Guest Slot

Aline here.  I'm delighted to be able to introduce Chris Sims to you today.

His life experience has given him quite a range of experiences to draw on in his writing: he's travelled the world and worked in airports, nightclubs and telecentres.  He is now the lively editor for the Crime Readers Association's free on-line magazine – well worth a look at for exclusive insights into your favourite British writers. His two most recent books are Sleeping Dogs and Sing me to Sleep. 

Proud to be a Genre Jumper

Just about every crime novel ever written shares a common link: corpses. That’s always been fine with me. When I wrote my first novel, I didn’t actually think of it as a crime novel – but it certainly featured a few dead bodies. In fact, Britain’s motorway system was strewn with them by the end.

My next few novels kept to convention – people got slashed, stabbed and strangled in all sorts of interesting places. Saddleworth Moor. The island of Anglesey. A secluded hill in the Peak District. I even had a dead guy pop up in the Manchester Ship Canal, putting some of the city’s restaurant goers off their meals in the process.

The city of Manchester makes a superb setting for crime novels. Once known as Cottonopolis, it was the world’s first industrial city. Factories, mills and warehouses sprung up at an astonishing rate – and with them grandiose civic buildings and sprawling slums. The textiles produced were transported around the world.

Manufacturing has now moved to other countries, yet many of those buildings remain. Some have been converted into plush apartments for young professionals. The derelict ones are inhabited by people at the other end of the social scale. I find the city’s stark contrasts fertile ground for plots.

But while writing my detective thrillers, I was always enchanted by another genre where the dead are de rigueur. Ghost stories. They’re a fine British tradition; everyone from Charles Dickens to Daphne Du Maurier has had a go. And so recently, I put my two detectives aside and fulfilled a long-held ambition of writing one. Well, two actually.

In many ways, crime novels and ghost stories are incredibly similar. There’s amystery to solve. There’s a threat of danger. Tension needs to be built. Justice demands it be served. And, most importantly, the reader must be gripped. The only real difference is, in a ghost story, the dead person doesn’t just…lie there.

Writing my two ghost story novels has been a truly refreshing experience. But now I feel ready: it’s time to bring my detectives back from the dead.

Stupid with an Excuse

The other day I heard some people talking about the stupid things characters in fiction do. We've all had this conversation. It's even played for laughs in a commercial for a well-known insurance company. You know, those kids who run into a barn rather than toward the car with the engine running. From horror novels to crime fiction, romance to "mainstream" – hapless characters run, walk, or meander into situations that any sensible person would avoid. They put themselves in danger and often – well, yes, always – it's the writer's fault. Character in dangerous situation gets to be brave or saved (if the character is female). Character in dangerous situation has an opportunity to discover the crucial secret/clue that leads to the resolution after a climatic confrontation. But modern readers are often annoyed by characters who should have known better, who should have been smart, who did not behave like sensible people.

I've been thinking about this because I was listening to a CD from a recent writers conference. The speaker was talking about why writing oneself into a corner can be a good thing because it forces the writer to find a solution. That solution – in a thriller – means finding a way to get a character (or characters) out of an impossible situation. I've been thinking about this because I'm a hybrid writer. Although I don't plot out every scene in the book I'm writing, I do like to have some sense of what is ahead. I've learned to allow for a change of direction, to let my characters take the lead (my own intuition at work). But this idea of being more of a pantser and writing in a way that allows my characters to get into impossible situations – that they (I) must get out of – is new to me. 

My series protagonist are both rational, sensible women. Hannah McCabe, my police detective, walks into dangerous situation with backup there or on the way. She has her gun in her hand. Lizzie Stuart, my crime historian, may be curious and determined, but she is also cautious. She may end up in danger, but it's not because she did something "too stupid to live".  If I allow the protagonists in my historical thriller to rush forward and get themselves into an impossible situation, do I also have to worry that the reader will wonder how they could have been so stupid?

But, there is a different standard for protagonists in thrillers, isn't there? They are allowed to go boldly forward, to be impetuous and even reckless. If the stakes are high enough, they can take chances -- try to break into impenetrable fortresses, rush into a basement with a bomb ticking, walk into a room full of enemy agents wearing a thin disguise. They get to be stupid with an excuse. The excuse is someone must try to do this. And the person who tries is a hero not an idiot. 

As we have been told in books and seminars, the stakes must be high in a thriller. When the stakes are high enough, what would otherwise be reckless and/or stupid becomes courageous. But how the reader evaluates the situation depends on how well the writer has laid the groundwork. What the character perceives as high stakes might not seem so high to the reader. I've been thinking of a real-life example. This happened year ago, but I still think about it now and then when the weather outside is scary. A severe storm warning had been issued. As I recall, there was also a tornado watch in effect. Maybe it had been elevated to a warning. It was late afternoon, and the time when classes were ending and students and faculty should have been heading home. But most of us were sheltering in place in the massive brick and stone university buildings on the downtown campus. With the ferocity of the storm outside, a few of us had even headed down to the basement in our building. I was standing there in the basement hallway, when a man passed me, heading for the exit into the parking lot. Without even thinking, I called after him, "You aren't going out in that?" He called back over his shoulder, "Got to. My family's waiting for me at home."

He was probably a grad student taking a late afternoon class. He seemed in that brief glance to have been in his thirties. In his mind, the need to get to his family and be there for them outweighed the danger he might face as he drove through a storm. If this man were a fictional character in a book, it would be my obligation – if he were my protagonist – to make his actions reasonable. Rational people might think that rushing out into a storm was reckless behavior. What if he were injured or even killed as he tried to get home to his family? Where would they be then? Would his family want him to risk his own safety to get to them? But what if he had just spoken to his wife on the phone and knew she was frightened? What if he knew she was terrified of storms and she was there alone with their toddlers? What if his wife were pregnant and had miscarried before? What if the family waiting at home was his two children and his elderly mother who had been living with them since his wife died? What if he knew his mother would have a hard time coping if something happened in the house? All good reasons for rushing out into the storm. I could make these personal stakes matter. Bad things might happen to people he loved if he didn't take this risk.

On the other hand, I could take this character in another direction. What if his calm and capable wife had assured him during his call home that both she and the children were fine? They were in the basement, had books, flashlights, snacks, and were prepared to ride out the storm. His wife is a nurse. His son and daughter are both Scouts. They all know what to do in the event of an emergency. But my character ignores his wife's concern about his safety. He thinks a "real man" would brave the elements to get to his family. He is sure they wouldn't be able to handle an emergency without him. He has several mishaps on his way home and finally arrives after the storm is over. The power is off, but he finds his children playing a board game by lantern light. His wife is in the kitchen making sandwiches. He feels ridiculous. Maybe he sulks or gets angry when his wife exclaims about how wet and muddy he is and asks why he didn't wait until the storm was over before heading home. 

Before I begin to write – and write myself into that corner that I will have to get out of -- I'm going to think some more about who my characters are. Actually, I rather like the idea of having my protagonist do something really stupid  – with an excuse rooted in who he is and how he sees the world. 

Make Your Own

Grandma's homemade dress, 1911

I have been called penurious in my time. Yet, in comparison to my mother, or her parents, who had to support themselves and their families during the worst downturn in U.S. history, I am downright profligate.

Nobody knows from frugal any more.

I recently saw a woman on television say that there is a trend among fashionable young people to buy cheap, hip clothing that may fall apart the first time it's washed. But they don't care. The only spend $30 or so for something they throw away when it's ruined and then they can buy something even more stylish and up to date.

I make no judgment. I'd rather be in a position to do that than to have to wear clothes I made myself out of a flour sack. For much of American history, few farm families had the money to buy ready-made clothing from a store. Clothes were homemade and worn until they were so patched and stained that they were unwearable. After which the mother would use what was left the make a quilt, or a rag rug, or a mop. Then she'd use the scraps to make a patch for a shirt or trousers, or a button cover, until the material disintegrated into molecules and floated away on the breeze.

In the mid-1800s, companies that sold sugar, flour, and animal feed began packing their goods into heavy cotton sacks instead of boxes and barrels. It didn't take long for women to realize that once the bag was empty, they were in possession of a piece of fabric that made durable work shirts, or aprons, or really nice, cheap clothes for the kids. Once the flour and chicken feed companies found out what was going on, they started printing pretty designs on the bags, and suddenly every rural child in America was wearing a dress or shirt with little pink flowers on it, or underwear with "Pillsbury" printed across the seat.

A while back I received a note from a cousin of mine who wrote, "Aunt Thelma [our mutual great-aunt] always bragged about how Grandma Bourland [our mutual great-grandmother] only had to look at a photo of a dress to be able to copy it." That comment made me smile, because my grandmother on the other side of the family had said exactly the same thing about her mother [whose name was Alafair].

"Ma didn't even need a pattern," Grandma Casey told me. "You'd just tell her, 'I want pleats here and this kind of sleeve,' and she'd whip it up."

She did, too. Above is a photo of my grandmother Casey standing in front of her parents' house in Kentucky in 1911, clad in a dress that her mother made for her. For a fictional wedding in my second book, Hornswoggled, I dressed the bride in this very outfit.

I suppose if you had seven daughters and you made every stitch of clothing they wore from birth until they left home, not to mention clothing for your sons and your husband and yourself, you'd become an expert seamstress in short order. Even if you had to sew it all on a treadle machine. Years ago I tried to make something on my grandmother's treadle sewing machine. You really have to get the knack of pumping the treadle with your foot. It's like rubbing your head and patting your tummy at the same time.

Me in Italy, 1969. My mother made my outfit.

My own mother made a lot of clothing for her three daughters. We did not live on a farm and could afford store-bought clothes, but Mama grew up in the country during the Depression, and she was the living embodiment of frugality. If she could make do, she did. I never felt put-upon by wearing homemade clothes, because what my mother made was excellent. She had a great eye for material and color and we girls always looked chic. I so loved some of the dresses she made for me in the '70s that I still have them to this day. I think they are museum quality. I'd model some for you, Dear Reader, but these days I could get into them with a shoehorn.

On to British Columbia!

Barbara here. Today I am on  an airplane, flying almost 4000 kilometres across Canada from Ottawa to Vancouver to begin the first leg of my week-long mini book tour of British Columbia. BC is a beautiful province of spectacular mountains, rugged oceans, and quirky cities. Have I really only visited it once in the past forty-three years? I am really looking forward to bringing Inspector Green along with me, to three book appearances in three parts of the province.

First, the gorgeous city of Vancouver, where tonight (Wednesday Aug 12) I will be at The Book Warehouse on Main Street for an evening of book talk and killer readings with two BC writer friends I have met on previous book travels, E.R. Brown and Sam Wiebe. Both Sam and Eric set their books in and around Vancouver, and have been nominated for numerous awards. Details of the event are on the poster below. It's free and all book lovers are welcome!

Then tomorrow I fly up the coast to Sechelt by float plane– how cool is that? I've never been on a float plane, despite writing about one in my novel THE WHISPER OF LEGENDS, and so it will be a test to see how well my imagination worked! In addition to being a beautiful coastal peninsula, Sechelt is home to the annual Sunshine Coast Festival of the Written Arts. Sunshine Coast is "Canada's longest running summer gathering of Canadian writers and readers, featuring established literary stars and exciting, new voices". I am honoured to be one of the invited authors this summer, among a select list from across the literary spectrum, each of whom gives an hour-long presentation. The festival lasts four days, but my talk is on Sunday morning, Aug 16, and the rest of the time I am free to enjoy the other presentations and the glorious scenery of the coast. 

An hour will provide plenty of scope to cover my writing in detail, so in the past few weeks I have been thinking about what people would like to hear. There are ten books in the Inspector Green series, which has an arc of its own as my character has matured and faced different challenges in his personal life as well as his work. I have decided to talk about the series as a whole, and to this end have been scouring my earlier books in search of short selections that illustrate that arc. I will start with DO OR DIE, the debut novel of the series, and will read the scene the first introduces Green to readers. It is very odd to go back fifteen years to the beginning of my novel-writing career. The series and my skills have evolved in breadth and depth over time, as one would hope, so it is a bit like meeting my younger, clumsier self.

I will read from one or two other books in the series before ending with a focus on my latest book, NONE SO BLIND. In the process, I will talk about why I write mysteries, why a nice, gentle healer of souls (I'm a psychologist) would be drawn to murder, and why I chose the themes I did. Partly catharsis, partly trying to right the world, partly... Who knows? It will be an interesting journey of discovery for me as well as the audience. 

After four days in Sechelt, I fly back to Vancouver by float plane and then across the ocean by ferry to Victoria on Vancouver Island. There I have another exciting evening of book talk and readings at the wonderful mystery bookstore, Chronicles of Crime, on Aug 18. This time I will be joined by three authors from Vancouver Island – Kay Stewart, Linda Richards, and Brian Harvey – all of whom have multiple achievements to their names. Once again, a free evening for book lovers everywhere! The details are in this poster.

If you live anywhere near any of these venues, I'd love to see you!

Then, on Aug 19, it's an early morning flight back home, tired but hopefully exhilarated and inspired by the new experiences and people I have met. We authors spend a lot of time lamenting the dismal state of publishing today and the poverty-level incomes most of us make, even those with successful,  long-running series. All of that is true, yet there are unseen, surprise benefits like making new friends, travelling across the continent to conferences and festivals (albeit most of the time on our own dime), and joining the worldwide community of booklovers. 

That's priceless.

On location...

Hi there!

Mr. Blechta regrets to inform you that there will be no blog post from him today. You see, he is on vacation. As a matter of fact his regrets come to you from the top of Anthony’s Nose which lies just north of Peekskill, New York, and from where he is looking down at the Hudson River several hundred feet below. He could tell you what he’s doing up here, but has declined because it’s a top secret research mission for his work-in-progress.

This bird keeps croaking, “Nevermore.” I have no idea why.

“It is rather amazing to be able to do something like this from such a remote location,” Blechta stated a short time ago. “Please wish all Type M readers my very best, and tell them I’ll be back next Tuesday in fine fettle and with some terrific stories to tell.”

Thank you for your kind attention.

—The Management

Near Death Experience

My website nearly died last week.  It's still in intensive care, but there is, thank heavens, a good chance it will recover.

The first notice I had of it was when a reader emailed to ask if I knew it had gone down, which I didn't, but sure enough when I checked it wasn't working and it wouldn't let me in to see what was wrong.  So I immediately did what I do in any crisis like this - contacted wonderful Andrew in the confident expectation that I would get his usual response - 'No problem, just a couple of clicks,' and because he is a very very nice man, he doesn't add the 'you stupid woman' bit.

When the email came back saying that something was badly wrong and he didn't know if it was rescuable, I went into shock. A huge amount of time, money and thought had gone into my website and I realised I didn't even have a hard copy of what was up there.

I'm well aware of the dangers of viruses and my PC has protection and back-up systems. I get a warning if I look like straying on to a dodgy site and I never download anything when I don't know the source

On the website I get quite a lot of spam 'comments', mostly trying to sell something, but I never opened them, just trashed them. I didn't really worry about it since any personal information is in the public domain and there's no access to any of my accounts or contacts. There is nothing to be gleaned from it that could be of any commercial use to anyone.

Yet what has happened to it has been fairly comprehensive destruction and if it weren't for the amazing talents of my webmaster it would have gone completely.  He's now trying to drag it across to another safer site so that the content can be separated from whatever has poisoned the system.  It's going to be a very expensive operation – and whenever I'm sure it's properly up and running again I am going to have much greater security and I will print off a copy of every page just in case something like this happens again.

What really bugs me is, why should somebody bother to do that?  Is there a purpose that I don't understand, or is it just 'motiveless malignity', as Coleridge said of Iago?

So much time and money is wasted by criminal activity of one sort or another.   I constantly have to answer the phone to people trying to persuade me that there's something wrong with my computer that only they can fix or there's been a fraud on my credit card that they can sort out for me.  My street has been targeted by burglars recently so we have to have a state-of-the-art alarm system that means I have to find the fob and switch it off if I want to make myself a cup of tea in the middle of the night.

None of that is pleasant, but at least I can understand the hopeful 'phishing' emails that invite you for one reason or another to oblige them with your bank account number, date of birth, mother's maiden name, etc.  They're just plain crooks, nasty little parasites on society.

But there is something much more upsetting about these vermin who have nothing to gain except, I guess, pleasure at the thought of someone else's unhappiness.

No Apology Necessary

This week’s guest blogger is fellow Henery Press author, Wendy Tyson. She’s the author of the Allison Campbell Mystery Series and the forthcoming Greenhouse Mystery series.

Visit Wendy at her website: http://www.watyson.com

No Apology Necessary

By Wendy Tyson

My family and I just returned from a trip abroad where I was doing research for the next Allison Campbell mystery, Fatal Façade. 

I was looking for the right setting for a murder, and I found it in Sesto, a small South Tyrolean village in the Dolomite Mountains of northeastern Italy. In Sesto and the surrounding towns, the people are friendly, the scenery majestic, and the food delicious; plus, there are all sorts of Alpine nooks and crannies—perfect places for hiding a body. With miles of walking and hiking trails and a sophisticated lift system, exploring was easy. 

 
I had only one problem: the language barrier. I’m proficient at neither German nor Italian, the two primary languages spoken in South Tyrol, and many people there don’t speak English. Armed with Google Translate and a first aid kit’s worth of Italian, I meandered my way through Sesto, taking copious notes and hundreds of pictures. But that wasn’t enough. I had compiled a list of questions and I needed to talk to someone.

Fortunately, I met several people whose mastery of English was far greater than my grasp of their language. I so badly wanted to tell them that I was a mystery writer, to sit down for hours over tiramisu and a cup (or three) of cappuccino and discuss the rich history, culture and traditions of the area. My issue? A sudden attack of shyness. I found myself afraid to approach these strangers. Research or not, I was feeling oddly sheepish.

It was Julia Child who said, “The only real stumbling block is fear of failure. In cooking you've got to have a what-the-hell attitude.” In cooking…and in writing. Julia Child believed in living life unapologetically. Her robust, take-no-prisoners attitude was one of the things I loved about the chef, and as we made our way through Europe,

sampling the culinary offerings in each region, Julia came to mind. How many times had I avoided asking questions for fear that I would be bothering someone? How many opportunities to learn and grow as a writer had I missed because I censored myself, believing that people, including those I met in Sesto, would be uninterested in helping me or that I would look like a fool? How many times did I apologize before asking for help—for taking up time, for taking too long, for not being fluent in a language? Too many times.

I realized then that I have trouble saying the words, “I am a mystery author.” After all, I don’t have the street cred or name brand recognition of Patterson or Child or Gerritsen. I still feel a little bit like an imposter. If you’ve ever experienced Imposter Syndrome, you know exactly what I mean. Imposter Syndrome is not unique to writers. As a first year lawyer at a big Philly firm, I spent many days wondering when people would figure out that I didn’t belong. Little did I know at the time that most of my first year colleagues (and some more tenured ones, too) felt the same way. It seems Imposter Syndrome is universal amongst new lawyers. Perhaps it’s universal amongst writers, too.

But in order to do research for my book, in order to do right by my readers and create the most authentic story possible, I needed to develop, like Julia, a what-the-hell attitude. I needed to get past Imposter Syndrome. I needed to stop apologizing.

After five days in the region, I felt my confidence growing. Perhaps it was a result of the sustenance gained from local delights like spinach knödel, fried apples (with ice cream!) and grappa. Perhaps I was simply getting more comfortable with the area and its people. Or maybe I was channeling a little of Julia’s chutzpah. In any case, I asked questions, outing myself as a mystery writer. Unsurprisingly, everyone I spoke with was helpful—and interested. The more I opened up, the more I learned—and I vowed that there would be no more apologies.

Julia was right—giving in to a fear of failure is the surest way to fail. Confidence and conviction are key. But what else would you expect from a woman who said “A party without cake is just a meeting”? Clearly, she knew her stuff.

Wendy Tyson is an author, lawyer and former therapist whose background has inspired her mysteries and thrillers. Wendy has written four published crime novels, including Dying Brand, the third novel in the Allison Campbell Mystery Series, which was released on May 5, 2015. The first in the Campbell series, Killer Image, was named a best mystery for book clubs in 2014 by Examiner.com. Wendy is also the author of the Greenhouse Mystery Series, the first of which, A Muddied Murder, is due to be released in spring 2016. Wendy is a member of Sisters in Crime and International Thriller Writers, and she is a contributing editor for The Big Thrill, International Thriller Writers’ online magazine. Wendy lives with her husband, three sons and three dogs on a micro-farm just outside of Philadelphia.

Summer, in a Nutshell

Book Promotion

It can be time-consuming and costly. But book promotion is also exhilarating, and summer 2015 has been all of the above.

My 2007 Honda Pilot and I bonded.

I drove over 1,500 miles, sold two cases of books out of my trunk, sold many others at bookstore events, and met countless new friends. I did library talks eight hours north, in Aroostook County, Maine, signed at a street festival, and appeared on the Cold River Radio Show, a live radio variety show, filmed and recorded in front of 200 or so patrons.

@ Turner Memorial Library in Presque Isle, ME

When I first started out, a writer told me, "No one can promote a book better than its author." Publicists probably disagree. And I know this doesn't apply to every writer. (I once went to see one of my favorite poets read and was horrified when he leaned on his elbow and mumbled into his palm for an hour.) But if you genuinely enjoy meeting people and discussing writing and your own work (and I know many writers do not like doing this), it can enable readers to put a face to your book and series.

There were many highlights. Some were professional (cracking the top 75 on Amazon's Kindle list), and others were personal (visiting Aroostook County always feels like going home, and although I live in western Massachusetts now, many of my closest friends still reside there).

If you're interested in learning about the anti-book tour, check out J.A. Konrath's post on his blog. Konrath promotes his work better than most of us. Much better!

Social Media

One thing I accomplished this summer, was a separation of my personal social media sites from my professional ones. This was important to do for many reasons. Among them, I want to do a better job using Facebook and Twitter to interact with readers, and that's tough to do when grandparents (rightfully) request photos of their granddaughters on my Facebook page.

Writing

And, of course, I've been writing a lot this summer. I finished Destiny's Pawns (2016), and, as mentioned previously, I'm experimenting with a screenplay. Never thought I'd enjoy writing one, but I'm loving the constraints of the form.

The challenges and demands of brevity might keep me coming back. I recently described it to a friend like this, "You're trying to summarize a character in 15 words. If I can find a metaphor to do it, I can save 20 words."

The first thing I ever published was a poem, and this form is taking me back to those roots. I'd recommend trying to write a screenplay to any fiction writer. Here's the industry-standard software. (Warning: The computer software is NOT cheap, but the tablet app is.)

That's my summer. Now onto the fall!

The Stratemeyer Syndicate

Nancy Drew, Hardy Boys, Dana Girls, Tom Swift. I spent Sunday at the meeting of the Los Angeles chapter of Sisters in Crime where I listened to a presentation by James Keeline on the Stratemeyer Syndicate, the entity responsible for developing all of the above mentioned children’s series and more. (I also acquired a 1936 copy of “The Mystery of the Ivory Charm,” pictured here.)

I’ve talked before on Type M about how I loved reading the Bobbsey Twins, Nancy Drew, and the Happy Hollisters when I was growing up. When I was a kid happily curled up in a corner reading these books, I never knew they were developed by the same syndicate. I just knew I loved the stories.

Sunday’s presentation was interesting so I thought I’d share a few tidbits. The syndicate was started in 1905 by Edward Stratemeyer and, from its inception to when it was sold to Simon & Schuster in 1984, was responsible for developing 1385 books and 102 series using 74 pen names and employing 99 ghostwriters. That’s a heck of a lot of books! One thing I never realized was that it was a book packager, not a publisher.

The most common day job for one of their ghostwriters was newspaper reporter. A writer would get a two-page outline of a story and, 4 weeks later, the writer would turn in a 60,000 word story to Stratemeyer who would then comment on it. That’s a pretty fast turnaround even if you were given the story outline. Not sure I could do that!

New stories are still being published. Nowadays, writers come up with their outlines that then have to be approved. Keeline wrote an interesting article on writing one of these books in the post-syndicate era. There are loads of other interesting articles on stratemeyer.org.

I’ve read one or two of the newer Nancy Drews and, have to say, I don’t really like them. Even though I’m most familiar with the 1960s versions, the ones published in the ’30s and ’40s are my favorites.

What Stratemeyer Syndicate books did you read as a kid? Have you read them again as an adult? If so, what did you think of them?

Confidence: it's all in your head

by Rick Blechta

Lack of confidence is certainly not just a writer thing. I have not met many (if any) people who are brimming with confidence in all parts of their lives. Catch anyone in “the dark hours of the night” and ask them about it then, and you will probably be surprised by their answers. Not that I normally pop into people’s bedrooms at three in the morning or anything!

But based on my experience, I think all writers suffer from confidence issues far more than any other occupation. Quite frankly, most of us are doubting ourselves nearly all the time. It can be on an hour-by-hour basis in bad cases. “Is that last paragraph what my story needs at this point?” “Did I even give this character the correct name?” “Is my writing any good?”

This non-confidence we scribblers feel is exacerbated by the time we spend working in solitude. There’s a saying that you’re only as good as your last book. (Should be previous, but who am I to quibble?) How can we help but doubt ourselves with that kind of pressure, especially if you knocked the last one out of the ballpark?

I’ve found it doesn’t help if you’re handing out your deathless prose to others while you’re still working on it. Sure, it's helpful to get other opinions on a work-in-progress, because we can get so myopic about what we’re doing. But you may well open yourself up to more doubt which will certainly lead to second-guessing, and that you don’t need if you’re going to hope to reach the finish line.

That’s not to say I never send out an mss without people whose tastes and decisions I trust. I have to regular ones on whom I rely and occasionally others if certain knowledge or opinions on the storyline are needed.

The point is, I plow through to the end, regardless of my confidence level about various facets of the storyline or the way I’m handling it. Putting on blinders is the way I look at it. If you take those blinders off, you begin looking around, probably too much, and then the doubt creeps out from dark corners or during the dark hours, and you can easily become paralyzed by it.

Yes, it is all in your head most of the time, and getting caught up in it is not a good thing. But even if those doubts and your confidence turns out to be misplaced, you can always fix it during the editing stage. Right?

Retreating!

By Vicki Delany

As Barbara told you last week, I had the pleasure of spending a couple of days at her lovely cottage on Sharbot Lake last week, along with other writer friends for a writers retreat.

A writers retreat is usually thought of as someplace the author can go to get away from their daily bustle (husband (or wife) children, job, household chores) to get some serious work done on their work-in-progress. Aside from the chores (always the chores) I don’t really have anything I need to get away from. And as you know if you know my writing schedule, I don’t seem to have trouble getting work done.

Writer Writing

But a retreat, I found, can perform another valuable role, and that’s simply to put you in the mind-space to come up with something new.

Mornings were set aside for our writing time. Barbara always writes her first draft in long hand (unbelievable!) so she goes down to the sunny dock. As I need a computer, I also need a table and chair or, as I use at home, a stand-up surface, and a lot of shade, so I stayed on the upper deck.

The afternoons were set aside for reading, swimming, and talking. The first afternoon, we settled down at the dock in our bathing suits with towels, hats, sunglasses, sunscreen, and of course books.

First topic of conversation was what everyone was reading.

Robin Harlick was reading The Far Side of the World by Patrick O’Brien, part of the Master and Commander series. Not a series I’ve ever had any interest in.

But, as it happened, my work for the retreat was the proposal for the fourth Lighthouse Library series by Eva Gates. The book is set at Halloween and it opens when they are decorating the library suitably. You know the stuff: cobwebs, tombstones that say RIP, plastic spiders. And a ghost story to go along with it all.


As Robin talked about the book, I knew exactly what I needed to make the Bodie Island Lighthouse Library Halloween exhibit something special.

The Flying Dutchman. A ghostly ship, doomed to wander the seas forever. In the form of a model ship for the display, and a ghost story to recount.

Perfect! It seems like a small thing, but in writing it’s often the small things that cause a book to rise above the ordinary. And I never would have thought about it if not for being at Barbara’s retreat with time to think and talk with bookie friends and write.

Three Tips for Writing a Mystery

This week’s guest blogger is Kate Jaimet who is the author of the YA mystery Endangered, coming out this month from Poisoned Pencil Press, and several other books for middle-grade and teen readers. Poisoned Pencil is the new young adult series for Poisoned Pen Press.

Visit Kate at her website at www.katejaimet.com.

Three tips for writing a mystery

Hey, buster. Wanna know a secret?

Yeah, yeah. Us author-types are always trying to blow smoke in your eyes, make you think that writing a novel is some deep creative mystery. Well, here’s the truth kiddo. It’s a craft. Like making a pair of shoes. Yeah, you gotta put in some time. You gotta learn some technique. And the more you practice, the better you get. But here’s the thing: it’s not like you gotta be born with a silver pen in your mouth, if you know what I mean. Any schmuck with a decent command of the English language and a helluva lotta perseverance can learn to write a mystery. And guess what? Because I like your face, I’m gonna give you a few tips.

Tip #1: Start with the dead body. You don’t got a mystery till you got a dead body. So start right there. In media res, as that Greek philosopher fella used to say. Throw some clues around the murder scene. Bring in your detective. Now you’re rolling.

Tip #2: Move the plot backwards and forwards. Think I’m getting all fancy on you now, huh? Soon I’ll be throwing around writerly words like “peripeteia” and “denouement.” Nah, all I’m saying is that lots of first time writers only concentrate on unraveling the murder that already happened at the beginning of the book (see Tip #1). Whodunnit? Why? How? Those questions are important alright, but unless you also have some forward motion to your plot, your book’s gonna end up boring. Think about what the suspects are doing while the detective tries to solve the case. Do they try to cover their tracks? Cast suspicion on each other? Get rid of eyewitnesses? These type of plot points (yeah, yeah, there I go tossing around writer jargon) can move your plot forward at the same time as the detective unravels the back-story.

Tip #3: Develop your detective. Who are the main characters of a murder mystery? The murderer and the dead guy, right? Only problem is, one’s dead and one’s trying to fly under the radar. That makes character development a little problematic. So who else have you, the writer, got to work with? A bunch of deadbeat suspects and, bingo! the detective. Readers love great detective characters. Think Sherlock Holmes. Perry Mason. Okay, even that blue-haired Marple lady. Spend time coming up with an interesting detective character. It’s worth your while, especially if you’re planning a series.

So there you have it. Three insider tips on how to write a mystery. Now here’s another one: glue your butt to a chair.

And good luck, kiddo.

How Can I Use That?

I may be speaking for only a small group of heartless, cold-blooded scribblers. But from the conversations I had over the years, I suspect this is true of most of us who write crime fiction. In an emergency, we do our best to respond effectively and with compassion. We do everything we can to help. Then we step back, think, "That was really interesting" and wonder how we can use it in our next book or story.

The following tale will illustrate my point. The cat in the photo below is Harry, my Maine Coon mix, who I adopted in October of last year. He is sniffing an old sock filled with organic catnip and experiencing total bliss.

 Last weekend, Harry was experiencing a completely different emotion. And it was my fault. I live in an old house, 100 years old. My house is one-story, attic overhead, well-insulated since I moved in four years ago. But there is nothing to be done about the basement. The basement has two sections. The smaller, front section is accessed by going down the stairs from the kitchen. The "laundry room" is located there. Gray outdoor carpeting covers most of the rock and dirt floor. The washing machine and dryer are up on platforms. The trim hot water heater sits against a wall. On the other side of that wall is the furnace. One can access that other section of the basement by taking a few steps. When I first moved into the house, I was sure a serial killer lurked on the other side of that wall -- in spite of my alarm system -- waiting for me to come down and do laundry. For several weeks, I would not do laundry at night. Until I really needed something to wear the next day. . .

I still take a flashlight and turn on the lights on the other side of the wall -- just to make sure everything's okay around there in that cavernous space occupied only by the furnace and the work table and tool cabinet on the other side of the room. And a radiator that my contractor told me I should save in case I ever wanted to re-install it. . . My basement isn't as scary to me as it used to be.

When I go downstairs, I always close the kitchen door so that Harry won't be tempted to follow me. Last Saturday morning, I was careless. I didn't realize this until I came back upstairs from putting clothes in the dryer. The door was ajar. I assumed, I had left it that way. But Harry was nowhere to be seen. Not out on the enclosed "sleeping porch" where he had been watching the birds fly by. Not on the radiator watching the birds fly in and out of the bird apartment house on a pole in my neighbor's yard. Not stretched out on the rug in the dining room or the futon in the sun room having a nap. Not under my bed or behind a chair. Nowhere. Harry was gone. 

But both front and back doors were closed and locked. He had to be in the house. I ran back down to the basement, thinking he must have slipped by when my back was turned. Of course, I was calling his name . . . calling with increasing desperation when he didn't respond.

No Harry in the basement. No Harry when I ran back upstairs and looked in all the places I had looked before as if he might have been invisible the first time.  

Back down to the basement still calling his name and reminding myself (the dog person) that cats often ignore their names being called. But he had to be somewhere. And then I head a "meow". It seemed to be coming from outside -- outside just beyond the window above the tool cabinet. Upstairs, I ran. And realized as I reached the front door that the window over the tool cabinet had been closed. 

Back down to the basement again. This time, I tipped over to the cabinet. The cabinet that was against the wall and should have left no room for a large cat to be behind it. But he was. And he hissed at me from midway between either end. Obviously, Harry didn't recognize me or was too scared to come out even if he did. I stopped to think about that for a moment. About what could have scared him so much. He must have been startled by the dryer that I had turned on and dashed into the other section of the basement and found himself there in that strange space. And he had hidden in the only place there was to hide. 

The question was how to get him out. I went upstairs to get the open can of cat food in the refrigerator. Surely when he smelled the food. . . .

That got him almost out, and then he dashed back when I reached toward him. Dry food. The dry food he isn't allowed to have any more because he needs to lose a couple of pounds. But I still had half a bag. Harry always responds to the sound of that bag being opened. 

And he did respond. To the sound of the bag. To the food in my hand. To my verbal encouragement. Slowly, step-by-step, as I backed across the room. Harry following, focusing on me and my outstretched hand. Harry crouching as we came around the wall, staring at the dryer and then moving closer for a better look. Harry dashing under the kitchen steps, but then peering out. Following me up the kitchen steps, one at a time. Harry crossing the threshold and realizing he was back in known territory. And instead of meowing for the dry food he was not allowed to have, dashing into the dining room. And sitting down by my chair at the table as I came with brush and wet wipes to clean away the dust and cobwebs clinging to him. Even allowing me to wipe his paws. Harry jumping back on the radiator to watch the birds.

And me, sitting down and taking a breath. Thinking that had been scary. If I had been that scared -- heart pounding, on the edge of panic -- when my cat disappeared, what would it have been like if the cat had been a child? And thinking the next moment -- "I could write that. I could write that scene with a mother and a child who vanishes. But I don't have anywhere to use it." And thinking maybe I should write it down anyway, while I can still feel the emotions . . .

I did have somewhere to use it! The book I was working on. My 1939 thriller with the first chapter that wasn't working because my protagonist was doing nothing. Yes, he was watching other people who had come that Easter Sunday to see Marian Anderson perform at the Lincoln Memorial. He was observing and he was thinking. He spotted my villain and then he thought about that. But my hero was static, passive. 

What if I moved him back a scene or two? What if that first chapter began as my hero was rushing to get to the event, running late, and concerned that he would be so far back in the crowd that he wouldn't be able to see. And then he encounters the woman -- the desperate mother whose child has vanished. People are rushing by. No one is listening to her. She grabs his arm because he is wearing his porter's uniform. Begs him to help. He tells her she needs a policeman, tries to rush on. . .but she clings. He stops. He helps her look and finds her child, who is hiding and afraid to come out because he thinks his mother will be angry.

My hero has done a good deed (and been heroic). But now -- from his point of view -- he is late. He is irritated. Since he is far back in the crowd, he looks around at the faces as Ms. Anderson sings. He sees joyful, transfixed faces. He sees a few people weeping. He seems my villain -- who shouldn't be there in that crowd. Their gazes meet. My hero is puzzled, disconcerted. . .

Thank you, Harry. I'm so sorry you were frightened. I'm so sorry I was careless and a bad "cat parent". I'm really happy you are curled up on the floor by the table as I write this. But, thank you for solving my first chapter problem. You are going into my acknowledgments.

And I admit I was reaching for my notebook within minutes of making sure you were safe. 

How Much Research is Enough?

As I, Donis, mentioned a couple of weeks ago, I’ve just begun a new novel, and I must say that though I have been working my little tail off lately, I haven’t written very much on the actual story. I’ve been doing research.

The series that I’m writing now is historical, so there is always a certain amount of research that must be done, but every single time I start a new book I end up wrestling with the question of how much research is too dang much. I mean, eventually you have to write the book.

I keep telling myself that it isn’t necessary to do so much research that I become the world’s foremost expert on my subject. Right now I’m researching realistic and historically accurate ways to kill people. This is always problematic for me. Sadly, I have reached such a state of paranoia that I am a little bit afraid to do murderous research on my home computer, lest the NSA bust down my door in the middle of the night. Once I I spent many hours doing anonymous research on library computers because wanted to discover exactly how oil field workers used nitroglycerin to clear obstructions from a well. I am writing murder mystery, after all, and I thought that blowing someone to hell with nitro seemed like a colorful way to commit murder.

I really want to give my reader a true experience of the time and place I write about. I want you to know what it was like to live in southeastern Oklahoma during the flu epidemic of 1918. I want to be accurate, but in the end, I’m writing fiction, not history. Less is almost always more. It’s way too easy to overwrite. You don’t need to explain everything (which I have been guilty of doing.) Even so, that doesn’t mean I can play fast and loose with the facts. One thing I absolutely do not want to do is take the reader out of the story by writing something so obviously anachronistic that she stops and says, “What the …?”

Many years ago a woman told me about a movie she had seen in which an aspiring author walks into a publishing house with a manuscript in hand and asks to see an editor. He gets right in. The editor says, “sure, leave your manuscript with me and come back tomorrow.” The very next morning, the author returns to find that the editor has read the book overnight and loved it. He gives the author a check and tells him that his book will be on the shelves in two weeks.

What? What is this? The Nicholas Tesla Time Warp Publishing House? Their motto is Publishing Faster Than the Speed of Light. I want this publisher.

A lot of people who saw that movie didn’t know or care that that scenario is wrong, but we writers know it’s not only wrong, it’s ridiculous. I remember that story when I’m tempted to think that most of my readers know nothing about Oklahoma in 1918, so I can fudge a little. Somebody knows the truth, and believe me, they’ll let you know when you’ve got it wrong.

Usually history is not front and center in a historical novel. In novels of any ilk, I think it’s the characters that make the story. Walter Mosely said, “Fiction is a collusion between the reader and the novel. Your readers will go along with you, creating a much larger world as they do. It won’t be exactly the world you intended them to see, but it will be close enough—sometimes it will be better”.

In praise of the writers' retreat

Barbara here, writing from the idyllic shores of Sharbot Lake in classic Canadian cottage country. It is 34 degrees celsius in the city and here on the lake, it is a balmy 29. My cottage has no air conditioning, but who needs it when you can roll into the lake every half hour or so as the whim strikes?

I am lucky enough to have a group of writer friends who live within reasonable distance, allowing us to get together to inspire, commiserate, offer answers, and generally help soothe the solitary angst of a fiction writer. Every writer needs the company of our own kind. No matter how supportive our family or spouse is, no one understands the struggles of writers' block, the teeth-gnashing frustration of publishing, and the exhilaration of a good review better than a fellow writer. I would never have believed in myself nor had the courage to keep going if it hadn't been for the critiquing help and enduring friendship of the Ladies Killing Circle – Mary Jane Maffini, Linda Wiken, Sue Pike, Joan Boswell, and Vicki Cameron – each with their own special talents.

I have always loved nature and find the peace of water, birds, and silence to be the perfect creative environment. I bought my cottage especially as a haven where I could write, far from the demands and hubbub of the city, and I still do my best creative writing on the dock by the lake. This week, as in the past few years, I am hosting an informal writers' retreat for some of my friends, inviting them to share the peace and inspiration of the cottage while we all work on our own projects. RJ Harlick and Vicki Delany have joined me.

The weather is cooperating magnificently. This afternoon, after a morning of writing, we all swam out into the lake with our noodles and spent a half hour bobbing in the cool water, discussing book launches and tours. Yesterday it was how to move the plot forward from a stuck place. There was admittedly some book gossip and rants about the book biz, mostly fuelled by wine at the end of the day. And the dinners were delightful. The perfect way to finish the day.

In this photo, we enjoy Robin's dinner of herb-crusted chicken, chanterelles picked from her woods, and tomatoes with bufala mozzarella and fresh arugula from her garden. And we capped off the day with a refreshing moonlight swim under the full moon.

Thanks to the example of hard-working friends and the discussion of plot tangles, I have made some headway on my new novel, the second in the Amanda Doucette novel. I hope these memories will sustain me during the cold, dark days of February.

What is the deal with CAPITAL letters on so many book covers these days?

by Rick Blechta

I know I’m going to step on some toes with this (even with some of the crew here at Type M), but dang it, I’m getting a bit tired of seeing entire book covers with nothing but capital letters for their front cover copy. (I’m also getting tired of seeing the slab-type fonts that are being used more and more these days, but that’s another beef for another post.)

Having designed many book covers myself, I know why this is happening. If you’re a big-time author, your books have been done this way for years. In that case, it's to alert everyone within 100 feet in a bookstore that JOE BLOW’S latest book is out. I get that. Add this to the fact that publishers like having an author's books display a certain “family look” — presumably so readers can identify them more quickly — and I personally feel as if I’m being shouted at when I walk into a book store. If your store has a James Patterson section (and many do these days), go there and you’ll instantly see what I mean.

Caps are a bit of a slam dunk design-wise. They'’e less problematic to set. They certainly attract notice more quickly, especially if they're in a neon colour, are embossed, or one of the metallic colours is used. They scream a practically audible “LOOK AT ME!” when executed that way.

When a publisher also makes the author's name bigger than the title of the book, you know the author is considered a Big Deal. I actually once overheard a bookstore browser say to his wife while holding up one of these books, “Honey, do you know this author? She must be important.” (Honest!) After the man walked away with the book in his mitt, I noticed two things about the book’s cover: it was rather thick (a good 2") and the author’s name took up more than half of the real estate. I mean it was H-U-G-E. And that’s sort of what got me thinking about this trend.

Now I’m on record here as saying that a book’s cover should also act as a poster for the book. From that viewpoint, it makes sense to use caps, especially when you consider that many people only look at book covers online where the images are pretty darned small. Caps definitely do help get the critical things across.

However, with some thought and a good dash of design knowledge and experience, a very successful cover can be worked out that has some design flair and gets the promotional job done — and doesn’t use caps.

Maybe the problem is publishers being more interested in keeping costs down. Lots of covers now use stock photos as a matter of course because commissioned photography and (especially) illustrations are a lot more expensive. If the design department has a few slab fonts (or “heavy” cuts of other serif or sans serif fonts) that do the job for them, why not just throw these on, squeeze a small moody or otherwise appropriate stock photo in at the bottom, and you've got another cover done with time to do two more before you knock off for lunch.

Problem is, the book will eventually wind up faced on a bookshelf with any number of other titles that have similar covers (like in the JUST OUT section). Trouble is you’ve completely shot your bolt and there’s no way to amp up anything that would distinguish your cover from any of the others following this design trend.

Like most authors, I’ve spent countless hours in bookstores. In watching shoppers interact with books, I would still put money down on a book with a really interesting, well-designed cover, coupled with an intriguing title and some solid back cover or inside flap copy. Browsers consistently pick up these kinds of books. They don’t shout; they just catch your eye with something that piques your interest.

Maybe it’s time that less should become the new more.

On the Bench

After my last post, Rick was kind enough to say he would be interested to hear more about my experience of being a Justice of the Peace, so here goes.

I don't know if the Canadian and American courts do this, but in Scotland and England there are lay magistrates in the lowest courts who aren't legally qualified but make judgements in the cases presented. We're given training of course, and we sit 'on the bench', as the saying is, with a legally-qualified clerk in attendance to stop us doing things like pronouncing the death penalty for double parking – just kidding, even the Supreme Court in Britain can't do that!

In England, every case, right up to murder, is brought before a panel of magistrates who decide if it might merit a higher sentence than they are allowed to impose, and pass it on up to the higher courts. If necessary.

It would be quite exciting to deal with major cases, but it doesn't happen here. In Scotland we have a completely separate system – we Scots just like to be different – and it is a prosecutor instead who decides which court is appropriate for a trial; murder, for instance, would go straight to the High Court.

So the cases I tried were always minor – parking fines,  breaches of the peace, petty theft, minor assaults – and at this level I sat in judgement alone.

It's an awesome responsibility. I had powers up to a fourteen-day prison sentence, though I don't think I gave that more than a couple of times in ten years. Generally what we tried to do was to impose a sentence that might make repeat offending less likely – community service, anger management course, that sort of thing – but inevitably there were the faces that popped up regularly and trying to find constructive ways of dealing with them was a challenge.

They were often very sad cases, alcoholics or addicts. One will always stick in my mind, a lady with a drink problem who was constantly in trouble; any court where Jean didn't appear was a good court. On one particular occasion she stood in the dock looking quite dreadful and I said delicately to her long-suffering defence solicitor, 'Is your client – er – fit to plead?' – meaning, 'Is she so drunk she won't understand what's going on?'

However, he beamed at me. 'As Your Honour and I both know this has sometimes been a problem, but I'm happy to say that my client is more fit to plead than I have seen her for a very long time.'

At which point Jean glared at me. 'Are ye sayin' am I drunk? I'm no' drunk. I wish I was – I'd be feeling a helluva lot better now.'

One of the most serious challenges for a JP is keeping your face straight.

But it was a wonderful education for a crime writer and no, Rick, it was really never boring, except perhaps when I was running through postal pleas for speeding to determine levels of fine and number of points, and even then the young defence agents kept me amused. The rule about lawyers being pompous simply doesn't apply to lawyers with a crminal practice.

The trials were utterly fascinating. Even in these small cases, all human life is there and there were some that Chekov could have used in a short story – for instance the love triangle where two men had got into a fight over a woman.

She had apparently been cheating on her partner with another man and I waited with some interest to see the  object of their desire. In fact, she was a wee dumpy woman in her late fifties with a bad perm and the 'other man' when he appeared was just short of eighty, walking with a stick and wearing a kilt. It was a timely reminder that passion belongs not only to the young.

The cases, of course, were so minor that they were no use as inspiration for a plot, but the chance to observe human interactions and behaviour under stress from an almost 'fly-on-the-wall' position was a priceless opportunity for a writer and I learned a huge amount about people.

It was also a wonderful way to learn about police procedure and indeed it was from the women officers who policed my court that the idea of my own DI Fleming developed. They were all very normal working women with partners and children and perhaps ageing parents to cope with as well as a very demanding job, and I wanted to create a detective who wasn't a dysfunctional loner with a drink problem, a string of lovers and contempt for any sort of authority – I wanted her to be the woman you would meet if you went down the local nick.

I owe a lot to my experience and I was sad to give it up, but I was leaving the court area when my husband retired and I didn't want to start again under a system that was bound to be slightly different – especially since my son is a criminal defence solicitor here (now advocate)  and it could be a bit awkward – 'Mum, you never listen to a word I say...'

Sorry, I've rambled on! It was such an interesting time for me, so I hope some of you, particularly Rick, may have found it interesting too.

The Church of the Writer

Last Sunday I was drinking beers with some buddies and one of them asked if I had read the Ernest Hemingway book on writing. I said that I had, and we talked about the letters Hemingway and F. Scott Fitzgerald shared about writing. Our conversation turned to discuss my writing process since I was the only one at the table who has been published. Another asked where my ideas came from. I'm afraid I disappointed my fellow beer drinkers when my answers turned flip. I don't like to talk about the writing process because it's easier to talk about writing than it is to write. When asked how do I write, meaning how do I approach the daunting task of writing, I replied that I sit at the keyboard and start writing. I don't regard where I write as a sacred space; I tend to think of it as a sausage machine. There's a lot of work to be done, and unless you turn the crank relentlessly, nothing comes out. I think people who don't write--or try to write--want me to say how the Muse kisses my forehead and the words magically flow. They don't feel the Muse's kiss and therefore, they don't write.

I get a similar impression at conferences when new writers crowd around us published authors like we're the chosen anointed, holders of the secret key that will unlock the hearts of agents and editors. The truth is that if I had such a key, I'd be at the top of all the bestseller lists, winner of every freakin' literary prize, and so rich I'd hire Stephen King and E L James to entertain me with pie fights. But there is no such key. And even more irksome, the path for every writer's success is different. After Hugh Howey, author of the mega-hit Wool, punched the sweet spot with a Reddit Q&A, untold other writers have since tried to leverage that venue for similar results...and zilch. Using a different tactic, one writer used Instagram to gather an army of followers. Others have Tweeted their way to stardom. Countless others have tried to follow their examples and their efforts became exercises in futility. So what works? Who the hell knows? You have to blaze your own trail.

On social media, it's an echo chamber of advice for writers. Lots of scribes post all kinds of aphorisms and you-gotta-dos. Most of them are trite or vague. Once in a while someone twists the obvious into something that sounds profound and other writers pile on with the Hallelujahs. It's like church, and we behave like backsliding, guilt-ridden Baptists turning to the Holy Scriptures for comfort. And like church, we seek the company of fellow believers, those with the precise kind of faith. Ever notice that shopping for a critique group is much like looking for a congregation? In either case, we want a close-knit community who understands us, who welcomes us, who shares our parochial view of the world. Within the sanctuary of that group we make ourselves vulnerable to criticism in the struggle to improve our souls.

But don't think that I'm cynical about the need to gird yourself. Writing is an intense, intellectual process. It's easy to quit out of frustration. It's easy to stare at the screen and feel like your head is an empty balloon. It's easy to pour yourself onto the page only to see your writing appear like a confused mess.

What's the best writing advice? First, gain command of writer craft and understand storytelling. Read. Read. Read. If you're serious about writing, then it's got to be a priority in your life. And lastly, because writing--as much as we say we love it--the act can be a pain in the ass. With that in mind I share these powerful, illuminating words from Steven Pressfield:

"Our enemy is not lack of preparation; it's not the difficulty of the project, or the state of the marketplace, or the emptiness of our bank account. The enemy is resistance. The enemy is our chattering brain, which, if we give it so much as a nanosecond, will start producing excuses, alibis, transparent self-justifications, and a million reasons why he can't/shouldn't/won't do what we need to do."

The Title Dilemma

Oh what to call the precious gem. Actually, I'm convinced books are precious only in the eyes of the author. Once a book reaches a certain place in the production process and is subjected to the ideas of the marketing team nothing is more unnerving than the process of choosing the best title to maximize sales.

I'm used to houses changing my titles by now. The title of the first short story I ever published was changed from "Night Song" to "Alone at Night." After all, it was for a trucking magazine, Overdrive. And from then on it was strictly downhill. Or was it? Through the years, I've found the reasons for title changes fascinating. Come Spring was originally A Different Spirit. The reasoning there was that A Different Spirit sounded occult.

Bound by Blood was changed to Deadly Descent because my editor pointed out that clerks don't have time to read all the books and it would end up in the vampire section. I had envisioned the "Bound By" series. Bound by Blood, Bound by Death, etc. It's now the Lottie Albright series and each books has a distinctive name, although all have two alliterative words. I'm very glad. I have trouble keeping track of which books I've read in some series. John Sanford's Prey series comes to mind.

The academic book I'm publishing with University of Oklahoma press has been especially troubling. I worried about the first word, Nicodemus. It's about the ideas of three men who played a critical role in founding the town and I was afraid the descendants of people in Nicodemus would be distressed that their family wasn't mentioned. There are a number of books that could be written about the original colony and I hope those familiar with the genealogy will consider doing it.

Mine is about A.T. Hall, Jr., John W. Niles, and E.P. McCabe and its all about politics. I think the final title will be Nicodemus: Reconstruction Politics and Racial Justice in Western Kansas. The sub-title will narrow the focus an people's expectations.

I'm very, very happy with this one although Post-Reconstruction Politics would be more accurate. I started by wanting Creating a Civilization because African Americans had to do just that after they migrated to the High Plains.

This has been a hard book to write. Tracking down documentation is a lot of work. It's sort of like the sleuthing process in a mystery.

Here I Go Again...

It seems that several of us TypeMers are starting new projects right now, including me. So I read with great interest Vicki’s post on believing in yourself and Barbara’s post on creating characters.

All the changes for my second book, Paint the Town Dead, have been made. Other than looking over the ARC, it's essentially done. So I'm now moving on to my third book, which I've tentatively titled Tromp l'oeiled to Death.

Starting a new project is both exciting and daunting. I have all of these ideas floating around in my brain, but no plan or outline yet. So I've started writing down as much as I can, including partial scenes, hoping that I'll be able to make sense of it all very soon. Things are ever so slowly coming into focus.

At times like this I feel like I'm not accomplishing much, that I'm going nowhere. I liken it to the design phase of a software project. You've got lots of stuff written on whiteboards and in documents, but since no code has been produced, it doesn't feel like you're getting anywhere. You find yourself wandering hallways, hoping the movement will trigger something in your brain. (Or in the case of writing, surfing the web researching some aspect of the book in hopes something will come to mind.)

Just as I did with software design and coding, I have to keep on reminding myself that I need to believe in the process. To believe that I can produce a good and interesting story people other than family members will want to read. And do it in a fairly short time frame. (That last part is what I have trouble with!)

I’m fairly new at this writing game so I’m still refining my process. I come up with a basic premise (for Fatal Brushstroke that was “a woman finds the body of her painting teacher in her garden” and for Paint the Town Dead it was “Rory’s friend collapses in a class at a tole painting convention and dies.”)

From the premise I move on to working on the characters that will inhabit the story since I believe that out of the characters comes the story. Since this is the third book in the series I already have half a dozen I’m going to reuse, so it’s a good start, but I still have a lot of work to do. Once I have the basic characters and understand something about them, I write a short description of the murder and the cover-up from the murderer's point of view and come up with the main turning points in the story. Then I’m pretty much off to the races. This time around I think I'll write a one to two page synopsis of the story, which I think will help me focus my writing better.

I have no idea if this is the best approach, or even if it’s the best approach for me, but you have to start somewhere. So, I’m interested in how everyone else starts a new project. Do you start with creating characters? Or do you just start writing? Any words of wisdom for me?