Je suis Circonflexe

An apology first. I'm sorry to have missed my post last week, but my PC, the dreaded Beelzebub I posted about a couple of weeks back, had to be sent back to the maker to have its guts ripped out and reinstalled. I'm still trying to come to terms with all the little 'imporvements' that make my life more difficult, but I daresay it will work out in the end.

There has been an outcry in France. A government decision that the circumflex which adorns certain vowels is to be omitted in school textbooks has provoked demos and a storm on Internet sites under the hashtag, 'Je suis Circonflexe'. Further fury was aroused when it transpired that Monet's famous Waterlilies painting Les Nenuphars (sorry, can't find a way of doing the acute accent over the 'e') is now to be rendered Nenufars.

I love the French. A year when I don't visit France is to me a year wasted and it is a proud boast that if you go far enough back in my family tree you find Huguenots, who fled France under religious persecution in the eighteenth century. (The wealthy ones were silversmiths, the poor ones were weavers. Guess which my ancestors were.)

One of the things I most love about the French is their passion for what they care about:; 'To the barricades!' is a slogan never very far from their lips. And I particularly love it that one of the things they care passionately about is their language.

The Academie francaise guards it jealously and mounts quixotic campaigns to stop English – or possibly I should say American – infiltrating it. To be strictly correct, if you wanted to say 'email' in French, you would call it 'courrier electronique.' They don't, of course, any more than they can be persuaded to use 'travail en reseau' instead of 'networking'. It's clumsy.

One of the big problems for accented languages like French appears when it comes to using keyboards; the letter 'e' for instance would have to appear as e acute, e grave and e circumflex, and by the time you did that for all accented letters the keyboard would be enormous, so any accented letter is subject to another process.

So it makes sense to banish the circumflex when it doesn't affect the vowel sound. And you won't hear any difference in pronunciation when the ph in nenuphars is replaced by and f – and it's easier to spell. It's certainly more practical but it's a shame when the history of a language disappears from the printed word.

America, of course, took those decisions years ago, and because of the influence of films English-English has now wholeheartedly embraced Americanisms – they're colourful and fun. But I start getting all French when I see 'program' creeping in instead of 'programme' – and I still think 'honour' looks, well, more honourable than 'honor'. So far, though, 'gotten' hasn't come back into English; it's a pure Shakespearean past participle that left with the Mayflower and is never used on this side of the Atlantic.

As writers words are our stock-in-trade; we need to be passionate about them, treat them with respect and defend them against misuse.  To the barricades, anyone?

Guest Author Betty Webb

Type M 4 Murder is happy to host our wonderful weekend guest Betty Webb, author of two popular series of mysteries, one dark and one light and funny. Have you ever wondered how on earth authors manage two series at once, especially two that are polar opposites? Sit down and let Betty tell you all about it.

It Ain’t Easy

    By Betty Webb

Now that my poor grammar has captured your attention…

Any writer who keeps two or more different series going knows how difficult it can be, but it is doubly so when those series are dissimilar in tone. Two of Anne Perry’s series have differing police detectives as protagonists – William Monk and Thomas Pitt. Both series are dark, and both are set in Victorian-era London.

J.A. Jance went a little farther afield with her Seattle-based detective J.P. Beaumont, as well as her Arizona-based sheriff Joanna Brady, but again, both are professional crime-solvers, and the tone of both series fall well into the traditional mystery category.

Then along comes Rhys Bowen, with her early 1900s New York-set mystery series featuring Molly Murphy, who fights against social injustice. But Bowen also writes a much more light-hearted series set in 1930s England, featuring the misadventures of Lady Georgie, a scrappy heir to the British throne who is down on her financial luck. Lady Georgie considers it a life achievement that she has finally learned how to dress herself without a maid.

Of the three writers, my writing challenges most closely echo Bowen’s, but without the travails of historical research.

Like Bowen’s Lady Georgie series, my Gunn Zoo books are often laugh-out-loud funny, such as the rescue scene in the Iceland-set “The Puffin of Death,” where my California zookeeper/amateur sleuth confronts a killer after stumbling through movies sets featuring astronauts, samurais, and Viking berserkers. Also written for laughs was “The Llama of Death,” where poor Teddy has to wear a lion costume while pretending to “escape” from the zoo where she works.

In contrast, my “Desert” series more resembles Bowen’s Molly Murphy books, which see my Scottsdale-based P.I. protagonist Lena Jones struggling against social injustice. These range from the death penalty in “Desert Rage,” polygamy in “Desert Wives,” female genital mutilation in “Desert Cut,” government-caused cancer clusters in “Desert Wind,” and the misuse of eminent domain in “Desert Noir.” As such, this series can be quite dark.

The writing difficulty in each of my series is about the same. Once I’m well into a book – say, around ten chapters in – it’s pretty much smooth sailing. The plot is coming along nicely, the characters are not fussing at me too much, and sometimes I may have even figured out whodunit and why. But those first six chapters…

Here’s the true difficulty with writing two vastly different series: settling into the right tone when you switch protagonists.

Let’s say I’ve just finished writing “The Puffin of Death,” with one hilarious scene after another. Teddy, my uncomplicated zookeeper sleuth, remained optimistic as she rode through Iceland on a shaggy horse, evading erupting volcanoes and murderers. She cracked jokes all the while. The months spent writing “Puffin” were a blast for me, too, and I’d been giggling over my computer keys for months. But now that the book had been sent to my editor, it’s time to start on “Desert Vengeance,” the next “Desert” mystery.

“Vengeance” (which I’m currently working on) is about the problems in Arizona’s foster care system, as illustrated by PI Lena Jones’ own history as a child being shifted from foster home to foster home. Starved. Beaten. Raped. A truly miserable life. But wait. As I read the first few chapters in the rough draft, the now-grown Lena is cracking jokes and having a high old time as she remembers her early travails. What?! What in the world is so funny about starvation, beatings, and rapes?
Nothing, of course.

What has happened is that I’ve let the tone of the Gunn Zoo series – which I’d just spent months writing – leak into the opening chapters of a much darker book. It happened unconsciously because I was still on a giggly high after finishing “Puffin,” and I was still writing in Teddy’s optimistic voice. But Teddy trusts the world; Lena Jones doesn’t.

So what I, as a writer, have to do now is bring my own mind and emotions back into Lena’s dangerous world and edge away from the cheery glow of my California zookeeper. It isn’t easy. In fact, it usually takes me six or eight chapters – sometimes as many as ten – before I hit the right note and begin seeing the world through Lena’s suspicious eyes. I have to keep slogging away until the miracle finally happens. Once it does, and I’m finished with the first draft, I have go back and rewrite those funny – and very wrong – first chapters.

The opposite problem happens when I finish a Lena Jones book and start the next Gunn Zoo mystery. Lena’s fierceness leaks into the beginning chapters of a zoo book, making my bubbly Teddy resemble a stern Valkyrie much more than she does the happy-go-lucky zookeeper I want to create. But that, too, always works itself out. Somewhere between chapters eight and ten, my happy girl comes skipping back, with her beloved anteaters, koalas, llamas, and puffins trotting (or flying) behind her.

Let me reiterate. Writing two vastly different series with two vastly different protagonists ain’t easy. But this is where trust – and patience -- come in. The writer must trust that her characters, although absent for a while, will eventually return in full voice. And then have the patience to give it time to happen.
Because it will.

Betty Webb is the author of 9 Lena Jones mysteries (DESERT RAGE, DESERT WIVES, etc.) and 3 Gunn Zoo mysteries (THE PUFFIN OF DEATH, THE LLAMA OF DEATH, etc.). Betty worked as a journalist, interviewing everyone from U.S. presidents, astronauts who walked on the moon, and polygamy runaways. A nationally-syndicated literary critic for more than 30 years, she currently reviews for Mystery Scene Magazine. She is a member of the National Federation of Press Women, Mystery Writers of America, and the National Association of Zoo Keepers. Her websites are bettywebb-mystery.com and bettywebb-zoomystery.com

Chasing Reviews

There is nothing wrong with asking friends and writers to review your book. Of course you want a decent quote on the back of the cover. These terse complimentary words of praise are called blurbs and it helps when a well known author says something nice about one's work.

However, lately I've received requests for full blown requests from people I don't know who want me to decide on the basis of a line or two. Moreover, when I politely refuse, I don't receive a word of thanks for "taking the time to consider," etc.

These books have not been offered in print, are usually unpublished, and don't contain a whole manuscript. Even if they are an ebook, I don't want to read the whole thing on-line. I expect books to be printed and sent to me.

I hate to ask a friend to do a book or a review. Done well, they are time consuming and most of the writers I know are very, very busy. But it's important to screw up one's courage and simply ask.

When I do review a book, it's usually for a publication I'm familiar with. I take reviews very seriously. Academic reviews are especially important. 

Here are some of my guidelines:

(1) I read every single book I review. I don't merely skim.

(2) I never give scathing negative reviews. Books are hard to write--even bad ones.

(3) I never lie about a book, but I usually look for the things an author does well.

(4) If I don't like the genre and think the book is mediocre, I'll summarize the action and suggest that it might appeal to __________ audience.

(5) If the book is total crap I will not review it. Period. I hand it back to the editor and ask he or she to find someone else. Without much explanation.

Syntax: can't live with it; can't live without it

I'm several chapters into a book that will feature multiple points of view. Within those points of view there exists a commonality – a voice. My voice.

It's a voice I want readers to at once trust and hear and even find authoritative. Yet it's also a voice I never want the reader to be aware of. In fact, my goal is total anonymity. There is no writer. You're not reading. Just turning pages, lost in a story you (hopefully) don't want to put down.

I'm sure I don't bat a thousand. But I spend a lot of time revising, reading aloud, listening to the text, and revising again. I'm listening for flow, pace, characterization, and tension. What I'm not listening for is grammar and syntactical correctness, if such a clunky phrase exists.

I do, though, teach grammar. (My students, God bless them, are taking a test on chapter two of The Elements of Style this week.)

And I'm something of a stickler about it, insisting that you need to know the rules well in order to break them effectively. But I also reward the papers and narratives that can use punctuation and syntax in a sophisticated way.

Here's the start of a chapter from my work-in-progress:

Majd Awaad reached out to touch his sleeping brother's arm. Wanted to wake him. Then pulled back. Halil, even at twenty-four, was still his little brother. Probably needed his sleep. In any case, Majd would see that Halil got rest.

Majd leaned his head against the headrest but didn't close his eyes. He wanted sleep. Probably needed it. But he was restless – torn emotionally about the life he was leaving and the one a Boeing 767 was hurtling him 550 miles an hour toward.

Years ago, when I was writing first-person novels, I might utilize three sentence fragments in an entire book. Here, I have four in two short paragraphs. In fact, as I revised, I pulled the subjects out of the sentences here. Pace and narrative tension over grammatical correctness.

E.B. White is one of my favorite authors (hence The Elements of Style in my classes), and I don't know another writer who wrote clearer, more precise sentences. Mr. White's Rule #6 is Do Not Break Sentences in Two.

Yet, if I may disagree, I think Rule #11 trumps all: Use Active Voice. It's a mantra to live by. Right up there with Stephen King's "The road the Hell is paved with adverbs." If you live by Rule 11, the reader won't notice you.

Probably won't even realize she's holding a book.

Author Newsletters, Yea or Nay?

Confession time. I have an author newsletter, but it’s pretty much at the bottom of my priority list behind writing my next book, writing blog posts for this and other blogs, and other writerly activies like updating my website. Not that I ignore it completely. I do try to send one out now and then, especially at book launch time or when I have a lot of events planned.

For me, I prefer short newsletters. I don’t have any problem reading long books that are printed, but when I read online I prefer everything to be short: short emails that get to the point, short newsletters, short blog posts. If something’s too long, I’ll either not read it or set it aside to read later (which often means I’ll never get to it). So, whatever I do with my newsletter, I don’t want it to be too long.

I subscribe to a number of my fellow authors’ newsletters, partly as a fan to see what they’re up to and partly as a writer to get ideas of what to put in my own. Recipes seem to abound in most of the newsletters I subscribe to, but the authors who produce them also have series that involve food and include recipes at the back of their books. That doesn’t seem like it goes with my series, which is set in the world of decorative/tole painting. I did recently add a Painting Tip section to my newsletter as well as an Ask Sybil section where I answer questions about myself and my writing. But, beyond that, I’m not really sure what else to do with it.

My publisher believes that newsletters are important, also, and encourages us to send them out. But what to put in one? This article on authormedia.com talks about the eight elements in an effective newsletter. I’m not sure how much applies to me, but I found it an interesting read. Jane Friedman also has a Get Started Guide for authors. I’ve only skimmed this one, but it’s on my list to read when I start thinking about my newsletter again. Hah, you noticed, didn't you? The article was a little long so I set it aside. Told you that's what I do. I will get back to this one, though, after I've made more progress on my book.

And there’s the recent post by author Tonya Kappes on romanceuniversity.org titled “Newsletter = Marketing Gold”. She puts out a weekly newsletter and has found it a rewarding and effective way to connect with her readers. She’s a big believer in content that’s only available to newsletter subscribers. When someone subscribes to her newsletter, she gives them a free download of a short story that introduces the reader to her Divorced Diva mystery series. That’s an interesting idea I may put in practice someday.

Type M Readers, what do you want to see in an author newsletter? What don’t you want to see? Do you think they’re worthwhile?

The value of humility and kindness

I’m certain that nearly everyone reading this had the two concepts in today’s headline drummed into their childhood heads by parents and other “significant” relatives. Problem is, as we grow older, we tend to forget many of the teachings of our younger years — especially those that are not always convenient to follow.

I’m equally certain that nearly everyone has heard stories of arrogant celebrities and other well-known people who display neither of the above traits. I have been around a number of them over the years, both as a musician or author or just as a member of the general public. My first urge is to shake them hard, perhaps smack the worst offenders upside the head and point out that they’re no better than anyone else. Self-importance is a really despicable “illness” to have.

My motto in life has always been The Golden Rule (please look it up if you don’t already know what it is) and I honestly do try to live by it. Now, I’m also a little fish in the great big sea of Canadian book publishing, which in itself is a pretty small thing, so you know where I’m at in the great pecking order. I once got asked in an interview, “What would be the first thing you’d change if you suddenly found yourself with a bestseller?” I answered back with an non-change: “The way I treat people.”

Now I’m not making myself out to be some kind of saint here. In actuality being nice and humble are not big things. For the humbleness part, I’m not very important anyway, am I? I do know that I’m very good at quite an array of things, but not earth-shatteringly so. No one will remember me for my incredible virtuosity on any instrument, nor for the quality of my prose. What they will remember me for (I sincerely hope) is that I was “a nice guy”. Sure, I fail at this from time to time (who doesn’t), but that doesn’t mean I’m anything except inconsistent in my successes.

It’s doesn’t take any work to be nice/friendly and the rewards can be great. That payoff can be something as small as a smile from someone or by knowing you improved someone’s day even a tiny bit.

And then there’s karma. I’m a firm believer that bad deeds result in bad karma and that someday, the bad thing you did to someone will be revisited on you — and probably in a worse way. Why tempt fate, eh?

How do I know that bad karma will result in a negative reckoning of some kind? Well, it’s happened to me. But I know it from observing first hand celebrities who have been on the top of the heap and perhaps let arrogance get the better of them. What happens  in the long run? Their celebrity runs its course and guess what they’re left with? A whole lotta nothing except for the memory people have of their bad behavior.

By the time that happens, there’s not a heck of a lot you can do about it. And in and of itself, that’s really a sad thing.

Guest Post: David Roberts

Aline here. Today I'm delighted to introduce David Roberts, seen here in Iran recently in typically adventurous pose. David is the author of a very stylish series set in the 1920s, that most stylish of all eras, with his detective Lord Edward Corinth – and if ever there was a name that cried out to feature in a TV series, this surely is it.

What’s in a name?

Apple, Brooklyn, Cruz, Harper, Romeo – wherefore art thou Romeo? What’s in a name? A lot! First who would call their detective, let alone their child, Apple, Romeo or even Cruz? Harper? Yes, possibly – see Bernard Cornwell’s Sharpe series.

But Tommy and Tuppence? Never! And yet, there we are! How wrong can we be? Agatha Christie’s silly stories featuring the two gay young things have been televised not once but twice. The second time – just a few weeks ago on BBC 1 no less – featuring David Walliams as Tommy and Jessica Raine as Tuppence. Walliams has no charisma but that didn’t matter as the script was rotten, the production and direction feeble and the up-dating to the 1950s risible.

At least Jessica Raine was seen to be reading Dorothy L Sayers’s Strong Poison. Now, Harriet Vane. Lord Peter Wimsey – those are names to die for!

So why did the Tommy and Tuppence series get made? Because of the brand name, dummkopf.

I mean to say – what chance would you have if your detective was stuck in the Shetland Islands or called Vera? None at all, you would think, yet Ann Cleeves has two series on British TV at the moment.

Now, you can see I am objective, unprejudiced and without even the tang of bitterness you’d expect in a disappointed crime writer. The fact that I have penned a superb ten-novel series set in the 1930s featuring Lord Edward Corinth and Verity Browne has nothing to do with it.

Yes, the fact that Columbia Pictures bought an option for an obscene amount of money but did nothing with it is amusing but so many friends of mine have been in comparable situations, it is hardly worth mentioning. I don’t complain. I whinge instead – not an attractive habit.

The solution is simple. To correct a foolish mistake on the part of our parents, a mass christening will be held next Tuesday and we’ll all be given the names we ought to have been given at the font so many years ago – Agatha Christie. Problem solved, murder avoided.

Deadlines: The Good, The Bad, and The Ugly

I'm writing this post while giving my mind a break from the squirrel-chasing that occurs when a deadline is at hand for something I'm working on. In this case, it's a 900-word article. I wrote a first draft in long hand last night while sitting in bed. After a hectic day, I was able to get my thoughts down on paper. Harry, my cat, had eaten his snack and gone off to his own bed (no more meows to sit in my lap as I worked at my computer or mad dashes through the house as he burned off energy). The house was quiet, and the words flowed -- or, at least, find their way in stops and starts -- onto the sheets of loose-leaf paper. I write on loose-leaf notebook paper when I need to focus. I think it has something to do with being a teacher or maybe having been a student trying to get a paper done.

I got my article written last night, but I knew even as I wrote that it was only a rough draft. And nothing would have been gained by trying to move beyond that last night. And this morning, I had to send a note to the editor who is waiting for the piece to say that I will submit this afternoon. I have missed my mid-morning deadline. But it would have been wasted energy to immediately plunge into getting the draft into my computer. First, I need to re-read with a big mug of tea at hand.

This deadline reminds me of the good, bad, and ugly of deadlines. The good:  a deadline requires a writer to focus his or her attention if it is to be met. The bad: the stress of focusing his or her attention may result in panicked gazing at a blank sheet of paper or computer screen. The ugly: in panic mode, he or she may rush to get something -- anything -- down on the page and off to a waiting editor.

For a moment last night -- as almost every time I sit down to write a draft -- I was in panic mode. Although I know what I'm writing about and knew what I wanted to say, it was all jumbled up. I had spent time re-reading research material. For much of last evening I made less valuable use of my time by imagining how an invisible reader would react to each word, every turn of phrase. I needed to shut off that voice and get down to business. Finally, well after midnight, with ballpoint pen in hand, I got a draft down on paper.

But this morning, I needed to take an hour or two to let my mind clear. And now I have a new deadline. I emailed to say I will deliver the article in three or four hours. The editor I'm working with kindly understood.

I hate missing deadlines, and I'm not cavalier about it. But I know by now when I need to give myself a little more time. What I should have done when discussing the deadline was admit to myself that I would have to follow my usual process -- panic, scribble, re-read, type and revise.I should have accepted the offer of the later deadline rather than assuming I could do this piece more efficiently because I knew what I was writing about. Process always wins.

How do you handle deadlines? What's your process?

The End Is Not Near

I'm having an existential crisis.  I'm coming down to the end of my ninth Alafair Tucker novel. I can see the finish line. Every day I come closer to the day that I write "The End". It's been a slog, but that doesn't surprise me. It's usually a slog for me. Sometimes it almost takes more sheer will to sit down and write than I can muster. Almost. I do it anyway.  Norman Mailer says, "there is always fear in trying to write a good book ... I’m always a little uneasy when my work comes to me without much effort. It seems better to have to forge the will to write on a given day. I find that on such occasions, if I do succeed in making progress against resistance in myself, the result is often good. As I only discover days or weeks later."

So I keep writing and try not to think about it too much. I observe that sometimes too much thinking gets in the way. If I try too hard to figure it out, I become Hamlet in drag, unable to take action. When I do enjoy myself, when I read what I’ve written and find it good, I have a strange feeling of dislocation, as though the words came from someone else.

So the new book is going right along as expected and I see that the end is near. Until last night. I went to bed late, and as I was drifting off it came to me like a lightning flash in the dark--I should go about it in a totally different way than I have been.

If I had a particular major event happen much earlier in the book, the whole story would be much better. It would make better sense, it would move much faster, it create more suspense. All in all it was an absolutely brilliant and instantaneous insight. I have to do it.

The only problem is that this brilliant alteration calls for a major rewrite. Suddenly the finish line is no longer in sight. Yes, I am excited to pursue the interesting twist that came to me out of the blue, I am also in a Dostoyevskian mood, all dark and Russian. The end is not near.

The things we do for art

Barbara here, and in case you don't know, that's something of a miracle. A week ago, my continued existence was in some doubt. Not because I had some dreadful disease or was planning to enter the Indie 500, but because I was going winter camping. In Northern Ontario, during the last two weeks of January, statistically the coldest period in the northern hemisphere. This latter fact only occurred to me once I had registered for the trip and paid my money.

As a writer, I am always trying for realism, accuracy, and vivid description. I don't want readers to be yanked out of my stories by the outraged thought 'that's ridiculous!' or 'that's not what it's like!' My next book is set in the Laurentian Mountains north of Montreal, on a camping/ skiing expedition in the middle of winter, and at some point in balmy September, immersed the early pages of the first draft, I thought "well, I can't possibly write about winter camping without experiencing it". Without hearing the wolf howls at night and the squeak of boots on frozen snow, without feeling the bone-chilling cold of the ground beneath my sleeping bag and the frost on my nose, without seeing how the die-hard lovers of the great winter outdoors cope with stoves and tents and cooking (not to mention latrines, which I plan to give only passing mention in the book).

So I decided to try it myself. How hard could it be? I'm a fit, adventurous, essentially upbeat soul who is prepared to try most things once in the interests of sampling life. There are few things I won't consider. Eating cockroaches. swimming with sharks, and playing with snakes are among those few. But I love the great outdoors, I love camping, I love crisp, fluffy snow. It will be fun!

So I researched winter camping adventure companies, found one that sounded perfect for my needs, and paid my money. I spent half of December and January combing the sales in an attempt to get at least some of the gear the outfitter recommended. How many times will I use  -20 degree sleeping bag? Or camp booties? Or anoraks? So I opted to rent some of the gear from the outfitter to save costs and ensure the right gear. And last week, with the dogs in the kennel and our duffel bags packed, my friend and I set off. The temperature, which had been ridiculously warm since November, suddenly plunged, and we found ourselves hiking eight kilometres in to the base camp in -20 sunshine.

The base camp reminded me of girl guide camp from nearly sixty years ago– a canvas tent set on a wooden platform with a stove and wooden bunkbeds inside. We met the rest of the intrepid tour members and we had a delicious meal of chill cooked on the wood stove. First note to writing self– one-pot dinners are best, and make sure everyone has one bowl and one utensil (a spoon). Saves on clean-up. That night the temperature plunged below -30 and we froze, giving me a vivid sense of frozen noses.  I won't even mention the mid-night latrine excursions, on this night or any of the subsequent ones. Some things are too much detail for readers.

The next day, hauling our toboggans, we trekked on snowshoe out to a new campsite at the base of the mountain we were to climb. I learned a lot about ragged breathing, aching thighs, soaring eagles, wolf and deer tracks, long, blinding expanses of frozen lake, and the sheer relief of arriving. I learned about putting up tents, spreading fir boughs as bedding, collecting water and firewood, and pulling together. I learned the closeness that forms among strangers gathered around a wood stove to share food, drink, and laughter at the end of an exhausting day.

That night I learned that you can dry wet mittens and moccasins from strings in the tent, and when you're tired enough, you can fall asleep on the frozen ground with nothing but fir boughs as padding. The next day we climbed a mountain on snowshoes and stood at the top, triumphant, looking south over Lake Huron. By then I had forgotten that this was a research trip, not a journey of self-discovery, and I had to remind myself to ask questions and take pictures. I hadn't even opened my notebook. Flickering candlelight is a poor source of light for these aging eyes anyway.

When I returned to civilization four days later, I had learned a great deal that will find its way into my new book, but I had learned much more about myself. About my limits, my strengths, and my capacity for joy and adventure. That's the cool thing about this writing life. It leads us into places and on adventures that we would never have imagined, and we are the richer for it. I am thinking I will pick some place totally different for my next book.

Costa Rica, perhaps. Or Hawaii. After all, it's such a big, fascinating world out there.

In the grayness of winter, a little sunshine

We’re having a pretty easy time this winter here in this part of Canada (south central). As a matter of fact, it’s been downright wimpy: little snow, close to or above freezing, rain instead of snow. I’m not complaining, mind you. Things can get really bad in a big hurry, and I’m sure the weather gods have something unpleasant in mind for us before spring rolls into town. If you enjoy winter (like Vicki D., for instance), this year’s been a bit of a bust.

So why am I bringing this up? It’s the long stream of gray, lifeless days we’ve had to endure. This is not out of the ordinary, either, for winter weather, but somehow this year it seems more onerous.

It also seems to sap the creative juices before they have a chance to flow, and that’s never a good thing when there’s a blog post to write!

So I’m falling back on a topic that’s an old favourite: bad book covers. In this era of rampant self-publishing we also arrived to a Golden Age if bad design and typography float your boat. Too many authors (of any stripe) seem to think they know what should be on the cover of their latest tome. Fortunately, publishers — while allowing them to feel part of the process — don’t let them get too far from shore in the cover design sea.

In doing a bit of research, lo and behold, I found a tumblr.com website dedicated to bad book covers. Here’s the link: http://lousybookcovers.tumblr.com/

Visit this site with the knowledge that what you’ll see may not assist you in keeping a balanced equilibrium. Laughing too hard has that effect on many. Shaking my head so much in wonderment brought on an attack of vertigo.

In looking these over, I was left with a slightly melancholy feeling. I sort of wish that I could help these poor, misguided souls. Having worked with some, though, I’m also aware that they’re hard to talk out of their folly. If they’re friends, then it’s also difficult to be truthful, too. I mean how do you tell someone their child is an ugly wretch?

Exactly.

So even though it’s exceptionally gray and depressing outside today. There’s a little bit of sunshine in my studio.

A lesson from the one-handed man

I've decided to focus these posts on writing. I'm doing so for mercenary reasons, mainly that I want to draw more views to this blog and in particular to my postings. I've resisted discussing writing before for several reasons. One, a lot of writing advice is what's been lapped up somewhere else and simply regurgitated. Two, giving advice is easy. I felt that no matter what I offered, readers would ask, "Okay, Mr. Smarty-pants, why aren't you sitting on top of a big pile of writer money?" Yes, indeed. Well, I'm still at it and I ain't done yet. Plus, I didn't want to sound like a pompous gasbag. God knows we have plenty of them already. And I didn't want to be regarded as a Yoda-like hermit living in a swamp, dispensing crapisms like, "Do or do not. There is no try." "Write not mind but heart."

But writing can be a trek through a bitter desert, and it's good to return to the well and refresh ourselves. We can feel lost, and sound advice and positive examples help us stay on track. As firm as the journey might be in our mind, the path is never smooth. Life happens. We adjust to shifting priorities. Things don't work out like we planned. As writers, we face rejection, in fact we seek it. We pretend to show a stoic face, but the "NO" always burns. Disappointment lies in wait. We garner great reviews but sales remain lackluster. When we do manage decent sales, we learn they're not good enough and it's sayonara from the publisher. Or the publisher folds. Our agent quits, or we quit them. Tires go flat. Our dog dies. On and on.

I pay my bills as a freelance writer and one of my projects is ghostwriting a line of inspirational books, sort of like the Chicken Soup for the Soul series but--considering I am at heart a mystery writer--with an emphasis on hard-boiled drama. One of the stories was about Jim Abbott, the  baseball pitcher who--despite being born without a right hand--made it to the major leagues. At one point his career was floundering and he received a harsh rebuke from a sports critic. Abbott obsessed with what the critic wrote, and he sought him out. When confronting the critic Abbott said that his performance was pretty good considering he only had one hand. The critic replied, "That's no excuse. You have to rise above your circumstances. You're more than a one-handed ball player, you're a professional. We expect more." Abbott reflected upon those hard words and realized the critic was right. To prevail you must rise above your circumstances. Abbott decided there was much about his circumstances he had to accept, but the two most important factors that determined his success were absolutely in his control: Attitude, and level of effort.

What about us writers? What's your attitude? What's your level of effort?

No time to write? Take a look at your schedule and carve out the time. Rise early if you have to or forgo some social life to spend time on the keyboard. Or find writer friends and writer time then becomes social time.

Lacking motivation? Then ask yourself tough questions about why you're writing and why it's important to you. From there, set goals and hold yourself to them.

The green-eyed monster got you? Jealousy is not worth your energy. I've met successful writers with so many flaws that I pitied instead of envied them.

There you have it, this month's advice: Rise above your circumstances. You alone control your attitude and level of effort.

The Weary Blogger

I’m tired tonight. This blog will be very short. It’s not that I can’t think of anything at all to write. It’s that I’ve learned to be frightened of what I will write.

For me, writing is a morning function. That’s when words come easily and writing is a joyful experience. I’ve learned to do non-fiction writing in the afternoon because it’s a different process. It’s much more analytical, but even then it’s easy for me to become careless. When I blog, things can go wrong in a hurry.

Some time back,  I completed a post for BlackPast, the premier go-to site for those interested in African American or African history. The editor, Dr. Quintard Taylor, who invented this site caught a really embarrassing error I had made regarding a date. Normally I would have caught it at once. This site is approaching 3 million readers!! During last year's Black History Month we had over 50,000 readers in a single day.

Because I am a morning person, whenever I have written a really sensitive email where the wording is important, I always always let it rest overnight. Often the wording could be altered or more explanatory. Occasionally, this kind of communication survives the cold scrutiny of daylight.

I’m convinced that social media can be one of the most dangerous trap of all. Twice now, in a state of fatigue, I’ve let some little zinger go. I can’t remember one, but the first had to do with stupid comment during the last presidential election. I do not hesitate to let people know I’m a Democrat, but it wasn’t necessary to incur the wrath of the whole Republican Party. Especially a particular niece. If I had had all my wits gathered around me it wouldn’t have happened. It's easy to be careful during this election because I don't have the faintest idea what is actually going on.

A lot of writers just hate to blog. I don’t. I enjoy reading them and I love making friends with the reading public. However, I have not made one whit of progress on one of my stern New Year’s Resolutions. That was/is to blog ahead of time and to have some other blogs saved back for emergencies. I need to discipline myself to have some blogs in reserve.

Working tired takes another toll. I’ve noticed that I’ve developed a inner scoldiness (yes Spellcheck I know that’s not a word) when I’m not working. A nagging inner voice that insists I shouldn’t be enjoying myself when I could be working.

Sourness expands!

Lessons from my 7-year-old

My daughter Keeley (the youngest of my three daughters – Delaney and Audrey are the other two, hence the pseudonym) gets off the bus each day, and the same conversation ensues. 

Dad: How was school?
Keeley: GREAT!

What was great about it? Well, she's a first-grader: everything. New books make her smile. Getting an addition problem correct draws a fist-pump. Playing sharks and minnows in P.E. is something she talks about. And art class leads to lots of after-school stories.

Shouldn't we all go through life this way? I'm teaching an independent study this semester, working with a young woman who will surely be a novelist one day, and we're reading Rick DeMarinis's The Art and Craft of the Short Story. In it, Rick stresses the writer needs to be alive, to be awake, to drink in all of life's details. Keeley sure does that.

There's more, though, I think. When asked what it takes to be a writer, I never hesitate: empathy is my answer.

Empathy – the ability to walk in another's proverbial shoes – is the No. 1 requirement for anyone looking to take up the writing life. Yesterday was Martin Luther King Day. The boarding school where I live and work celebrates MLK Week, offering students different speakers and other opportunities to learn about diversity and social justice each day this week. I took Keeley to the opening event, an hour-long presentation about who MLK was and what he accomplished. Three times during the session Keeley broke down in tears. Her best friend is an African-American girl. "It should be equal," Keeley whispered to me, when I asked why she was crying. "I want it to be equal."

How does it feel to be African-American in the U.S.? I can't know. I can ask. I can read. But at the end of the day, I'm a middle-class white male with a master's degree. Privileged for sure. Characters in my books often discuss racism, sexism, or oppression. I think about those issues, and my characters talk about them. Now, I'm writing from the perspective of a female protagonist. This means I play the role of a female US Customs and Border Protection Agent for a couple hours a day. What is it like to be a female in a male-dominated, militaristic profession? I try to imagine it. What's it like to have men treat you a certain way? In essence, what's it like to not be a middle-class white male in my society? I'm privileged, I know, but writing pushes me to look beyond my boundaries.

And, as my 7-year-old daughter (the real Keeley) can tell you, that's a good thing.

When Amateurs Investigate

Over the holidays I read several Nancy Drew mysteries form the cache in my mother’s house. In one of them, the police chief of Nancy’s hometown of River Heights was particularly supportive of Nancy’s sleuthing efforts and even asked her to help him out on a case. Even though this is something that you can bet would never happen in real life, it didn’t take away from my enjoyment of Nancy’s adventures.

It did get me to thinking about mysteries featuring amateur detectives and how a writer justifies a non-professional becoming involved in a murder investigation. I mean, how many chefs, soccer moms, computer programmers, etc., would dare to sleuth in real life?

Don’t get my wrong, I’m a big fan of amateur detective mysteries, myself. In fact, they’re my favorite to read and to write.

So, what constitutes sufficient justification for an average person to investigate? Idle curiosity isn’t enough. All of the books I’ve read on writing mysteries note that the crime must matter to the sleuth. The following reasons are given as sufficient:

• the victim is a friend, colleague, romantic interest or relative of the sleuth
• the sleuth is accused of the crime (you can’t use this more than once in a series)
• a relative, friend, romantic interest of the sleuth is accused of the crime
• the sleuth identifies with the innocent person accused of the crime
• the sleuth identifies with the victim
• the next likely victim is a friend, colleague, romantic interest or relative of the sleuth.

But is this really good enough?

I, personally, don’t need much of a reason for a character in a novel to investigate a crime as long as I enjoy the characters and the story is somewhat rooted in reality. I'm quite happy to suspend my disbelief and go along for the ride.

This issue isn’t new, of course, and has been talked about on panels and on email lists for a long time. A quick search of the internet revealed the following posts on the subject.

A post from March 2013, “Why Do Amateur Sleuths Solve Crimes”, is a description of a panel at Killer Nashville where they discussed the subject. Barbara Ross wrote “The Very Good Reason” on Wicked Cozy in October 2015. And, for a slightly tongue-in-cheek list, see Laura DiSilverio’s post on the Stiletto Gang from October 2010, “Top 10 List of Why Amateur Sleuths...”

So, Type M readers, where do you stand on the great amateur sleuth debate? Does it matter to you if a character in a book has a good reason? Is having a character just be nosy enough for you or do you throw the book across the room? Do you despair of the whole sub-genre?

The power of imagination

by Rick Blechta

Jackson modeling his new
formal wear line.

We babysit our grandson, the inimitable Jackson, twice a week. He’s all of 26 months but progressing nicely, thank you. Besides being a genuinely nice person (and in his “terrible twos”, I should point out), he is playful and like all young people, has an active imagination. Since our relationship is quite different than that I had with my own two children, and probably also because I’m older, I notice more about him than I remember noticing when our guys were little and time for reflection was short indeed.

We also don’t have a television, never have, as a matter of fact, and I think that has a positive effect on Jax’s imagination. Even when we need some space to get things done when he’s here, we can’t plop him in front of the “idiot box” to provide some none-participatory entertainment that will allow us to work unimpeded. Consequently, when he’s over here, he has to make our own fun, and since I’m more playmate for him than anything else, I let him take the lead and enjoy watching what he comes up with as well as being his partner in crime.

My theory is that we’re all born with good imaginations, but like our muscles, they need to be exercised regularly or they atrophy and don’t function well. Also, we’re born with an innate sense of fun and the absurd. Just growing up can beat all of that out of anyone in a short time. The trick is helping it survive while life is happening to you.

My grandson has a very blessed existence right now: two loving parents, doting grandparents, great grandparents, uncles, aunts and cousins. Everyone who comes in contact with him is charmed by his personality. I’m not saying he gets his own way in everything, but Jax is indulged.

One result is a very vivid imagination. He’s constantly coming up with games to play and obviously making up his own stories — although the plot often isn’t immediately clear to outsiders or even those close to him. Over the past few weeks, he’s come up with two terrific games to play with me. I let my “inner child” loose and play along with him, adding to what he’s creating. I’m the proud discoverer, for instance, that our cars can fly — and do quite elaborate tricks — if we only remember to open their doors. They also crash in the most spectacular ways if some little scamp closes them while they’re up in the air!

Perhaps writers of fiction are able to tap into our inner child more readily than most and that’s where our ideas come from in the way Vicki spoke about in her post yesterday. We’ve gotten older, hopefully matured a bit, but still use our non-atrophied imaginations to see ideas that can be spun into stories, regardless of their length, then populate them with real (grownup) imaginary friends, just as we did when we were little.

God bless the child…

The Idea Factory

By Vicki Delany

Authors are always being asked: Where do you get your ideas?

It’s a difficult question to answer, because we do quite often get them out of thin air. What’ an idea? A scrap of a thought.  An impression flickering at the ends of consciousness.  An offhand comment.

Ideas are everywhere, you have to be ready to accept them and then, most importantly to follow them where they might lead.  

Because an idea is just that. An idea. But a book is a book.  And there’s approximately 80 – 100,000 words between then.

But sometimes, an idea isn’t a fleeting impression or a thought pulled out of the air, but taken from something real and concrete.

Case in point: I was listening to a piece on the CBC radio a couple of years ago about an organization that worked on behalf of those wrongly convicted of murder. In Canada, we all know many of their names: Guy Paul Morin, Donald Marshall, Steven Truscott. 

They had a long interview with a man who spent years in prison for the murder of his wife before it was determined that her death had been an accident.  He now works with AIDWYC, helping others in his position. (https://www.aidwyc.org)

It was a fascinating interview and I was struck with how this poor man’s life had been ruined, by what basically turned out to be incompetence on the part of the authorities.  And, how hard the people who believed in his innocence worked to see him exonerated.

And presto! An idea plus a lot of hard work became a book.

Unreasonable Doubt will be released on February 2rd. This is the eighth in the Constable Molly Smith Series.

Here’s a taste: 

Twenty-five years ago, Walter Desmond was sentenced to life in prison for the brutal murder of young Sophia D’Angelo in Trafalgar, British Columbia. For twenty-five years, Walt steadfastly maintained his innocence.

Now he’s out of prison, exonerated by new evidence that shows corruption at worst or sheer incompetence at best, on the part of the Trafalgar City Police. And he’s back in Trafalgar.

Tensions are running high in the small mountain town. Tension between those who believe an innocent man was convicted and those who maintain the police got the right man. Surrounded by supporters, Sophia’s bitter family is determined to see Walter back in prison. Or dead.

It’s mid-summer in Trafalgar and women’s dragon boat teams are in town. At his B&B Walt Desmond meets lonely widow Carolanne Fraser, and Walt decides he might have reason to stay.

The police are instructed to do nothing to interfere with Desmond, but when Constable Molly Smith comes across two of her colleagues ordering the man out of town “or else” she’s forced to decide where her loyalties lie.

Meanwhile, a file that closed twenty-five years ago is on Sergeant John Winters’ desk. The records are dust-covered and moldy, the investigating detective long dead, the arresting officer retired and not talking, but Smith and Winters dig into the case. 

Because, if Walt Desmond didn’t kill Sophia Angelo, then someone else did.

Guest Post - Christina Freeburn

Today's guest is Christina Freeburn, author of the Faith Hunter Scrap This Mystery Series. Visit her at www.christinafreeburn.com Take it away, Christina! 

That First Glimpse 

by Christina Freeburn 

 

Anticipation. Nervousness. Excitement. A little bit of fear. All of these emotions tumble through me when it’s the first time to see my book cover. It’s like a child sneaking toward the Christmas tree, peeking with one eye open as they hope and fear at the same time about what Santa left. Will it be the Red Ryder BB gun with a compass in the stock, or a pink bunny suit made by Aunt Clara.

I’ve been seeing the book for about a year or longer on my computer and paper, but it’s been just words. No pictures. The only images of the book are the words that I’ve written: dialogue, description, how I’ve structured the plot. It’s all been me (and the suggestion of my wonderful editor) to show the story to the reader. But soon, the cover will arrive in my inbox and it will no longer only be about how I see it, but how the cover artist envisioned the book through my description of it.

Was I able to convey all the emotions and theme of the book adequately? Will my book look the way I’ve started to imagine it? Or will it be completely different? I had filled out a cover art sheet listing all the important elements in the book and what I think should be portrayed to the reader. The location: small town West Virginia. The mood of the book: for Framed to Death an optimistic, lighthearted tone coupled with a serious community issue. Which one (or ones) will the cover artist choose as being the stronger focal point to really show the story and will work best on a cover?

Being a scrapbooker, I’ve learned that less is often times more when it comes to design layout. When I started scrapbooking, I’d include every possible picture of an event (even if it meant cutting them into weird shapes), and layer on stickers and die cuts to fill all spot available. I would make sure to leave some room for some journaling so I could tell (more times than not retelling) what the pictures portrayed. After a few years, I realized I was overpowering the photographs with too many extras so I streamlined the amount of embellishments I put on the page, and chose the best pictures that showed the heart of the memory, and what I wanted myself and my family to remember about the event.

When the email pops with the subject line cover draft, I prepare for my first glimpse. All open programs are closed. I set my cell phone to vibrate and move it to the work station behind me. I don’t want anything distracting me from taking in the moment of that first look at my book. For me, it’s like meeting someone for the first time and I want to give my undivided attention. With one eye closed and the other opened a tiny bit, I click on the email and enlarge the attachment. Once I know the cover is full size on the monitor, I open my eyes. There it is. My book! A picture of my book!

The moment I saw Framed to Death, the first words that pop into my mind are: “I’m in love, I’m in love, and I don’t care who knows it.” (It was during December so I was in the middle of my holiday movie binging season and I had just got done watching Elf.) The colors fit the fall season that book takes place and I love the frame chosen for the focal picture. It shows an element of the story without revealing it. I’d gush more about the new cover but I’m afraid I might give part of the plot away.

Framed to Death, the fourth book in the Faith Hunter Scrap This Mystery series, will be released on April 26, 2016. The other books in the series are Cropped to Death, Designed to Death, and Embellished to Death.

Christina Freeburn served in the US Army JAG Corps and also worked as a paralegal, librarian, and church secretary. The Scrap This Mystery Series (Cropped to Death, Designed to Death, Embellished to Death and forthcoming Framed to Death) brings together her love of mysteries, scrapbooking, and West Virginia. She's working on future books in the Faith Hunter Scrap This mystery series published by Henery Press. Christina blogs at www.theselfrescueprincess.wordpress.com where she chats about books, especially heroines and holiday themed stories, crafting, writing, and new hobbies she’s exploring

Predictabilty

Last night I was thinking about the great posts from my colleagues this week about David Bowie, trends, and creativity. I was wondering what I could add to the conversation. And then I turned from the sink and encountered the fixed green-eyed gaze of my cat, Harry. As you know by now, Harry fascinates me. In part because we have become involved in a game of predicting each other's next move. He's more difficult -- one moment he is sitting under the coffee table dozing, the next he is dashing through the house. One moment he is meowing his apparent distress, the next he is cuddling up with his sock filled with catnip as if he hadn't a care. The one thing I can predict about him is that several times during the day or evening -- when the mood strikes him and I am sitting down -- he will come and leap into my lap. If my hands are in his way, he will meow to get my attention. Then he will settle down for a nap, and I will not be able to move without being heartless and disturbing his sleep.

But what is more fascinating, and what I was thinking about last night, is that Harry has adjusted to my unpredictable predictability. I am awful at keeping an eye on the clock. I forget to feed him on schedule. But last night -- as he does every night -- he started to watch me as soon as I got up to wash the dinner dishes that I had left in the sink. I do that every night without fail -- with a scene from the Mary Tyler Moore show playing in my head. Rhoda is staying with Mary because of a problem in her apartment. She has told Mary that she will wash the dishes. But she leaves them in the sink to soak over night. Mary creeps out of bed when she thinks Rhoda is asleep to wash the dishes. I'm not a neat freak, but I wash the dishes every night (a lingering fear of cockroaches in an old house even though I've never seen one). Harry has learned that in spite of my erratic concept of bedtime, I will go to the sink and wash the dishes as a part of my before bed ritual. And then I will pick up his dish, wash it, and serve him the snack he has before lights out. Every night -- whether it is 11 o'clock, 12:15, or after 1 a.m., Harry fixes his stare on me when I begin to wash dishes and as I reach for the sprayer to rinse, he strolls into the kitchen and sits down in front of the refrigerator.

There is a phrase that isn't used any more -- "You can set your clock by him." I've heard a character say it an old movie as the prosperous banker in his three-piece suit walked by, heading to his place of business, or a suburban father waved to his neighbor as he backed out of his driveway for his commute to his office in the city. It was a phrase used to describe characters who were predictable in their habits. But there is also predictability in the chaotic sprint of  Dagwood, the comic strip character, who is always late. The mailman never seems to learn that Dagwood will explode out of his front door, knocking him over as he races to his waiting carpool. But, then again, the detectives on Law and Order never learned that getting creative (e.g., sticking a toothpick in a keyhole to keep a suspect out of his apartment until the search warrant arrived) was likely to produce evidence that would be suppressed by a judge. Just as predictable was the annoyance of the prosecutor, Jack McCoy -- less so that of Lt. Van Buren (who was predictable in that she would stand up for her cops when their strategies seemed to be the only reasonable thing to do).

As writers, one of the aspects of a character's personality that we might consider and exploit in our plotting is his or her predictability. In fact, as we are developing our characters, we might build in those aspects of predictability that other characters depend on. It could be that this character is always punctual -- maybe even arrives early and waits for other people -- is always smug when other people arrive a few minutes late. Maybe at some point in the story, another character (our protagonist), annoyed by this smugness decides to arrive early for their Thursday lunch date. And discovers that her friend is not waiting and becomes increasing alarmed as their meeting time arrives and passes. Or, maybe this friend has been plotting a murder and assumed that our protagonist would be late as usual. But this time she isn't, and she, thereby, becomes a less reliable alibi and maybe even a danger.

In real life, my friends predict that I will be late if I have some place to be before mid-morning. Even with the best of intentions, I have a difficult time getting to where I need to be. When I have a really early flight, I'm afraid to sleep the night before. A few months ago, I almost missed a flight to Seattle (en route to an Alaska cruise) because I -- something I had always feared I would do -- set the clock alarm for p.m. rather than a.m. And then, so tired from being awake during the night, slept through the ringing of the phone as my friend who was leaving for the airport tried to check on me. It was only hearing the end of her voice mail message as she called from the airport that woke me up and sent me scrambling.

I should say that later in the day, I have no problem being on time (or much less of a problem). I try to design my life so that appointments that I have to travel to are after 10 a.m. I teach in the afternoon and early evening. If I were a character, I, the writer, could use that contrast between morning me and afternoon/evening me. Saying I'm not a morning person would be "telling". "Showing" the difference could well be an important plot twist. What if I, the character, had decided after that near-miss of my flight, to change my morning habits. Suppose I decided to start getting up at seven and going for a walk -- which might well put me some place I would not ordinarily have been.

In criminology, there is a theory about "routine activities". Some crimes depend on the routine activities of the would-be victims (e.g., leaving home, walking to the bus, depositing money at the ATM). This is a kind of predictability that we as writers also often rely on in plotting our books. But we might also give occasional thought to how our characters feel about their routine, about their predictability. What would happen if a character decided one day to shake up his or her routine? What might motivate that decision? And what might happen if he or she did?

I think I'll take a different route to the office today. Maybe tomorrow, I'll get up and go to a little diner I noticed for an early breakfast.

Creativity

The passing of David Bowie has made me ponder over the past few days on the nature of creativity. I liked David Bowie, even though I was not a fanatic and actually am unfamiliar with some of his later work. However, the thing that I particularly admired about the man was the way he endlessly recreated himself and his craft, and every iteration of David Bowie was eye-catching and beautifully done. He was brave, and no matter what your art is, you have to be brave, to put yourself out there.

I don't know where creativity comes from. Is there a mystical source? I’m sure it’s something infinitely more prosaic than Muses or an Oversoul, but I like that idea better than the thought that it’s all just a mental exercise. Why are some people born to their art and others struggle or are even incapable? No matter how much you love music, it's hard to become a singer or composer if you have a tin ear, or to create a moving painting or sculpture if you have no eye for form and color. You have to have an "ear" and and "eye" to be able to write effectively, as well.

I usually start the day by reading the paper front to back, and then working all the puzzles. This is not quite the time consuming activity it used to be a few years ago, when the daily paper actually had news in it. But at least the puzzles get my brain revved up for the day. One of my favorite puzzles is the Jumble, which consists of an anagram of a quotation from a well-known person. A while back, I deciphered a quotation from Truman Capote which, as a writer, I found quite insightful. It is as follows:

Writing has laws of perspective, of light and shade, just as painting does, or music.

Perspective is a sense of depth. It is a way to show things in their true relationship to one another, a way to make them seem real.

I never know what the entire story will be before I begin.* I learned early on that when you start to write a novel or story, or even a poem, you may think you have it all figured out before you set pen to paper. But you don't. Before I start a mystery, I always think I know why the killer did it, but to date, by the time I reach the end I discover I was wrong. The motive seems get modified every time. Not long ago, I told someone she should "trust the process" with her writing. Even if you don't know where the story is going to go, just start writing and trust that all will become clear as you go along. Have faith that the answer will provide itself when the moment comes.

Once the novel is done, it’s interesting to me to see how it all turned out, to remember what I originally had in mind and see how the tale changed as I moved through it. The only thing I can always count on when I write a book is that whether I deserve it or not, the Muses always come to my rescue and I end up with a finished novel that hangs together in an interesting and logical way. I don't know how.
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*in writing or in life