writer then. I probably could have written an entire novel that summer!)

Like many resorts, there was an unofficial library full of books, donated by patrons who’d finished them while vacationing. Looking for something to fill my otherwise vacant days, I raided the shelves religiously. Since I’m a fairly fast reader, this was often a daily occurrence.

As you can imagine, there was a lot of crime fiction. People tend to read it while on vacation. I remember a whole shelf of Agatha Christie. Once I’d gotten through the Poirots that were there, I moved on from her, not enjoying the Miss Marple novels.

I also found a lot of Nero Wolfe novels. I didn’t understand at the time why it happened, but I instantly fell in love with Rex Stout’s writing. In looking back at my own work, I can now see how the seed was planted for my penchant for telling stories in first person. When I first began writing seriously, I also studied Rex Stout to understand exactly how his crisp dialogue moved the story along and described the action so well. He didn’t need paragraphs of descriptive prose when he could tell you so much about surroundings using what his characters said. I also identified with the real places about which he wrote. I could “see’ Archie driving up the Saw Mill River Parkway to a weekend at Lily’s country home since I knew that road very well.

Archie Goodwin remains a character favourite with me. I never really warmed up to Wolfe, but I don’t think Stout wanted readers to necessarily do that. Kramer, Fritz, and Saul became like old friends.

That golden summer, I read every single Stout book on the resort’s shelves and bought the very few they didn’t have.

Today, Stout is not all that popular. The last time I went to a (non-mystery) bookstore up here in Canada, they didn’t have even one of his books. Many are out of print.

I’m not equipped to judge whether Stout’s day has past, because I have too much emotional investment in his novels. There are real events and things he mentions that are lost in the mists of time. Certainly a young reader would find much that wouldn’t be understood unless you undertook some research. The characters speak in a way and use vocabulary that is long out of style.

For me, though, these books remain quite delightful whenever I pick one up to reread again. Perhaps it’s because they represent a time in my life that was really wonderful. I had a very pretty girlfriend whom I loved desperately. There were long summer evenings (in Maine!) with her. I had a job that allowed me, basically, to spend almost every day reading — and I got paid for it!

Now, my question is this: Aline has Margery Allingham and I have Rex Stout. Do you have a favourite author whose books have fallen out of style or favour? Come on! Don’t be shy. Tell us all about them.

Forgotten Writers

I've been having to work hard at my homework this past couple of weeks. CrimeFest, the huge crime festival in Britain, gathers the clan of crime writers together from all parts of the British Isles and far, far beyond and I'm on two panels.

One presents no problems. 'It's a Fair Cop' is its title and four women writers – Elizabeth Haynes, Sheila Bugler, Valentina Giambanco and me – with a moderator, Priscilla Masters, will be discussing our female protagonists. I've often done this sort of panel before and it's usually both easy and fun, with lots of interesting issues coming up.

The other one is different. The other is called 'Forgotten Writers' and it's based on Martin Edwards' fascinating and scholarly book, The Golden Age of Murder, about the crime writers between the two World Wars who were involved in the famous Detection Club – GK Chesterton, Dorothy Sayers, John Creasey, and so many more.The challenge for each of us on the panel is to talk about two of the writers who  have somehow been forgotten over the years so I have to know something about them, instead of just chatting on.

My two writers are Ronald Knox and Margery Allingham. I was taken by surprise when I realised that she had somehow dropped out of the truly famous bracket since for me she has always been one of the greats. As a result, I went back to the books with some trepidation but found that they are still just as fresh and lively as they were then. They are dated, of course, but no more so than the ever-popular Agatha Christie's are, and Margery Allingham's Albert Campion is quite as much of a character as Hercule Poirot. And with Allingham, you have the amazing bonus of Magersfontein Lugg, the burglar turned gentleman's gentleman – one of the joys of English literature.

I have become totally addicted. Who wouldn't be, after reading the section where Lugg solemnly teaches the six-year-old daughter of the country house where the murder has taken place how to pick a lock? The stories are clever too, and suspenseful with some quite serious insights into human nature, particularly in the later books. Go out and read one now!

Sourcing Allingham's books wasn't a problem. I still have my father's copies published as green Penguins and I've added a few of my own since. Ronald Knox, however, was more elusive. I knew him only for the famous Decalogue which stipulates, among other prohibitions, that in writing detectives stories, 'No accident must ever help the detective, nor must he have an unaccountable intuition which proves to be right; No hitherto undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end; Not more than one secret room or passage is allowed.'

Humorous stuff. But the only copy of his books I could find was on Gutenberg.ca, which had several so I started out with The Footstep at the Lock, planning to tackle them all. But alas, I wearied. Humour is all very well, but facetiousness, quite frankly, isn't. Endless, nit-picking discussion of alibis, wooden characters and a totally implausible solution isn't either.

Some books deserve to be forgotten. But some don't – like I said, go and read a Margery Allingham!

Guest Post: Annette Dashofy

Annette Dashofy is the USA Today best-selling author of the Zoe Chambers mystery series about a paramedic and deputy coroner in rural Pennsylvania’s tight-knit Vance Township. CIRCLE OF INFLUENCE, which has been nominated for the Agatha Award for Best First Novel, was published by Henery Press in March 2014, followed by LOST LEGACY (September 2014) and BRIDGES BURNED (April 2015). Her short fiction includes a 2007 Derringer Award nominee featuring the same characters as her novels. She also serves as vice president to the Pittsburgh chapter of Sisters in Crime and to Pennwriters. 

Greetings from the Pennwriters Conference 

by Annette Dashofy 

As you’re reading this, I’ll be attending—and teaching workshops at—the Pennwriters Conference. Unlike Malice Domestic and Bouchercon, Pennwriters is geared for writers (instead of fans) with instruction about craft, pitching to agents and editors, and marketing. I’ve been to every one since 2004 and credit the fact that I’m now published to this organization and to this conference.

Over the recent years, I’ve taught a workshop or two, but confess to feeling a bit like a fraud. Why should anyone listen to me? Even though I was sharing good information, most of which I’d learned from our very own Pennwriters authors and members, I had no clue why anyone would pay attention to a word I said. After all, I was in the same trying-to-get-published boat as they were.

This year, finally, I feel worthy. A little, anyway. I have three books out. I’ve hit the USA Today bestseller list with two of them. I was nominated for an Agatha for Best First Novel. If that isn’t “street cred,” I don’t know what is.

So I’m teaching TWO workshops and moderating the In the Line of Duty panel.

One of my workshops has to do with POV. Point of View. Or “Fun with POV” as I like to call it. The subject gives some folks fits, but I enjoy getting not only “inside the heads” of a few of my characters, but “under their skin.” Have you ever watched Johnny Depp completely immerse himself into the character he’s playing so that you almost don’t see HIM any more? That’s what POV is like for me. I cease to be Annette, and I become Zoe. Or even Pete. I see through their eyes, hear through their ears, think from their world view, and taste through their tongues.

Which is weird considering I’m a vegetarian and Zoe loves cheeseburgers. But that’s a topic for another blog.

My second workshop this weekend is Making Your Setting a Character.

(I think I need to TAKE a workshop on coming up with better titles for workshops.)

In this one, I plan to discuss some of my favorite books and authors and how they transport me through their writing to new and wonderful locations. From Craig Johnson’s Absaroka County, Wyoming to Julia Spencer-Fleming’s Miller’s Kill, New York to David and Aimee Thurlo’s Farmington, New Mexico. I study these authors and hope to create a similar sense of setting for my fictional Monongahela County, Pennsylvania. Hint: it’s not just description. It’s the people who populate these towns and counties. It’s how they speak and what they believe and how THEY see their world. It’s weather and the complications a blizzard or dust storm can wreak on a crime scene or on a simple drive home. It’s the types of food and the types of shelter common in that area. It’s the sights and smells. It’s the history and the lore.

Can you tell I get very excited about this subject? Excuse me while I call the airlines and make reservations for my next trip.

Quick story: I had read a number of David and Aimee Thurlo’s Ella Clah mysteries set in northwestern New Mexico. I’d never been there, but could see, smell, and taste it through the Thurlos’ words. Two years ago, I finally made my first trip out west and spent several days driving around Ella’s world, and yes, I felt as if I knew it. I recognized the landscape even though it was completely foreign to my easterner’s eyes. I recognized the Navajo people and their beliefs. I recognized the dust and the arroyos and the canyons.

I hope someday someone will read one of my books and then travel to southwestern Pennsylvania for the first time and feel as though they’d been frequent visitors over the years.

Contact the Author

The credit for this post belongs to Heather Havrilesky who wrote a hilarious column for the "Shouts & Murmurs" page of The New Yorker entitled "How to Contact the Author." I'm just including little snippets. You can read the whole thing here:

http://www.newyorker.com/magazine/2014/09/08/contact-author

"I love to hear from my readers. My readers are my everything, and hearing from them makes me feel so blessed! So, connect with me, already! Here’s how:

E-mail me at mary.danforth5493@gmail.com.

 

Friend me on Facebook. My readers are my besties 5ever!

 

Follow me on Twitter: @youcompleteme33. I follow back, because I want to know what you’re thinking about, every second of every day. Your little mind-doodles are sweet nourishment to my soul!

 

Add me to your network on LinkedIn. Networking is so awesome!

 

Follow me on Instagram: @icantlivewithoutyou95. Great new pics of me and my closest friends & family on there! Check out the whole crew! ;-)

 

Do you have any questions for me? Tweet away! I ❤ reader questions, no matter how personal or prying. I can’t wait to reply to your inquiries in front of hundreds of strangers!

 

Why don’t you text me, in fact? I love getting texts from my readers: 1-555-913-1212. Sexts are also totally welcome, any time of day. Feel free to push my boundaries! When my readers interrupt my life with their inquisitive digital messages, I feel truly blessed.

 

Also, call me at home, anytime! I’d love to hear your voice right now. 1-555-913-1213. My readers are my sun and my moon and my stars, and I adore it when they check in with me, even when I’m about to sit down for dinner or I’m in the middle of watching something on TV. My readers are my first priority, always.

 

In fact, drop by my house! I love it when readers swing by and say hello and introduce themselves: 554 Ruby Lane, Sacramento, CA 95831. I feel so blessed when someone cares enough to invade my personal space! Dinnertime works fine. Middle of the night, also perfect. I am so incredibly humbled to have you in my life, whoever the hell you are!

 

Please do buy my book on Amazon, though.

Please.

Pretty please? ♦

Plotting

Lately, I've been thinking about story structure – how it takes shape, and how to best achieve an effective plot.

This stems from two recent visits (and conversations) with Edgar-winner SJ Rozan and screenwriter and show-runner (Dexter) Clyde Phillips. These writers have very different takes on plotting and structure, and my discussions with each was fascinating.

SJ says plotting, for her, is like driving cross country at night: she writes to the edge of her headlights, knowing only that much of her story in advance. Clyde, accustomed to working out his plots on a storyboard before writing a TV script, has a novel-crafting process similar to the way he plots his TV shows: he outlines books meticulously (upwards of 70 pages for a 350-page thriller).

For me, a writer whose process falls somewhere between the two mentioned above, I find it fascinating to talk to SJ and Clyde because I can see – upon reading each writer's work – how their process plays out. Clyde's novel Unthinkable is airtight and sparse, and the end is absolutely wonderful – you will never see it coming. SJ's novel Winter and Night is every bit as satisfying but completely different – full of rich details and descriptions. I would recommend both books. And you will see each writer's process as you read.

As we all know, there are no rules to writing, no one best way to do it. When it comes to plotting, you find your way (literally and figuratively) as you go. Below, is a writing activity I've used to teach some elements of plotting. If you try it, let me know by e-mailing me. I'd love to read what you come up with

What’s My Back-Story? A Plotline Activity

Must every story be told in a linear narrative style? No way. Readers want a scene that allows them to figure out the story on their own. So how do we tell stories cinematically? By using scenes to convey the story-line. This allows the writer to use flashback sequences while starting in the middle of the action and continuously pushing the story forward.

Read the following plot-line and determine which numbers (there are several, after all) at which you could begin. How will you include the information that came before your starting point? Must you include all of it?

Write a first- or third-person opening scene (narration and dialogue) beginning at one point on the line and dropping in the necessary previous material as the scene moves forward.

1. Mary Howard grew up in Readfield, Maine, the daughter of a doctor.
2. She went to UMaine at Orono, where she studied history, graduating with a 3.5 GPA, and met Steven Smith, a political science major, whom she married following graduation.
3. After graduation and one year of marriage, Mary dutifully helps Steven launch his political career.
4. Mary, now in her mid-30s, helps Steven becomes a Maine State Legislator and raises their three kids.
5. Unbeknownst to Mary, Steven begins an affair with a fellow Maine State Legislator.
6. Mary gets a phone call from an intern in Steven’s office, who tells her of the affair.
7. Mary confronts Steven. This takes every ounce of courage she has. In 15 years of marriage, she has morphed from the confident, bubbly Mary Howard, to the housewife of powerful Maine State Legislator Steven Smith. As his career has taken off, her identity somehow got lost.
8. Mary listens as Steven tells her the affair is just “a sideline” that “this is how some political marriages are.”
9. Mary packs her bags, grabs her kids (now ages 11, 9, and 7), and walks outside, determined to start a new life.
10. She drives to Santa Fe, New Mexico, a place she’s only seen on TV.
11. In Santa Fe, she enrolls the kids in school, gets a job in a bookstore, and hires attorney Phil Rogers, who is 35 and single.
12. Mary doesn’t know what to do when Rogers asks her to dinner six months after she’s been in Santa Fe and following what was a surprisingly easy out-of-court settlement with Steven. She wonders what message a date would send to her kids. Would her acceptance tell them that they are all starting over? That it’s okay to move on? Or would they think she’s callous?

Computer Programming & Writing Mysteries, Kindred Spirits?

Rick’s post yesterday about some of the comments he’s received when people find out he writes crime fiction made me laugh and shake my head at times. I haven’t been writing long enough to get a lot of comments from people I meet. The only one I fairly consistently get is something along the lines of: “You used to be a computer programmer? That’s quite a change to writing mysteries.”

I’m here to say it’s really not that much of a change. Sure, there are differences, but there are more similarities than you might think.

• Both writing and programming require you to sit in front of a computer for long periods of time. They’re both fairly solitary activities. But, since I worked on fairly large projects that required over a hundred programmers, I had more interaction on a day to day basis with people when I was programming than I do writing. I can also program for many more hours at a time than I can write.

• They both require you to create something from nothing. A writer starts with a blank page; a programmer starts with a blank file.

• They both start with an idea. My novel, Fatal Brushstroke, started with the image of a young woman finding the body of her painting teacher in her garden. A program starts with the idea of what that program should do. Should it allow the user to create and edit documents? Should it be a game? Should it allow you to read e-books? You get the idea.

• They both have a set of requirements. Programs have a list of features or things that they’re supposed to do, more specific than the general idea of the program. e.g. in a document editing program, those developing it need to know/decide the very specific tasks that a user can do. Should the user be able to edit an already created document? Add graphics? Add pictures?... Mysteries have a set of expectations/requirements that a reader has of them. If you’re writing a cozy, that expectation is somewhat different from what a reader expects from a P.I. novel or a thriller.

• They both involve a period of design. Programs, especially large projects, require a period where you design algorithms, decide on data structures, decide how each element is to be partitioned into work for the programmers assigned to the project. In writing, if you’re an outliner (as you might have guessed by now that I am), there’s a period where you’re deciding on the crime, the victim, the general plot points. Even if you’re a pantser, I still think there’s a period where you’ve thought about the crime and the characters involved. It’s just not written down or formalized.

• They both (can) involve deadlines. If you’re writing to a contract, it definitely involves deadlines. If you’re writing for yourself, not so much unless you impose your own deadlines. Programming also involves getting tasks done by some specified period of time. (I feel like programming deadlines were a lot more flexible, though.)

• They both have artistic elements. I consider programming to be an art. Sure, it’s basis is in science, but writing a program can be a very artistic endeavor. There are a lot of ways to write a specific program, some more elegant than others. Creating an elegant piece of code is as satisfying as writing a good story.

One big difference between the two is the word count requirements. The equivalent of that in programming would be number of lines of code. The number of lines of code is an interesting statistic in programming, but it's never a requirement. But, when it comes to writing, a contract specifies the word count requirements. Since I tend to write short, this is always a challenge for me to get to the specified count.

The biggest difference in my mind: In programming, the judgment of the finished project is a lot less subjective. If the software you’ve written meets the requirements, it’s good. Sure, someone may grumble about how messy your code is but, if it works, it’s okay. But, even if you’ve written a book that meets the mystery expectations/requirements, that doesn’t necessarily mean people will think it’s good.

I find programming to be a much easier activity than writing. (A lot less angst-ridden, as well.) I may feel that way, though, because I programmed for a lot of years and haven’t written for as many. Maybe twenty years from now I’ll feel differently. I think I’ll tuck this article away somewhere so I can revisit it years from now.

On a different note, I was at Malice Domestic recently where I got a chance to see my editor in person. Always a good thing. Here we are. (That's me on the right):