Questions, questions

Like Vicki last week, I too have been enjoying my hibernation. We've even had a whole week with nothing at all in the diary and time to catch up on all sorts of stuff. But now the gales and rain we've had over the winter have given way to wonderful clear cold days with very blue skies, the snowdrops and crocuses are coming out and there is even a shy clump of primroses under a bush.

So the events are starting up again too. There are two in the next month, one a festival a hundred miles north, not far from Aberdeen and one closer to home here where I'll be speaking to a book club. Very considerately, they've primed me: they've told me they want me to think what are the three most common things I'm asked as a writer, and how I reply – much easier than having to um and er while I think about it.

The first one's easy – where do you get your ideas from? It's usually asked with a sort of 'Bet you never thought of this one!' expression. I always have to fight the temptation to say, 'Oh, didn't you know? There's this little shop in London. If you want an original idea, it's very expensive but second-hand ones are remarkably cheap,' but of course I don't.

The image I sometimes use is of the representation of the primordial soup that you can see in a museum in Edinburgh, Dynamic Earth; a sort of sludge swilling round and round and every so often a bubble rises to the top and bursts – that's my brain, coming up with an idea..

But of course the truth is that you get your ideas from everything, all the time – a snatch of conversation, a story in a newspaper, something you notice in passing – and then the idea works in your mind and the story emerges, if you're lucky. It's not a very neat answer, though – if anyone can suggest a better one, I will use it shamelessly.

Second question: what do you write with? It seems a bit irrelevant, particularly since nowadays I guess there are very few people who write on anything other than a computer, but  for me it is quite an interesting one, having cut my writing teeth in the days when you wrote longhand, then typed it up, in duplicate using a carbon, with a pot of Typex beside you that within days of opening would deposit sticky white blobs everywhere. And of course if you made ms changes, it meant not only retyping the page with those changes, but the subsequent pages as well if you wanted the finished document to look professional.

So moving on to a computer transformed my life, but the switchover took some time. I would write longhand, then get it up on the screen for revision. After that, I got to the stage where I could whizz along until I got to a point where something wasn't working and I'd go back to longhand – I always felt I could then 'hear'  my characters better. The day I realised I really  had transferred to computer completely was when I realised I was making 'hearing' spelling mistakes – 'your' for 'you're', 'there' for 'their'. (And thanks to Beelzebub – see previous posts – I had to return to longhand for a bit and I didn't like it at all.)

The third one, 'Do you put real people in your books?' is often followed by, 'You won't go putting me in one, will you?' with an arch look. The honest response would be, 'Not if I want anyone to read it, no,' but I usually say that I don't, in general, since characters in books can't be as inconsistent and unpredictable as real people are. But if pushed, I sometimes confess that there was one murder that gave me a therapeutic outlet and stopped me saying things to the person in question that I would have deeply regretted later – and of course I made sure she would never have recognised herself!

I'm looking forward to this book club meeting – they sound an interesting bunch. The only problem is I shall have to take time to re-read the book they've been reading since they will almost certainly remember more about it than I do!

Getting Dressed to Kill

 by Cathy Ace

  

Thanks to the TYPE M team for inviting me along today – this is a super blog with some great insights for those who enjoy taking, or reading about, the creative voyage. Looking at the list of regular bloggers I’m keenly aware I’m a relative neophyte, so it’s not surprising if my name is new to you. My first novel was published in March 2012, and I’m still discovering something new about the creative process and the crime-writing business every day. Discovering new authors and readers is a part of that joy, so if we’re new to each other – hello, nice to meet you!

A lot has changed in my life over the past four years, as one would imagine when a person embarks upon a third career in their fifties. But I have realized that something has come full circle – and it involves a dressing gown. Let me explain…

When I wrote the first Cait Morgan Mystery, The Corpse with the Silver Tongue, in the winter of 2010, I was still teaching at university and squishing my creative writing into “stolen time”. For that first novel I would plant myself at my desk as soon as I got out of bed (and had thrown the ball around for the dogs, and made coffee…you know) and wouldn’t move until I’d done what I needed to do that day in terms of word count. It meant I, essentially, wrote that book in my dressing gown and slippers.

Since then I have written ten more books across two series and each has brought different challenges, but there’s been one constant, and ever more keenly-felt reality; I’ve discovered that with each extra title published, the promotional effort required of me seems to increase exponentially. This means that, although I no longer teach at university, I am still squishing my creative writing into “stolen time”. It’s weird. I wouldn’t have believed it if someone had told me this was how it would be. It seems that being a “full-time author” means I’m still a “part-time writer”.

When I mention this to those who have much more experience than me, their response tends to involve the rolling of eyes and a world-weary smile conveying “now you know how it feels”. So, this is the norm, it seems. The new norm. I admit I struggle with it. It seems it’s more difficult for me to compartmentalize “work” and “creativity” when the work is promoting the output of my creative effort. And there’s the problem you see – without the creative output, there’s nothing to promote; without the promotional effort, there aren’t the sort of sales figures a publisher wants to support. It’s both, or nothing, so I’m trying to reach the right type of balance for me. As any author does, for them.

Thus, over the past few months, I’ve gone back to the basics; I wrote my first novel wearing a green silk dressing gown, and I am currently writing my eleventh wearing another green silk dressing gown. I don’t write first thing in the morning anymore; being on the west coast I find my email inbox is already quite busy when I get up, and my brain tells me I have to deal with “work” before I can feel fully “creative”, so now I work all day, then write at night. I pull on my dressing gown and slippers, and sit at my desk from about 9.30pm until maybe 1am or 2am to write. The house is dark and quiet, my husband and the dogs are asleep, any emails I receive can reasonably wait until the next day to be answered…so it’s just me and my characters. And my dressing gown.

And about that dressing gown…I love old movies, the black and white ones you see on TCM where so many of the glamorous 1930’s stars sported a fluid, embroidered, kimono-style dressing gown. I admit I coveted those flowing garments, so determined to find one for myself. And I did. In a tiny store specializing in Asian artefacts in British Columbia’s New Westminster, just half a block away from the Raymond Burr Theatre, I found an entire rail of silk kimonos. Black on one side, a variety of solid colors on the other, the fact they were embroidered with dragons (being Welsh means I have a soft spot for our national emblematic creature) and reversible meant I went a bit mad and bought three! I’ve worn the two green ones so far – I’m saving up the blue one for future use. One dressing gown per series of books; one dressing gown for each set of characters. It might sound a bit odd, but I find that getting dressed to kill really helps my creative process – the slippers don’t seem to matter so much, but the dressing gown plays a big part.

Maybe you could help me out here – is it just me who does this? Do you have other “rituals” that help you get into the creative frame of mind? I know some authors have a favorite writing spot, some have a preferred time of day – but clothes?

Cathy Ace is the author of two series: the Bony Blithe Award-winning Cait Morgan Mysteries (book #7 The Corpse with the Garnet Face is published in April 2016) feature a Welsh Canadian professor of criminal psychology who sleuths her way around the world tackling traditional, closed-circle mysteries; the WISE Enquiries Agency Mysteries (book #2 The Case of the Missing Morris Dancer was published in February 2016) feature four softly-boiled female PIs who operate their business out of a converted barn on a ducal estate in Wales. Cathy is National Vice President of Crime Writers of Canada, and also belongs to Mystery Writers of America, Sisters in Crime and the UK’s Crime Writers’ Association. Her website is here: http://cathyace.com.

Virtual Book Club Talk

I've begun setting up my June book tour for Destiny's Pawn, and like any frugal author, I'm trying to get the most bang for my buck.

My pilgrimage north usually takes a week, starting in western Massachusetts and concluding in northern Maine – some 600 miles later – where the Peyton Cote novels are set. I sign at various stores, street events, read, and this year will even host an "author luncheon" to benefit a local library. As you can imagine, it's a costly friend-raising journey. Last summer, I had $500 into the trip before hotel costs.

Something happened last week that has me (almost) rethinking this whole thing: Laura Cummings, at White Birch Bookstore, reached out to host a signing on said tour and mentioned her store's book club was discussing Bitter Crossing. Coincidentally, after my students recently read Naomi Hirahara's terrific Murder of Bamboo Lane, I shot Naomi an e-mail to see if she'd be interested in hosting a Google Hangout session Q@A with my students. She said sure, and we successfully used Google.

So when Laura mentioned her book club, I offered to do the same. We used Google Hangouts for this event, too, and it worked reasonably well.

A new business model? A more cost-effective one for sure.

Can a virtual author visit replace a face-to-face interaction? No way. But North Conway, NH, is three hours from my house. I spoke to maybe ten readers and answered questions for 30 minutes. And I was still home to read my 7-year-old daughter a story and kiss her goodnight. And the trip didn't cost so much as one cup of coffee, let alone gas expenses.

Will the virtual author visit replace the real deal? Not anytime soon. But there's a definite upside to this structure. And it makes me wonder how authors will be interacting with readers in the future.

Author Branding, What's That?

The idea of branding confuses me some. I suspect it always will. I’ve never worked in retail or dealt with marketing, although family members have so I’m not completely ignorant of what goes on. Still, I don’t have that kind of mind.

From what I can tell, branding is a way of differentiating a product from others so you get noticed. I hear about author branding often enough I figure I should learn more about it so I was looking forward to a presentation on the subject at last Sunday’s Sisters in Crime/Los Angeles meeting.

The speaker was multi-series author Diane Vallere. I’m amazed by how much she gets done and how fearless she is. I’ve seen her go from self-published author of two series to author of four series: 1 self-published, 2 published by a large publisher and 1 published by a smaller publisher. SinC/LA member Ellen Byron even wrote a blog post on WWDVD—What Would Diane Vallere Do.

On her website, Diane notes she writes “Fiction for women who like shoes, clues and clothes.” That’s her brand. It’s catchy and you know when you read something she wrote fashion will be some part of the book.

I came away from the meeting still somewhat confused but a little wiser about branding. Here’s a brief summary of Diane’s talk on Creating Your Brand.

Why the need for branding? There are a lot of books out there. It’ll help you distinguish yourself from the pack. And readers will know what to expect from one of your books. It’ll help you effectively promote everything you write and decide whether a publicity opportunity is worth the effort.

What your brand is and is not. Your brand is not your book or you. It’s not someone else’s brand, e.g. don’t say your books are just like Stephen King’s. Your brand is recurring elements in your books. As mentioned above, for Diane that’s fashion. Your brand is bigger than your genre, it’s everything you write.

Where to use your brand. Facebook author page, twitter, in graphic images used for promotion, newsletters... E.g., if fashion is a common theme throughout your books, you would post items related to fashion on social media. Diane is known for posting photos of clothes she packs for conferences.

Exercises to help you discover your brand by identifying common elements in the things you’ve written or want to write.

1) If you had a guarantee your next five books would sell a lot of copies what would you write? Write down five different ideas, writing as much as comes to mind. What do they have in common?

2) Think of at least three movies you wish you’d written because they fit you. What themes run through them?

3) What are your personal interests that are also in your books?

That’s what I got out of the talk. I probably missed a few things here and there. I’ve invited Diane to correct me. We’ll see what she says. I haven’t done the exercises yet. I think they’ll help me figure out my brand. And, if I get stuck, I’ll just ask myself WWDVD.

Your favourite place to read or write

It’s snowy and finally feels like winter here in Toronto (better late than never!), and on this type of day it’s perfect to curl up with a good book. (Which is, sadly, something I can’t do today.)

Today I have two questions for everyone. The first everyone can answer (and I encourage you to so do!), and the second is for the writers out there, and the answers might well be very different.

First question: Where do you like to read? If you could pick the perfect spot(s), where would they be? I have a few choices. I love to set up in front of a fire on a cold day. On a hot day, nothing is better than a spot near some water, especially if there’s a wide vista to look at from time to time. When it’s cold, I like a hot beverage and the opposite is true when it’s hot. Nothing alcoholic, please, because I’ll fall asleep in short order. So where are these two ideal places for me? One is in a 150-year-old log home near Perth, Ontario, which I used in a scene in The Fallen One. The warm weather has two locations. One is the town over from where I grew up. It has a lovely spot, Manor Park overlooking the Long Island Sound. It has numerous benches under the trees where you can look right across the sound at Glen Cove on the opposite shore. I haven’t been there in years, but maybe it’s time to spend a few hours there this summer. The second spot is on Flowerpot Island off the tip of the Bruce Peninsula. It is a gorgeous spot with numerous good vantage points overlooking Georgian Bay.

So there are my choices. Where are yours?

Second question: If you’re a writer, where do you like to write? My answer is more complex. The first I haven’t been able to indulge in very much, and that’s to rent a place in a foreign country (Italy or France would be nice) and spend a few months there working on a novel. That would really be a slice of heaven. My second choice and something I can do much more easily is to write at the Osgoode Hall law library. It is a magnificent room, quiet and dignified and it’s generally open to the public. In this room I find it really easy to concentrate for long periods.

What are your choices for favourite places to write?

Please take a few moments to share your favourites. I thank you!

Emerging from Hibernation

By Vicki Delany

Everyone seems to be talking about time pressures lately.

Which is why I love winter in Canada so much.  To me January and February are hibernating time. I can go days on end without talking to anyone. I’ll venture out to go to the grocery store, and I might be persuaded to meet friends for dinner, but otherwise, I’m holed up in my den.

Me, at home. I walk a lot in the winter, particularly when the ground is snow covered and I can access the snowmobile paths through the woods and across the farmer’s fields.

All ready to venture outside

In Canada everyone asks everyone, particularly if they don’t have a “regular” job, if they’re going away (meaning South) for the winter. I always reply that I never travel in the winter.  It’s my ME time.

I like to stay home in summer too, but summer is a time of chores, isn’t it? The lawn to be cut, the garden to look after. The swimming pool to use, and company to entertain.

In the winter, I write, I do writing chores as Donis alluded to in her recent post, I do jigsaw puzzles, I read a good deal, I take snowy walks, and I watch an hour or so on Netflix most evenings.

Perfect!

I’m off to Phoenix at the end of February, and although I’m looking forward to it very much, I’d rather it was a couple of weeks later. I’m not going to be ready to emerge from hibernation quite yet.

Speaking of Left Coast Crime, and adding to what Donis and Barbara had to say, as well as at the conference I’ll be at the Poisoned Pen bookstore in Scottsdale on Wednesday, January 24^th as part of their international authors night. And doesn’t that sound like a lot of fun!  As well as full roster of LCC events (two panels, speed-dating for authors, and the Poisoned Pen Press breakfast) I’ll be at the Crime Writers of Canada reception Friday at 5:30 in my role as president of the CWC. We have a fun event planned full of authors. Enter out quiz and you might win a great prize.

I hope to see many of you there.  And if not, I hope you’re enjoying your winter too.

The view from my kitchen window

Guest post the weekend: Simon Wood

Our guest author this weekend is none other than Simon Wood, an old friend of Type M for Murder (I believe it’s his sixth guest post) and someone whom I’m sure a lot of you know. He writes damn good books, and if you haven’t read one yet, well hop to it! Welcome back, Simon, and thanks so much for leaping into the breech once again.

I met Simon many years ago when we shared a cell at a prison that shall remain nameless. He was sent up for using a British accent without a permit and I was convicted of writing without a license. We both managed to obtain early release on account of our good looks and broad appeal.*

*Some of the above statements may not be true.

Chaos Theory

by Simon Wood

I saw my author-friend, Tony Broadbent, not too long ago. We hail from the same hometown back in the old country. We got to chatting and he gave me a pat on the head and told me I was an anarchist.

“You’re like the Gary Oldman of the mystery world,” he said.

I love Gary, but I asked, “Is that a good thing?”

“Yes,” he exclaimed. “There’s a lot of anarchy in your writing.”

How subversive, I thought. I’m a rebel without an agenda. Mum will be delighted.

Well, the little exchange got me thinking about my writing. I don’t think people hit the keyboards with an agenda or a theme tucked under their arm—or if they do, it sort of sticks out. Agendas and themes develop on a subconscious level. Well, they do for me. I don’t go out of my way to put a slant on my stories. I just try to entertain, but inadvertently, I show a little leg now and again. So, I looked for the anarchy. And I think I saw it in the shape of conflict.

Conflict. Stories require conflict. It’s a driving force. Characters and stories thrive on it. More so in mysteries and thrillers than other genres. The nature of the genre means there are going to be casualties and collateral damage. So I like to inject my stories with a lot of conflict. The problem is that I’m quite a literal person and I think about things in very pure terms. Blame my engineering background. When I think conflict, I think about total annihilation.

Everything my lead character holds dear is under attack. I create this person so that I can destroy them. I place them and their world in an ivory tower, then go about stacking as much C4 explosive around the foundation as possible to blast it all apart. It only seems fair, doesn’t it? Conflict by its nature is salt to a wound. Character assassination is key. Only by putting everything in a protagonist’s world at extreme risk can the character grow and thrive. There can’t be a comfort zone for this person. Wouldn’t you want to read about a character in a situation like that?

I flicked through some of my stories to see what I did to my characters and the annihilation is there. Characters have their reputations destroyed, home life obliterated, are framed for things for crimes they didn’t commit, have personal property confiscated or stolen or destroyed. These characters’ lives will never be the same. There will have to be a lot of rebuilding by the end.

So I guess I do have anarchistic bent. Sorry. It wasn’t intentional. It’s just the way I tell ’em.

Yours destructively,
Simon

___________________________

Simon Wood is a California transplant from England. He's a former competitive racecar driver, a licensed pilot, an endurance cyclist, an animal rescuer and an occasional PI. He shares his world with his American wife, Julie. Their lives are dominated by a longhaired dachshund and four cats. He's the Anthony Award-winning author of Working Stiffs, Accidents Waiting to Happen, Paying the Piper, Terminated, Asking For Trouble, We All Fall Down and the Aidy Westlake series. His current thriller is THE ONE THAT GOT AWAY which has been optioned for a movie. He also writes horror under the pen name of Simon Janus. Curious people can learn more at http://www.simonwood.net.

How Much of an Escape

Last year in Albany, New York, we had days when there was nothing to do – nothing one could have been expected to do – but stay inside and look out. Last year, we stocked up on cocoa, made huge pots of soup, and anticipated our TV or movie-watching binges, and the books we would read when even adults had "snow days". This year, we have so little snow that I'm embarrassed to mention it when I talk to my relatives in Virginia.

Snow seen through screened window
this morning.

Harry's bored reaction to weather
in Albany this February.

Believe me, I complained along with almost everyone else in the Northeast when we had major snowstorms in mind-boggling succession last year. When I was reduced to tunneling a narrow path from front door to steps out onto the street, I would have been happy to see all the snow disappear. But this year, this lack of snow is spooking me. I know it has gone some place else, but that doesn't make me feel better. This is February in upstate New York. We should have snow – measurable, boots required, weather alert, go-home-before-it-starts snow. I should be complaining about the hard, icy chunks shoved across my driveway by the snowplow clearing my street.

I shouldn't be thinking about my Hannah McCabe books because it hasn't snowed. McCabe, a homicide detective, inhabits an Albany in the near future. I set The Red Queen Dies in 2019 with temperatures in the 90s in late October. A few months later, in What the Fly Saw, a massive January blizzard is headed up the East Coast toward Albany. The murderer strikes during this storm. The weather in McCabe's world is erratic and troubling. Now, the weather in my world is, too.

The thing about writing is that sometimes what one writes as fiction becomes reality. Or, at least close enough to reality to be reason for concern. My two McCabe police procedurals take place as a presidential election is looming. McCabe's father is a retired journalist/newspaper editor. They have several occasion to discuss the candidacy of a third party candidate named Howard Miller who is appealing to people's fears because his campaign begins to intrude into their lives.

Yes, freakish weather has happened in the past. Yes, politicians have often used fear- and anger-laden messages to ride into office. But having spent some time thinking about the future, it feels as if it is coming faster than I expected. My fiction may soon reflect reality.

Not that my fictional world is a dystopia nightmare. I'm not writing science fiction. But I thought by moving a few years ahead and creating an alternate universe Albany, I would be setting my stories in a world that was different from our own.

The lack of February snow in Albany and the 2016 presidential race have gotten me thinking about what I do as a writer. Or, I should say, thinking more deeply about what I do. I am at that point when I need to update my bio, take new author photos, and do some work on my website. I also should have a look at my neglected Facebook page. I know I should send out a newsletter, do the blogs I was going to do on my website about my research, and send out related tweets. I've been thinking about how to present a consistent image as a writer – not just because I read a book about how this is a useful marketing strategy. I have reached a point in my career when having a clear perception of who I am as writer will make my choices easier. I have a list of writing projects that I would love to do – ideas for books and short stories with my current protagonists, a proposal out there for a new series, a historical thriller in progress. And, of course, there is my nonfiction book about dress, appearance, and criminal justice. And a couple of other nonfiction books ideas that I've thought of while writing that one. I have enough potential projects to keep me busy for years. So the question of what to do next – decided in part by discussions with my agent and my editor.

Actually, the larger question is how to write. What do I want to put out there in the world? Do I want my books and short stories to be an escape for readers? Of course, I do. That is why I began reading as a child and one of the reasons I love curling up with a book as an adult. I went through a period as a teenager when I gobbled up romance novels. I still enjoy a good romance. I belong to Romance Writers of America. In my Lizzie Stuart series, there is an overarching love story. But the few times I've thought of writing a romance, the plot morphed into a hybrid romance/mystery. I'm a criminal justice professor. That is reflected in what I write.

I provide escape and entertainment. But I also need – want – to deal with social issues. I provide historical context. My books offer fictional springboards for discussions. That's what I do best.

But if I could write books with happy endings, I might be less concerned when there is so little snow this Albany winter and a presidential campaign season that would make Howard Miller smile.

Write the Damn Book

It's been a busy winter, and it's going to be busy spring. It feels to me (Donis) that I've been going from one event to another since my last book came out last November. If it isn't a workshop I've agreed to teach, it's a review that I promised to do, or a blog entry, or a book club, or a charity event, or an author event. Left Coast Crime, one of the major crime fiction fan and author conferences, is coming up in a couple of weeks (see Barbara's entry below for an excellent overview). I'm attending LCC, naturally. I can't miss it this year for sure since it's right here in Phoenix, a mere 30 miles from my home. Of course 30 miles is quite a commute, so I'm staying at the conference hotel in downtown Phoenix--rooming, in fact, with Type M's own Charlotte Hinger.

On Friday, Feb. 26, at 1:30 p.m., I'll get to be on a panel called Historical Mysteries: Turn of the 20th Century with, Tessa Arlen, Annamaria Alfieri, and Charles Todd. Quite a company! On Saturday, Feb. 27, from 7:30 a.m.-9:00 a.m. I'm one of the host authors (along with Charlotte and Vicki Delany and 20 others) at the Discover Mystery Breakfast hosted by Poisoned Pen Press, where guests can enjoy a continental breakfast and hear about the wide variety of crime fiction published by Poisoned Pen Press. Giveaways and authors at every table.

After LCC,  I'll have another couple of book club/library events to do before the Tucson Festival of Books on March 12 and 13, where I've agreed to teach a historical novel writing workshop and appear on a panel.

LCC and TFoB and the rest are wonderfully fun (and we hope, useful) events, but they will take up days where, if my previous experience holds true, I'll get to catch up with friends I haven't seen in awhile and meet some new friends and learn a lot, but I won't get much actual writing done.

And therein lies the rub. Last Friday I had an author event in another town that took the entire day, and then I rushed home and spent the evening and all of the next day finishing a review and writing an article, both due immediately, and corresponding with people whom I had PROMISED to get back to right away, and I ended up not writing a word on my WIP for the whole time. This is not good. It's nice to be popular and in demand, but sometimes I have to pause and wonder if I'm missing the point of all this activity.

A few months ago there was a cartoon going around Facebook that showed a stick figure sitting at a desk, and another stick figure behind him holding a gun to his head and saying, "Just write the damn book!"

I want to write my stories. That's the thing I want to do and the thing I really enjoy doing. My mother taught us that in order to reach our financial goals, we should always pay ourselves first. In other words, put money aside for yourself before you even pay your bills. My mistake lately has been not doing the same thing with my writing. Do the writing first. It doesn't even have to be good, just get some words down on the page before you do anything else. That's my job, to do the writing. All the rest is gravy.

On the wing

Barbara here. In exactly two weeks I will be in the air, winging my way to Phoenix to participate in Left Coast Crime, a conference for all lovers of the crime and mystery genre, whether they be readers, writers, reviewers, librarians or other book business professionals. Left Coast Crime is a mid-sized, four-day get-together held every spring somewhere on the western side of the country. The city differs every year, as does the organizing committee, but the informal spirit of inclusion and welcome does not. Most of the time the location is in the United States, but I once attended one in Bristol, UK, and there is talk of Vancouver hosting one. New hosting cities are always welcome!

I have been to quite a few conferences over the years, but Left Coast Crime is among my favourite. It is small enough to allow everyone the chance to meet and chat with new people– for readers to find new authors and authors to find new readers. Its informal, egalitarian style respects both newbie authors and well-known authors alike, rather than creating a tiered system of privilege. And it provides plenty of different programs through which authors, many of whom have travelled a long way and spent quite a hefty portion of their modest royalties, can connect with readers and other book people.

I also love the cities it chooses. In addition to Bristol, have been to Monterey, California, El Paso, Texas, Santa Fe, New Mexico, and Portland, Oregon. All cities of charm and novelty to this Canuck writer. When I can travel to an intriguing new city, get a glimpse of the countryside, connect with other writers and readers, and still manage a business tax deduction, that's a bonus!

This year, I am participating in quite a few events at Left Coast Crime. First of all, on February 24, before the conference even begins, I will be part of the International Fiction Night at the famed Poisoned Pen Bookstore in Scotsdale, AZ. I will be there with some of my Canadian writer friends as well as some overseas writers. It should be a wonderful evening, hosted by mystery woman extraordinaire, Barbara Peters, who not only owns the highly successful independent bookstore but also Poisoned Pen Press.

The conference begins Thursday, February 25, and I start off with a bang at 9:00 a.m. by participating in the author speed dating event, where forty authors get two minutes each to pitch our books to successive tables of interested attendees. By the end of an hour, authors will have lost their voice and won't remember their own name, but hopefully some one else will!

Friday night at 5:30, Crime Writers of Canada will be hosting a Meet the Canucks reception in conjunction with Left Coast Crime, during which there will be refreshments, games and prizes, wonderful authors to talk to, and a cash bar.

Sunday morning at 9:30, I will be participating in a panel discussion entitled Heroes with a Badge about sleuths in law enforcement. I am with three other panelists, Peg Brantley, Tyler Dilts, and my friend and fellow Canuck Brenda Chapman. We will be put through the wringer by moderator and real life cop Neal Griffin. Expect the secrets to writing a good cop and a good series, perils and pitfalls, and more. Immediately after the panel, there will be a book signing.

In addition to these appearances, I am also entering a basket in the silent auction, which raises money for children's literacy in Arizona. I am auctioning a signed Advanced Reading Copy of my upcoming book Fire in the Stars, along with some nifty, as yet undetermined, Canadian trinkets (maybe a Mountie, a moose, or maple syrup, the latter genuine, former two replicas only), and as a special bonus, the chance to name a character in my current work in progress, the second in the Amanda Doucette series, entitled The Trickster's Lullaby. The winner of the bid may opt to have their own name used in the book, or select another name (as long as it's not outrageous). I hope the attendees visit the auction and bid often. KidsReadUSA will thank you!

If you're attending, please come up and introduce yourselves. I know quite a few of us Type M bloggers will be there!

A public service announcement!

by Rick Blechta

Aline’s computer debacle last week put me in mind of something anyone with a computer should know about and guard against, and it is this: you must always protect your data! It’s not if any hard drive you use will fail, but when. Do not ever think this won’t happen to you. It will — and usually at the worst time.

Computers are very complex machines, and like any machine, they will eventually fail. As expensive as having the motherboard on your computer going down can be, they can be fixed or replaced, and you’ll soon be up and running again. This is not the case with a hard drive failure. They usually can’t be fixed if the problem involves the discs on which your data is stored. To extract this data using heroic methods professionals have can be horrendously expensive — if it can be done at all.

But since hard drives can last for a long time, we’re often lulled into a false sense of security so we either don’t back up our data as often as we should — or we stop altogether. Trust me. Eventually it will come back to haunt you.

I speak from experience. I use three back-up systems, but a few days ago, I got bitten. The main storage disc (Time Machine on my Mac) got corrupted and could not be fixed. It had to be erased and re-initialized. While I didn’t actually lose any files, I did lose the history of those files, meaning I could no longer access past iterations of a job I was working and find something I’d discarded a couple of weeks ago. It wasn’t catastrophic but it was a pain in the butt and involved several hours of needless toil.

For those of us who write, you must always protect your work with back-ups. I’m sure most of us do, but even so things can go wrong. You must always plan for the worst. Maybe you religiously back up on your computer with files kept on two different hard drives. The chances of both of them going down at the same time is minuscule, right? Well, what are you going to do if your house burns down? Both hard drives could likely be lost.

So here’s my suggestion to be as fail-safe as possible. By all means keep two copies of your precious work-in-progress, but also utilize a back-up assuring your work is stored away from your house. The easiest way to do that is to pay for some sort of cloud storage. This option is not necessarily expensive. Some small storage options are even free. (They give you a small amount of free storage space in hopes that you’ll buy a more generous option, usually at a good price.) Many can even be programmed to back-up automatically. Set it and forget it — and it will be there if you ever really need it.

It’s heart-breaking to hear of someone who has lost months of work because they neglected to take adequate precautions. Do yourself a favour and think about how you’re currently doing things. If the worst happened, would you still be able to carry on, or would you have to start all over again?

If that’s the case, then heed my warning. I’d hate to be the one to say, “I told you so.”

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.