Am I Done? Finishing a Novel at Last.

I have finally finished my ninth Alafair Tucker mystery. Well, "finished" may be a bit premature. The manuscript is with my first reader, now. (Also known as Beloved Spouse). As fellow Type M-er  Charlotte Hinger pointed out so truly, most authors have no idea if what they have just produced is any good or not. In that respect, I am very much like most authors. The new book took me a long time to write. I am not a fast writer, but this book was particularly time-consuming, mainly because I changed the beginning at least five times. I ended up at one point with three beginnings in one manuscript, and as any reader will tell you, it's a much more satisfying read if a story only begins once.

I wrote one version of the story with an ending so grim that I feared readers would be suicidal after they read it and never pick up another book of mine. Believe me, it was a very clever plot twist, but sometimes you just have to kill your darlings before your editor kills you. I have to admit that even if I do have the ability to write dark...and I do mean inky black...this traditional mystery series just does not call for that sort of book. So, I ended up rewriting the entire second half of the novel so that everything turns out all right. More or less.

So this is the conundrum faced by any author of a long series. What would happen if you went off the rails for one installment? Suppose a long-standing and popular character dies? Suppose a character who has been a good guy for eight books suddenly does something unforgivable? Suppose a spouse who has been faithful for a literary decade decides to cheat on his/her spouse? Suppose a formerly innocent and naive character starts cursing like a sailor? Will your readers forgive you if you shake up their expectations too much? Or is it a good thing to shake up expectations? It seems to work for Game of Thrones. Somehow I think if I want to write a novel that is wildly different in mood and tone from all my previous books in this series, I'd be better served to write a stand-alone or start an entirely new series.

Any thoughts on the subject, Dear Readers and Writers?

However...by taking out much of the shock and horror of the situation, did I water the tale down too much? Is it now a pale imitation of its former gut-wrenching self? Or is it now an infinitely more satisfying resolution. Beloved Spouse will give me the first clue. Do I have something or not?

Games writers play

Barbara here. And unlike Rick, I am not writing about setting a mystery in a school, although there are college-aged students in my current work in progress, THE TRICKSTER'S LULLABY, and some of the action does in fact take place at the college. But I'm not here to write about that.

I am currently nearing the completion of this WIP, and over the past few months, I have devoted a couple of blogs to my writing process, which I have described using various game analogies. In fact, authors are fond of comparing their writing to one sport or another. We're coming down the home stretch, we've knocked it out of the park, we've struck out, we've got too many balls up in the air, and so on. It's actually surprising how many expressions in general have a sports or game origin. Sports are ready metaphors for struggle, loss, and triumph, and lend themselves easily to describing life's travails.

I am a "modified fly-by-the-seat-of-my-pants" writer. I used to be a full member of the club but have discovered, since writing more layered plots with multiple points of view and colliding story lines, that I have to have some idea what's coming next. I still don't know where the overall story is going or how it will end, but I try to plan a few scenes ahead so they will fit together. One might call this "the-stop-and-go-by-the-seat-of-my-pants" approach.

When I first start writing a book, I liken the process to tossing balls up into the air, to get ideas and story lines activated and evolving. It can be a random and rather chaotic process, in that it's difficult to predict where balls will fly and where and when they will land. When I am in the saggy, unwieldy middle of the book, the plotting process seems more like a chess game. Plot points, clues, and character secrets evolve step by step. Every move follows from the move that came before and affects what move will happen next. I find myself asking questions like "What would this character do next?", "What would logically happen next?", or "What would be the most unexpected thing to happen?"

The final climax is usually the most difficult part of the process for me. I know I have to end the book somehow, tie all the loose ends together, and solve the mystery in a fresh, compelling, unexpected scene. By this point I have many balls up in the air, many dangling threads to be knitted together, and a great many questions to answer. I always struggle with this task, and yesterday a new analogy came to me. Writing the climax is like clearing a logjam. Living in Ottawa, I've learned a lot about the logging industry that used to be the main source of jobs and income in the region a hundred years ago. Logs were cut in the forests, floated down the river, and funnelled through onto barges or into chutes at the mills. Like any free-floating body, logs tended to have a mind of their own, and often got jammed up together trying to get through narrow sections. Skilled drivers would walk across the logs in the water, prod them apart and guide them into line until all the logs had cleared the narrows one at a time.

At the end of the writing process, all the questions should be answered, the big ideas and small ones fitted into their proper place, and the story has surged to its conclusion. Sometimes I feel like that driver, balancing on the pack of logs and struggling to contain and keep track of all the competing plot points, separating them out and deciding which should go when. Hoping than none are forgotten and that characters all clear the jam.

I'm delighted that as of today, I have a very roughly cleared logjam. Unlike the driver in the logging industry, however, I can go back and replay the game, nudging the logs into an even better and tighter pattern in rewrites. Who knows, maybe the rewrite process will inspire me with yet another game or sport analogy. Stay tuned! Meanwhile, which does your process resemble most? Tossing balls, playing chess, or driving logs?

Setting a crime novel in a school

by Rick Blechta

You know there's a lot of synchronicity among the posting crew here on Type M. Many times in the past, I've sat down to write my weekly offering only to find that someone in the past week (or coming week since I have access to all the posts) is planning to write on exactly or at least nearly the same topic as I.

Now if this is something that's “trending” as we now tend to say for current news topics, it's understandable that someone else might wish to write on said topic. But when it's something out of the mainstream or even on something rather arcane, then it gets a little creepy.

Such is the case with my post today. I had planned on writing about mysteries set in a school, because that topic came up at a panel I moderated two weekends ago in Brantford, Ontario.

Lo and behold, John wrote about it last week, then Aline wrote about nearly the same thing in her post yesterday! Sort of creepy isn't it? As a matter of fact, I just had a security expert in to sweep my office and computer for hidden listening devices and cameras.

Anyway, on the panel, the topic of setting a crime fiction novel in a school came up. One panelist (a former school teacher) was totally against doing something like this, even though she put forward a terrific plot idea for the murder which would drive the story. To her it somehow seemed wrong, I guess because this sort of thing would take place on what was to her sacred ground.

Another panelist (a retired teacher and school principal) stated that she would have no problems doing something like that.

For my part, I told the story of how in my earliest novels (when I was still teaching), I would often imagine some particularly troublesome student projected, say, thirty years into the future and then use the resulting character as the victim in a particularly gruesome death.

I found it very therapeutic. As a matter of fact, my second novel, The Lark Ascending, was reviewed on CBC in part as having “a body count of positively Shakespearean proportions”. For the record, the novel was written during a year in which I had a large number of particularly odious students.

Coincidence? I think not!

Not Writing What You Know

I was interested to read John's post, Honest Writing. Like him, my background is in schools. In fact, until my husband retired I had spent all my life in schools, apart from four years off for good behaviour when I was at University.

In fact, I am contemplating applying for a place in the Guinness Book of Records for the largest number of school prize-givings attended. My father was a headmaster so when I was at school myself I went to my own, and his. Then I taught, and went to my own. When I married, my husband was a teacher so again I went to my own, and his. I had children – one prize-giving apiece – plus my husband's (I was, at least, a stay-at-home mom by that time which spared me a fourth every summer); then he became headmaster in a three-stage school, each part of which had its own prize-giving, and there were still the children's too. Once the children left school, there were fewer though we were still frequently invited to other schools' prize-givings, sometimes as guests, sometimes to give speeches. Even today, we still often go back for the end of term at my husband's old school. Anyone want to challenge me for the title?

So I can certainly say I'm familiar with school life!  But unlike John, I've never been tempted to set a book in a school. I'm not sure why, because as John said, all the right ingredients are there.

 I very seldom  choose to read a book with a school background, usually because of my previous experience of books where the writer isn't doing John's 'honest writing'; they're inventing what they think a school would be like and I just feel irritated (I often cringe when a policeman tells me he's read one of my books.) 

Perhaps I just feel it would all be too close to home, that I know too much about schools and I know too many teachers. How could I create a fictional school that wasn't too like the schools I have lived in? And I couldn't bring myself to fictionalise real people I had known for the same reasons as I discussed in a previous post about not using someone's life experience, but it would be very tempting. I might even be  drawn into using them unconsciously and then find myself being sued for libel.

Indeed, I'm such a coward about this that I invented a whole police force so that I wouldn't inadvertently create a character in a real force, a police sergeant, say, who was deeply unpleasant, had a wart on his nose and was called Wilson, only to find that thee was a sergeant in that very force who answered the description.

For me, I think, writing what I know means, yes, writing about something I'm familiar with, but at one remove. I need a bit of distance for perspective.

How do the rest of you feel?

Guest Post: Nancy Cole Silverman

Please welcome fellow Sisters in Crime LA member and Henery Press author Nancy Cole Silverman. Take it away Nancy... 

Exercising the Muse 

by Nancy Cole Silverman

Last Christmas, my step-daughter got me a coffee mug that says, Please do not annoy the writer. She may put you in a book and kill you. It got a lot of laughs around the kitchen table. But, turnabout is fair play. Right? So, that night, while I was cooking dinner, I put my copy of Deadly Doses, a writer’s guide to poisons, on the counter next to my cookbook. Needless to say, I had lots of leftovers. Spice cake, anyone?

Two years ago, our houseguest, Gracie, arrived during the holidays.

Gracie at the piano

Gracie is a life-sized, soft sculpture doll who resembles my husband’s deceased mother. Don’t ask! Instead, let me share how Gracie came to be. We decided during a holiday celebration that the house seemed a little empty and since we’d be traveling, thought it might be a good idea if the place looked more lived in. You know, on the chance, someone might peer through the windows to see if anyone were home. Gracie was a perfect answer. She’s usually in the living room and when guests visit, they frequently do a double take, thinking she’s a real person. And just to keep things interesting, I move her around a lot. I’ve propped her up in the shower, complete with a shower cap, put her in the guest bed, and left her stretched atop the piano like a lounge singer for parties. She’s a sure starter for conversations and of course, my husband never turns out the lights without say, “Good night, Gracie.”

My point in sharing all this with you is that I believe it’s important to exercise our muse. David Ogilvy, a driving force of American advertising, had a fun way of looking at it. He used to encourage his writers to embrace their peculiarities when they were young, so that when they achieved old age, nobody would accuse them of being crazy. Instead, it could be said, they had always been that way.

So you see, my whimsical sense of humor is nothing more than exercise. And while I don’t write whimsical mysteries, I do like a little humor with my homicides. I also like my characters flawed, my scenes hard and fast, and my plots highly twisted. In short, I like to write cozies with a bite.

When I sat down to write the first of the Carol Childs’ Mysteries,

I looked for any number of twists to surprise my readers. For twenty-five years, I worked in newstalk radio in Los Angeles. Sometimes, the stories we reported on were only half as interesting as the stories that happened inside the station, behind the mic. Gallows humor was a constant and the personalities that hosted the shows, presented the news and ran the station were a menagerie of odd. They never looked like what they sound.

Some of what I write is true. Some not so true. Can you spot the difference?

A) A top Hollywood agent is murdered coming home from an awards show and leaves her twin nieces her entire estate; albeit unequally. One inherits a million dollars. The other, nada.

B) A big city developer and a member of the police commission likes young girls and runs a sex trafficking ring in Hollywood.

C) A Beverly Hills jewelry store is robbed by a group of international jewel thieves before an awards show and the jewels are replaced–or maybe not–with paste.

If you’re looking for me to say which of the above is true, I will only say this; A. Was the inspiration for book one of the Carol Childs Mysteries; Shadow of Doubt. B. Is a tall tale I manufactured after reading about a number of lost girls in Hollywood. It became the inspiration for Beyond a Doubt. And C? Well, I’ll leave that for you to decide. Without a Doubt comes out May 24th.

Stay tuned.

Nancy Cole Silverman

Nancy Cole Silverman credits her twenty-five years in radio for helping her to develop an ear for storytelling. In 2001 Silverman retired from news and copywriting to write fiction fulltime. In 2014, Silverman signed with Henery Press for her new mystery series, The Carol Childs’ Mysteries. The first of the series, Shadow of Doubt, debuted in December 2014 and the second, Beyond a Doubt, debuted July 2015. Coming soon, in 2016, is the third in the series, Without A Doubt. Silverman also has written a number of short stories, many of them influenced by her experiences growing up in the Arizona desert. For more information visit www.nancycolesilverman.com

Luther and the Devil

There is myth that when Martin Luther was translating the Bible, Satan came and tried to stop him from completing his work. The story goes that Luther threw his inkwell at the monster and it disappeared.

 

Although my minor mystery is not very important in the scheme of things, I'm a couple of days from click and send and that's when my demons come. One would think sending a book to an editor is the most triumphant stage in writing a book. A moment to be savored.

 

But no. For me, it's the time when odd impulses start tugging at my brain. In the old days it would have been to set fire to the manuscript. Now it's to hit Control-Alt-Delete. For some reason the same story that seemed just fine a month ago seems fantastic and amateurish at this point.

 

The most frustrating part of writing is the realization that a book can be improved into infinity. However, there is a point when we are in danger of editing the life out of a book. Words begin to look inept. Plots seem improbable. Characters seem unappealing.

 

Self-consciousness is a writer's worst enemy. The most important challenge we have is to banish everyone from the writing room. That includes demons. I, you, we, are the only ones who belong there.

 

The moment we stop to think what will my relations, my friends, my teachers, my priest, my high school principle, the boy who delivers my paper think of this? Is the book shallow? Self-indulgent? Pretentious? Amateurish? Dull?

 

It's important to follow Luther's example and bring out the inkwell in whatever form. Whatever it takes to click and send.

 

 Just do it and send the demons right on back to hell.

Honest Writing

I read Aline's, Frankie's, and Donis's recent posts with great interest and recalled Ernest Hemingway's famous line from A Moveable Feast: "All you have to do is write one true sentence. Write the truest sentence that you know." My three Type M colleagues touched on what, to me, amounts to honest writing – telling the story inside you, the one you have to tell. This is something I've been considering a lot recently.

The opportunity to explore a new character has piqued my interest. I've published nine novels (No. 9, Destiny's Pawn, comes out in June). Eight of those required tremendous research (five were set on the PGA Tour; and the last three featuring a US Border Patrol agent). Research can be fun. I like talking to people, learning new things, and reading or watching just about anything to do with the criminal justice system. But research is also time consuming and nerve racking (you must, after all, get it right).

I've had a character in my head and an idea for a book (and series) for several years. I started a version of the book a few years ago, then sold my Peyton Cote series, and wrote that instead for the past four years. All the while, this idea for an amateur sleuth novel set in a locale I know very well, has stayed with me. Then something happened about three weeks ago that stalled the book I was working on, and this novel's opening line appeared. I wrote it. And kept going. Now, I'm thirty pages in, and the book is writing itself.

One reason for the ease with which this project is proceeding is because I've set the book at a New England boarding school. For me, having received financial aid to attended a boarding school and now living and working at one, I am surely following the adage of "write what you know." Additionally, these are places where privilege, wealth, and power can collide -- always a potent concoction for plots. Most importantly, those same elements that combine to create interesting plots also offer potential for great empathy, which every story needs if it is to have a heart.

So where does this book go? Who knows? But I'm eager to see where it leads. More importantly, I'm motivated to finish it.

Malice Go Round

At the recent Malice Domestic convention, I participated in the Malice Go Round, aka Speed Dating With Authors. It’s quite an experience, whether you’re presenting or listening.

Imagine 20 tables of 10. Eight of the chairs at each table are filled with listeners. The other two are for authors who are pitching their latest book(s). All of the listeners stay put while the pairs of authors move around from table to table. At each table, each author has 2 minutes to pass out postcards, bookmarks, etc. and talk about their book(s). Every 4 minutes the authors move on to the next table. There’s a 21st table where the authors get a four-minute break. Approximately an hour and 45 minutes later all the pitches have been done and everyone is exhausted.

For those listening, it’s a great way to learn about books and authors you haven’t heard of before. On the pitching side, it’s a great way to make others aware of your work.

I teamed up with fellow Henery Press author, Christina Freeburn, who writes the Faith Hunter Scrap This mystery series. Here we are looking chipper as we wait to begin pitching.

Christina’s giveaway was a stamped frame with a postcard of her latest book while my giveaway was a set of postcards of the two books in my Aurora Anderson Mystery series.

We put both our items in Ziploc bags so they’d be faster to give out. Here are our packets of giveaways.

Here’s the ballroom as the authors gather and get ready. Tip: If you’re pitching get there early and snag a table as close to #10 as you can get. That way your break will be halfway through your round.

And here’s the ballroom when the Go Round is in full swing.

Type Mer Vicki Delany and Cathy Ace were right behind me so I kept on hearing “We’re the Criminous Canucks...” every time we moved to a new table. I have to admit I wanted to hear the rest of their pitch. I learned later it continued “We kill people, but we do it politely.” My pitch wasn’t quite as interesting, but I think I did okay for the first time. It was definitely an experience I’m glad I had. So that’s my experience at Malice Go Round.

Oh, and by the way, I sent my third book to my publisher on Monday. Yay!

If strangers talked to everybody like they talk to writers

by Rick Blechta

My post topic this week (well, last week, actually, but as you know that never happened) was not going to be on this topic, but an upcoming post by Vicki that’s also gotten rescheduled made me decide to break this one out because it does dovetail nicely with what you’ll be reading from her in a couple of weeks. This post today is primarily directed at writers, but it should prove amusing to anyone who enjoys observing the foibles of human beings.

First, you need to read this: If Strangers Talked to Everybody Like They Talk to Writers. I think Elizabeth McCracken and Lincoln Michel hit the nail squarely on the head, don’t you?

Everything said about the sorts of questions and comments we writers receive from the public is true and accurate. For some reason, when the general public meets a writer, even in the most casual of circumstances, all their social filters seem to shut down. Those of us who are ink-stained wretches have experienced the comments contained in the article I invited you to read. It really is a very odd, disconcerting occurrence, even after many years in the game. I’m always left wondering what I should say. Usually my social filters stay up and I don’t shoot back with a cutting comment or walk away in a huff – but I’m always tempted to do so.

My personal favourite is “Oh! So you're a writer. Would I have read anything of yours?”

How the hell should I know? Unless you suspect me of breaking into your house in the dead of night for the purpose of giving your library a once-over, or being an accomplished mind reader, there is no way of answering such a stupid question. And it’s not as if I’ve gotten this question from unintelligent people. On the contrary, many of them are people who are well-educated and otherwise pretty smart and accomplished. Think lawyers and doctors here, folks.

Regardless, everyone seems ready to dispense helpful hints to those of us who write. From plot ideas (“I'll share my plot idea with you for a 50/50 split of the profits!”) to financial pointers (“You really can’t expect to make your living from something like this, can you? You’ll definitely need to keep a day job going.”), we hear it all at some point or another.

Being a musician as well, I have a lot of friends in the arts. While they do occasionally get asked similar sorts of questions, it’s not a constant thing. Every time I’m invited to a party, for instance, I ask myself how many slightly embarrassing, more than frank, questions I’ll be subjected to.

Why is that? Is there some sort of open season on writers about which I’m not aware?

Keep Calm and Carry On. And They Did.

By Vicki Delany

What prompted this little bit of insightful wisdom from me was this video.

https://www.youtube.com/watch?v=aC2iPvXAggM

Watch it until the end.  What struck me so much about this was the lack of panic.  People are driving though a fire storm like they’re heading to the office or the mall.  Police are directing traffic as fire rains down around them, and everyone waits their turn.

And no one (so far, except for a young woman killed in a car accident) has been hurt.  An entire city of 80,000 evacuated in a fire storm and no one is dead or injured.

I can only think that it’s because no one panicked, and if they did there were people around to calm them down.

When people panic, then people die.   Keep calm and carry on might be a trite saying for coffee mugs and T-shirts, but in this instance it worked.

Easy for me to say of course, because I am not in the thick of things, and who knows how any of us would react until the time comes.

Good job, Fort McMurrayites.

For an insiders-view of the evacuation, my friend and fellow-writer Kevin Thornton has a good piece in the New York Times: 

Guest Blogger: Charles Benoit

This week’s guest blogger is one of the founding members of Type M for Murder, Charles Benoit. He is a man of many talents: novelist, copywriter, producer, tenor saxophonist, bon vivant and brilliant conversationalist. An evening in a bar is always well-spent when in Charles’ company. Originally a straight-up crime novelist, he now inhabits (very successfully) the world of the young adult novel – but as always, crime is involved. Find out more about the man and his works at charlesbenoit.com. (And be sure to visit his website. It’s hilarious.)

Author as Character

by Charles Benoit

When I do talks at schools, students always ask me if the protagonists in my novels are thinly veiled autobiographical representations of my younger self. Actually, what they say is “Are you that guy in the book?”

In my latest novel, Snow Job, a D- high school senior ends up running large amounts of cocaine for a drug-crazed dealer, all while plotting with the dealer’s possibly prostitute girlfriend to rip off said dealer and ignore the murder they’re pretty sure happened. So my answer to those students is “No. And you can’t prove otherwise.”

There’s a bit of the author in everything we write, whether it’s the dashing good looks and Magic Mike physique or, as in my case, the confused expression and the ability to consistently make the wrong decision. I don’t set out to put myself in the books I write, but somehow I always end up in there anyway. It’s never a singular trait that’s unique to me—is there even such a thing?—but rather a characteristic or two that those who know me well would easily identify. At least that’s what I assume when I spot them in the revision process, glaring off the page at me like an angry tip-of-the-nose zit.

But the funny thing is no one else seems to see them. Friends whom I assume would notice the that’s-so-Charles traits in characters seem to think that I was referencing someone else—and that someone else is usually them. They like to claim that a character’s clueless nature or dim-witted dorkiness was inspired by their own lives. When I point out that no, that character was truly an autobiographical extension, they smile and shake their heads, chuckling at how wrong I am.

And that’s a good thing.

It means that somehow I managed to create characters that seem so real and relatable that people I wasn’t thinking about at all assume I was writing specifically about them. Or it could mean that my friends are empathetic readers who lose themselves in the story, becoming the characters they encounter. Or it means they didn’t read the book and are just playing it off to be polite.

So in the end, yeah, I am the guy in the book. But if I did it right, so are you.

Real People and Fiction

I can't resist joining this week's discussion about the use of real people's stories in fiction. I have done it, too. Because my character, Lizzie Stuart, is a crime historian, she is often concerned with cases from the past. I draw on real life cases, most of them involving ordinary people who would have passed their lives in obscurity if not for their involvement in a crime. 

I use the stories of these real people as inspiration and starting point, spinning form fact (or what is believed to be fact) into fiction. For example, in A Dead Man's Honor, the book began with a real-life lynching. I changed the victim and the crime that served as the catalyst for the lynching. I made the man who was lynched innocent of the crime. I inserted Lizzie's grandmother into the story as a child who had witnessed what happened.

A teenager girl's life and death was the starting point for another book. She had killed a woman and she was executed by the state of Virginia. The true story was sad and frustrating. The girl, whose name was Virginia Christian, was a member of a sharecropping family. She worked in the home of the widow who owned the land. During an argument and a physical confrontation, she killed her employer. I went to the Library of Virginia to go through the documents related to the case. A page from the 1912 record of Christian's appearance in court and the discussion of the charges against her appears to the left. Christian's story and that of her victim became the starting point for Old Murders. In my version, Lizzie encounters Christian's lawyer decades after he had failed to save his client's life.

In the same way, real people have found their way into my Hannah McCabe books. In the McCabe books, these people have been better known. John Wilkes Booth (long dead, but not forgotten) plays a pivotal role in The Red Queen Dies.  But there is another story involving ordinary people and an abandoned school that I would love to tell. In my mind that story has become interwoven with a newspaper article that I read about an investigation of a boys' school in another state. I have a victim and a case I would love to have McCabe investigate.

I am always interested in the ethics that we bring to bear in writing about real people. In my Author's Note, I acknowledge the inspiration/starting point of real cases and the people I include (if they might be recognized). I explain that I did research to learn more about what happened. But then I turned down another path, spiraled off into make-believe, and what was true was now blurred into fiction.

In my 1939 book, I do have real people appear in cameos. But I'm trying to stay close to what they might have said or done. I want to make sure that J. Edgar Hoover wasn't in Florida when I have him meeting with my FBI agent in Washington, D. C. I also want what he says to reflect his attitude about the looming likelihood of war and the real-life people being investigated.

This topic sometimes comes up when I'm doing an event. Someone from the audience will come up after it's over and tell me about someone they know who has been involved in a crime as victim or offender or an old family story about an uncle or a grandfather. This person often wants to write a book about what happened and is wondering whether to try a novel or true crime. I tell him or her that if there are gaps in the story and people still alive who were involved, I personally would write a novel and change the facts. But that's because I write mysteries.

Anyone else have these chats with people about stories they'd like to tell?

Never Waste a Good Story

Aline’s entry from Monday concerning the ethics of using a third party’s actual life experience as a plot line, plus last weekend’s guest entry by Leslie Dana Kirby about how her debut novel was inspired by the O.J. Simpson case, brought to mind an entry I (Donis) did on a similar theme several years ago on this very site. I use real events, both historical and personal, all the time in my books. When I use personal events, I either disguise them or ask permission of the individual to whom it happened. I do have the writer’s mind, though, and when I hear an intriguing story, I do not forget it, and like Aline, I ponder long and hard on how I can use it in a book. Sometimes I ponder long and hard for decades, as I noted in this entry from 2011:

My third novel, The Drop Edge of Yonder,  was thirty years in the making. There are at least two pivotal scenes in the book that owe their existence to newspaper articles that stayed with me all that time. I read the first story when I lived in Lubbock, Texas, back in the ’70′s. Two women, an elderly mother and her grown daughter, were out shopping together, walking down the street and minding their own business, when a crazy person ran up and attacked the daughter out of the blue. The old mother saved her daughter when she jumped on the crazy man’s back and pummeled him and bit on him and basically beat the heck out of him.

Somewhere around the same time, I read an interview with an old British soldier who had fought the Massoud in Palestine after WWII. He described a fighter who came at him tooth and claw and absolutely refused to be killed, even after he shot him and stabbed him and beat him with the butt of his rifle. The fighter finally sunk his teeth in the soldier’s foot and the soldier had to decapitate him to make him let go. The soldier said it was the scariest thing that had ever happened to him in his life. I took both these images and put them together to create one of the climatic scenes of the book.

The opening scene of Drop Edge isn’t quite as old an image in my head as the other two, but it is also a tale that took me a long time to tell. Seven or eight years before I began writing that particular book, I did a family genealogy for my sibs for Christmas, which as you regular Dear Readers may know, is one of the things that inspired me to write my Alafair Tucker series in the first place . One of the things I learned while doing research on my family was the story of one of my a great-great grandfathers and three of his companions who were returning from the Civil War Battle of Pea Ridge when they stopped a few miles from home to rob a bee hive in a tree. While they were smoking the hive, they were ambushed by bushwhackers and killed. They were found by their families a few hours later but lay dead in the field over night, guarded from wild animals by their wives until morning, when they were buried where they fell.

(p.s. the following was also included in the same 2011 blog entry—I repost it now because it is five years later and the high school reunion is about to recur, and now it is not just depressing, it’s unbelievably depressing) On another topic, I recently received an invitation to a depressingly high-numbered high school reunion coming up in October. I graduated from Nathan Hale High in Tulsa in a class of nearly 700 people. (Nathan Hale is the guy who, while about to be hanged by the British as a spy during the American Revolution, said, “I regret that I have but one life to give for my country,” which I always thought was one of history’s great instances of bravado in the face of death. If it had been me, I might have done my patriotic duty like Nathan did, but when it came time to die, my last words would have been along the lines of , “For the love of God, please don’t hang me.” Of course, nobody would have named a high school after me, either.)

Politics, money, and the Arthur Ellis Awards

Barbara here. In my last blog, I talked about the Arthur Ellis Awards (and taxes, but let's not go there). They are Canada's premiere awards for crime fiction, which for some reason never seems to make it onto the other Canadian fiction awards lists like the Giller and the Governor General Awards. Not that we're complaining, really. With the bigger awards, there is the issue of politics and money, which are really two sides of the same coin. Money not only in terms of the size of the prize, which in the case of the Giller is $100,000, but in terms of the huge surge in sales, which allows both publisher and author to live to create another book. Perhaps even longer.

Because of this, politics rears its ugly head. Writers compete, publishers size up potential books in terms of their ability to win the big prizes, writers can be dumped if their books aren't nominated, rumours of influence and backroom deals abound, publishers lobby, and writers chafe with secret envy. Media scramble to do features on the latest literary stars, thus producing priceless additional publicity.

I should say at this point that since my last blog, the Arthur Ellis shortlists have been announced, and my Rapid Reads book, THE NIGHT THIEF, was shortlisted in the best novella category. Three other Ottawa authors were also shortlisted in other categories; Peggy Blair for HUNGRY CHOSTS in Best Novel, Jeff Ross for SET YOU FREE in Juvenile/ Young Adult, and Pam Isfeld for BRAVE GIRLS in the unpublished manuscript category. We are all thrilled. Our local paper, the Ottawa Citizen, ran a story on us which was picked up by many major dailies across the country because its owner, Postmedia, happens to own most of the newspapers in the country.

This publicity, along with a well-timed phone call, led to three of us appearing on the local CBC radio afternoon show, during which the host asked what impact such an honour would have on our lives. After suppressing a laugh, I was tempted to say “huge!”, but the truth is, the impact is subtle. In fact, you have to be a serious optimistic to see it at first. Politics and money play very little part in winning these awards, once again because the two go hand in hand. There is little or no prize money attached to these awards, and an author's future does not hinge on winning or losing one. Most crime writers can count on a modest income that may never lift them above the poverty line but that will grow slowly as they prove themselves and continue to write consistently good books. Crime writers build readership good book by good book, often in a series, rather than by one spectacularly brilliant book.

Because there are no politics and money, crime writers rarely compete with each other (and we suffer only occasional tweaks of envy), but instead we find there is solidarity and fun in cooperation. Readers who read one crime writer usually read others, so it's not a matter of competing for readers but rather sharing them. Crime writers are generally the friendliest and most supportive of colleagues, and because there's little money or fame at stake, we know the friendship is without strings or self-interest. There are benefits to being frozen out of that $100,000 prize money!

Arthur and I

So besides avoiding the jealousies, anxieties, and financial windstorms of literary prizes, what are these subtle benefits of the Arthur Ellis Awards? Most importantly, they are an affirmation of one's achievement as an author. Independently judged by a jury of experienced book people, they are an acknowledgement that your work stands out among its peers as excellent. This in itself is a huge boost to one's confidence and self-worth. Authors labour for months, often years, in the privacy of our little rooms, trying to produce a work of substance, but we really have little idea whether we've succeeded until the verdict comes back from readers. These awards are that verdict. Believe in yourself. Believe in your writing. It's good.

Secondly, the awards give a writer gravitas. Beyond bragging rights, winning the award brings respect from the book world in general, in the form of libraries, bookstores, reviewers, and media, and from fellow writers as well. No one can ever take that award away from you, and everyone takes a little more notice of you once you have that funny little hangman statue on your mantle. You may not have the media hounding you for feature articles, but when your next book comes out, reviewers may pick it up from the huge pile accumulating on their office floor.

Along with the increased respect comes a related, third, benefit; more name recognition and thus, more invitations to book events. Canada is full of literary festivals, readings, celebrations, and events.   A lot of factors influence literary festival invitations, including the author's popularity, the size of the publisher's purse and publicity machine, the tastes of the organizers and their past experiences with authors. But one thing is certain; it's difficult to get invited if no one has heard of you.  Organizers look for fresh faces and new talents. They look for authors whose works have been vetted. The Arthur Ellis Award, like other respected juried awards, provides that vetting.

Awards are subjective, and many good books do not get nominated. While being nominated is good for the ego, it does not follow that not being nominated is a mark of failure. Certain styles of book seem to get nominated over and over, while other equally excellent books do not. I believe this is partly due to the judging experience itself. Juries read dozens of books in rapid succession, so a  book with a unique style or a compelling opening will catch their flagging attention more than subtler stories.  In my experience, the majority of readers enjoy a good book and are not much influenced by the Arthur Ellis Awards, mainly because they've never heard of them.

On May 26, Crime Writers of Canada will celebrate all Canadian crime writing at its annual awards gala. I will be there, looking forward to raising a glass with my friends and colleagues, whether they are competing for a funny little hangman or not. Good luck to all!

The Ethics of Real Life and Fiction

Supposing you had a friend or a family member who found themselves in a difficult position, one that was unpleasant or perhaps even dangerous, but viewed with a writer’s eye it was very, very intriguing.

It presented to you the idea for a book on a plate. The plot would have a wrinkle that you could never have thought of yourself, but that would give the book absolutely the sort of USP that publishers are always looking for.

But whatever you did in the way of changes to setting, names, personnel, the story is so unique that when he or she read it, they would know it was about them. Could you use it?

I’d never really thought about this, until a situation like that did come my way. Tempting though it was, I couldn’t bring myself to do it: I wouldn’t have had the courage to face them afterwards. It was eating me up totally, but it would feel a betrayal, like reducing their experience to being nothing more than a useful theme and I’d be capitalising on their problems for my own success.

Sounds very nice and moral, doesn’t it? But now, thinking about it, I have used real life stories to inspire some of mine. Someone has talked about someone they knew in an interesting situation, something has been reported in the newspaper: I have used those without considering that if they happened to read the book, they would know it was based on them.

The central figure in my book, Bad Blood, is the daughter of a woman who killed a child when she was only a child herself and who after serving her sentence was given a new identity. There was a celebrated case in Britain many years ago – the conviction of Mary Bell, who did just that.

I can’t deny that this situation was in my mind when I wrote the book. Mary’s adult identity was never disclosed but it was known that she had had a child. The action in my book doesn’t in any way mirror the case, but it was what prompted me to wonder what it would feel like to be the daughter of someone like that and the story followed. I rather hope now that Mary’s daughter, whoever she is, never reads it.

So, not so moral after all. Graham Greene talked about the chip of ice in the heart of every writer; we probably all have it. It’s just a question of degree.

Guest Blogger Leslie Dana Kirby

Type M is thrilled to welcome Leslie Dana Kirby, whose debut novel The Perfect Game has recently been issued by Poisoned Pen Press. Leslie is a practicing clinical psychologist with a keen interest in human behavior.  Dr. Kirby’s writing is inspired by headline-grabbing stories involving ordinary people caught up by extraordinary circumstances.  Luckily for her, and for us, there appears to be no end to the shocking ways in which human behavior can surprise and intrigue us.

O.J. Simpson; Art Imitates Life

When Nicole Brown Simpson and Ron Goldman were brutally murdered on June 12, 1994, I was in graduate school working toward my doctorate degree in clinical psychology. I spent my days attending classes, teaching undergraduates, and treating patients under supervision. I was spending my evenings reading journal articles and writing literature reviews. Although I have always loved reading, I didn’t have a spare moment to read for pleasure. I was completely absorbed in my studies and looking forward to my upcoming residency and career in psychology. However, my laser-like focus was derailed by this brutal crime, the ensuing investigation, and the resulting “Trial of the Century.” Although I had never been much of a professional football fan, even I recognized O.J. “the Juice” Simpson, although admittedly more for his roles in movies and commercials.

To say that I became enthralled by the trial would be a gross understatement. As I left for school each morning, I would carefully set an eight-hour VHS tape to record the daily trial coverage. In the evenings, I would rush through my homework and settle in to watch the trial. I abandoned all of my other regular television viewing, including ER, Seinfeld, and N.Y.P.D. Blue. It was entirely worth it to me because I found the trial provided better characters, conflict, and suspense than any other show on television. Important eyewitnesses were discredited for selling their stories to the tabloids, important timelines were established by a barking dog, a prosecution witness (Kato Kaelin) had to be declared a hostile witness by the the prosecutor who called him to testify, a glove demonstration went terribly awry, and a police detective asserted his own fifth amendment privilege on the witness stand. At the time, I remember saying that if the trial was written as a novel, it would be quickly dismissed as being ridiculous and fantastic. This real life trial provided more plot twists than any legal thriller that I had ever read. My graduate school mentor, who was an expert in psychology and the law, frequently tried to dissuade my interest by reminding me that this trial was not representative of the typical jury trial. I continued my obsession undeterred.

Although I had always been a diligent student, I admit to ditching class in order to hear the verdict read when the trial finally came to a close after more than eight months. Like many in the nation, I was shocked and dismayed when Simpson was acquitted in the face of a “mountain of evidence.” I clearly remember feeling particular empathy toward the family members of the victims, particularly Fred Goldman who had advocated so passionately for his son throughout the trial. What would I have done if one of the victims had been my loved one? What if Nicole had been my sister? And so the idea for my first novel was born.

But, alas, life interfered with my goal to write a book. When the trial ended, I resumed my studies in earnest and finished my graduate program in the spring of 1996. I went on to my clinical residency, joined the military, got married, and had two children. All of which explains why my first novel, The Perfect Game, wasn’t published until March 2015, more than 20 years after the murders of Brown-Simpson and Goldman.

In The Perfect Game, Lauren Rose is a medical intern who is devastated when her only sister, Liz, is murdered. Complicating matters is the fact that Liz was married to baseball pitching superstar, Jake Wakefield. As the sole beneficiary to Liz’s large life insurance policy, Lauren is quickly identified as a prime suspect. Given Jake’s fame, the media coverage during the police investigation and eventual trial is relentless. While the story is loosely based upon the Simpson case, the twists and turns take a very different course. Remember my impression that the developments of the Simpson case were too outlandish to incorporate into a novel? And in my opinion, The Perfect Game offers a much more satisfying conclusion than the real trial . . . although the fact that Simpson later landed himself in prison for a crime resulting from his attempt to hide his assets from the Goldman family also offered a very poetic justice.

I was surprised when the Simpson case landed back in the news this year as a result of the television miniseries, but I shouldn’t have been. As I have been watching American Crime Story: The People vs. O.J. Simpson miniseries, I have become fixated once again. I have been thoroughly enjoying the peek behind the curtains that the series offers. As a result of my husband’s work, I have met Fred Goldman and as a result of my book, I have also met Marcia Clark. I have been watching the series with my own daughter, who frequently reacts with this question, “That didn’t really happen, did it?”

Believe it or not, that is exactly what happened!
_______________
Leslie lives in Arizona with her husband and two children. The Perfect Game is available from Poisoned Pen Press, and wherever books are sold.

Country mouse/City mouse

I grew up in the very tiny town of Lone Elm Kansas. In a real sense, Anderson County will always be "home" to me. All of my family and my husband's family lived there and are now buried there.

In the Lottie Albright series, published by Poisoned Pen Press, the protagonists are twin sisters. Lottie is an historian who moved to Western Kansas when she married. Her sister Josie stayed in Eastern Kansas where they both were born. Writing about the two halves of the state has been a great way to play up the tension between the twins. Josie thinks Lottie is crazy for ever moving there. Lottie despairs of Josie's insensitivity to the grandeur of the prairie.

In fact the two halves of Kansas are like two different planets. The historic animosity of these two entities affects plotting in the series. I have lived in both places long enough to be acutely aware of the differences. Someone asked me once how this came about.

Militarily, Eastern Kansas is associated with the Civil War and Western Kansas with the Indian Wars. Eastern Kansas was settled much earlier. Western Kansas was labeled part of the Great American Desert and said to be virtually uninhabitable. It seemed to Eastern Kansans (the city cousins) that Western Kansans (the country bumpkins) were always looking for a hand-out.

In Western Kansas crops failed. Grasshoppers ate everything in sight. There were prairie fires and tornadoes and blizzards and Indian raids. Then by some miracle fortunes shifted. Western Kansas became the breadbasket of the world. Settlers struck oil. They discovered vast fields of natural gas.

Mining developed in Southeast Kansas and there was lively trade and shipping along the Missouri River. Population centers grew and suddenly the city cousins wanted part of their country cousins' tax revenue to finance their schools.

It's fun to watch the Albright twins argue about "their" place in the state as well as their roles in murder investigations. When a book stalls, try researching the history of your state or region. The information might jump-start your plot.

Fresh Ideas

I have an idea.

Really, you say. A writer with an idea. Is that newsworthy?

Probably not. But it feels like a big deal to me. You see, I've spent ten years with the same protagonist, written perhaps 3,000 pages to get three published novels. And for the past three years, I've had . . . not exactly a conceptualized idea, but a voice kicking around in my head. And a voice is a character knocking on the front door, waiting to be let in. Last week, I opened the door, and he walked in, bringing a whole cast of characters and problems with him.

So I sat down and wrote a description of the setting, the cast, and a synopsis (something you might find on the dust jacket). The synopsis concludes with these three sentences: Money, power, and political swag go a long way in explaining a hidden truth. And some secrets are never meant to be told. Unbeknownst to Bo and Ellie, this one threatens not only them but their daughters as well.

And that's where I began. I sat down and started writing. What's the secret Ellie and Bo will learn? I have no idea. Not yet. Looking forward to finding out. I'm not working from an outline, just a 730-word, wide-open description. And something fun has happened: I having a blast writing this book. The voice keeps talking, the story is unfolding, and the book is taking off.

It's a rush. And that rush is why I do it. It's why I get up at 4 and write until 6 a.m. most days. Not for a contract. Not for a royalty check. And never for reviews.

Where will the novel go? No idea. But I'm looking forward to finding out.

Musings on American English

Sybil here. As you read this, I’m on my way to the Malice Domestic conference in Bethesda, MD. I’m also finishing up Book 3 in my Aurora Anderson Mystery series. To say I’m stressed would be an understatement.

When I’m stressed out, I get annoyed at little things and get a bit nit picky about how people speak or write English. Don’t worry, I don’t actually correct people. Okay, I might talk to the TV screen, but they can’t hear me so...

I’ve taken enough linguistic classes to know a language is a living thing, in a constant take of flux. Words get added, deleted, change meanings all the time. I get that. I also get that grammar changes over time. What was once considered unacceptable and bad grammar becomes the norm.

I’m not a grammar snob. My own isn’t ‘correct’ all the time, but some things annoy me or, at least, bring me up short. Here’s my current list:

How do you pronounce ‘primer’?
Pronunciation of this word is one of my hot buttons. In American English it's pronounced two different ways, depending on its meaning. Go ahead, consult your American English dictionary if you don’t believe me. You back? If we’re talking about a book, it’s pronounced with a short ‘i’ like “primmer”. If we’re talking paint, it’s pronounced with a long ‘i’. I don’t know how many times I’ve been literally laughed at for pronouncing this word correctly. My gut response is: “Read the dictionary, people!”, but I usually just say that’s what the dictionary says. One of my AE dictionaries did note that in British English, the book is pronounced the same as the paint. I'd be interested to know if this is true. So, you speakers of British English, let me know.

Waiting/standing on line v. in line
This preposition difference between coasts only came to my attention in the last few years. I’ve lived on the West coast my entire life. We stand or wait ‘in line’ here. On the East coast, though, ‘on line’ seems to be preferred. You East Coasters can stand or wait on line all you want. I’ll stick with ‘in line.’ But when a character in a book that we’re told has lived on the West coast their entire life stands “on line”, I sit up and take notice. It bothers me, okay. Brings me right out of the story. I read a book once where that happened and it bothered me for pages. Okay, it’s still bothering me years later. Stupid, I know, but that’s the way it is.

pled v. pleaded 
Okay, this one I know is not incorrect. I was just taught that the proper past tense of ‘to plead’ is pled. Both are listed in my American English dictionaries, though pled seems to have pretty much gone out of every day use. All of the news articles on crime that I read use the form ‘pleaded’. Still jars me, though. Yep, I’m old.

‘she’ used as a generic pronoun
English needs a generic 3rd person pronoun. It really does. Neither ‘he’ nor ‘she’ seems to work well. I was taught ‘he’ is the proper generic to use in English so that’s what I use. Now, I grew up in the 60s and 70s. I remember when single women couldn’t get mortgages without a man to cosign a loan. I understand the issue. I didn’t change my name when I got married, my own little womens’ rights protest, something quite unusual at the time. Years and years ago, I started seeing ‘she’ used in this context all over the place. Makes me pause every time. I know this is my problem. I’m okay with that. Just don’t tell me I’m wrong when I use ‘he’ as my generic.

than + preposition
This one I think I’m going to have to let go. It’s become too ingrained in current American English. Still, it grates on my nerves to hear someone say “he’s taller than me.” I was taught the correct preposition in this case is ‘I’ and here’s how you know: extend the sentence to use the proper form of the verb ‘to be’, e.g. He’s taller than I am. You can cut off the verb or leave it in. I tend to leave it in, because I admit it sounds a little odd otherwise. I did catch myself saying ‘taller than me’ the other day, though. Guess it really is time to ignore this one.

I’ve shown you my list of nitpicks. What things annoy you or at least cause you to pause?

More rumours & a shout out to the Bony Blithe!

by Rick Blechta

Vicki Delany’s post yesterday made some very good points that need to be heard by those just starting out in the writing game or those contemplating a writing career.

Like any of the creative arts, publishing has more than it’s fair share of sharks and fast operators. It’s always best to look first, then ask a ton of questions, and if something doesn’t seem right or it appears to be too good to be true, rest assured that you are at risk of being taken.

Vicki’s post dealt with rumours about self-publishing, and I believe she correctly surmises that the rumours were started by those who have money to make out of this: vanity presses.

There is nothing inherently wrong with a vanity press. If you desire to publish (and print) your own works, more power to you. It’s just that the vanity press business model is all about selling dreams, and they know darn well that the likelihood of all those dreams of wild author success coming true happen in the neighbourhood of once every ten or fifteen years.

Then there are agents. Take it from me, if an agent asks you for a reading fee, he or she is not a real agent. If after reading your magnum opus, they recommend a great editor they work with, then be very suspicious.

And if anyone asks you to do something for free (especially if they’ll be making money on your efforts) because doing so “will be terrific exposure”, just tell them this: “People can die from exposure, you know.”

Sorry. Gotta run. Bills have to be paid, and well, I’m doing this blog because it’s, um, good exposure...

 

As for the shout out:

The Bloody Words Light Mystery Award (aka the Bony Blithe Award) Shortlist was announced on April 14th  – and our very own Eva Gates (aka Vicki Delany) is on the list! So are four other people, but I’ll give you the press release for the rest of the information!

 

Murder Is Nothing to Have Fun With...Or Is It?
Bloody Words Light Mystery Award Announces Finalists

(Toronto, ON) April 14, 2016 – The Bloody Words Light Mystery Award (aka the Bony Blithe Award), an annual Canadian award that celebrates traditional, feel-good mysteries is pleased to announce this year’s finalists. Now in its fifth year, the award is for a “mystery book that makes us smile” and includes everything from laugh-out-loud to gentle humour to good old-fashioned stories with little violence or gore.

Congratulations to the five finalists for the 2016 award:

Victoria Abbott, The Marsh Madness (Berkley Prime Crime)
Elizabeth J. Duncan, Untimely Death (Crooked Lane Books)
Eva Gates, Booked for Trouble (NAL)
Victoria Hamilton, White Colander Crime (Berkley Prime Crime)
Alexis Koetting, Encore (Five Star)

Help us celebrate Bony Blithe’s fifth birthday at the 2016 Bony Blithe Gala, an afternoon and evening of mirthful mayhem!

The award will be presented at the Bony Blithe Gala on Friday, May 27, at the High Park Club, 100 Indian Road, Toronto. The festivities start at 2:00 p.m. with panels and afternoon nibblies, culminating with the award banquet where the monarch of merry murder will be crowned. For more information or to buy a ticket for the gala, contact us at bw-award@bloodywords.com or visit www.bonyblithe.com.

The winner will receive a cheque for $1,000 plus a colourful plaque.

Thank you to all the publishers and authors who submitted their books for this year’s contest. May there be many smiles in your future.

Website: www.bonyblithe.com
Facebook: Bony Blithe Light Mystery Award
Twitter: @bonyblithe