Gratitude

I have an ambivalent attitude towards my computer. Actually, that's not strictly speaking true. Most of the time I mutter at it in a surly way and if I tell you I refer to it as Beelzebub it might give you a more accurate picture.

It has nasty habits, like suddenly freezing when I've written a long and tricky email. It refuses to accept my decisions; it likes my documents to have 'mark up' and even when I set it to 'no mark up' and save it, when I next go to the document, 'mark up' is back. Sometimes. Other times, it does as it's told for a bit and gets bored and reverts.

When it underlines a word and I click on 'ignore all' it does, but then next time I open the document the underlining comes back. Only sometimes, and only with certain words it irrationally takes against; I click 'Ignore all' again but then whoops! back it comes, next time.

It installs updates to do extra things I don't want, and even whole new systems without my consent – yes, Windows 10, I'm talking about you – which make my life more difficult and awkward. Sometimes it decides it doesn't want to print right down to the bottom of the page and even with visible formatting it's impossible to see a reason for this. (This has defeated several experts and I gather I'm not the only one with this problem.) Its 'help' program has yet, even once, to be helpful.

I know I'm incompetent too, of course, and sometimes whatever is irritating me is my fault because I've accidentally touched a key with mysterious effects. Rick is probably even now shaking his head and muttering, 'Silly woman!' But it's just, well, unfriendly. When my first computer went to the place where far too soon (NB Microsoft) tired computers go, I almost shed tears. I certainly shed tears, but of frustration, with the new one.

It's undoubtedly easier to click on Google than to schlep up to the library for a reference or hunt through every poetry book you own for a quotation. And I'm old enough to remember having to type with carbons in, and using industrial quantities of Typex – not to mention having to retype a clean copy after revision. Not fun. But I was fond of my typewriter; you knew where you were with it and mine still lurks at the bottom of a cupboard, just in case the Russians decide to close down the whole system because they're feeling cross.

Oh, I know it has transformed my working life, so I'm grateful for it, of course. It's nice to be grateful and I was very well brought up. But my gratitude to Beelzebub tends to be of the 'Do I have to say thank-you?' sort.

However, today I am genuinely grateful. Not long ago, some of us were talking about the pet phrases we regularly use, more or less without being aware of them, that can easily catch the reader's attention in an irritating way. This time, revising a new book, I realized the way to control them.

The first time I come across one, I type it in and the lovely Find button immediately parades all the shaming repetitions. I can then work through them all with a triumphant cry of 'Eradicate! Eradicate!'

So a real thank you for this, Beelzebub. I'm not ready to rechristen you – you'll have to do a lot better for that – but I'm prepared to soften my voice when I mention you, instead of snarling.

Beware the Hoodlums!

Ann Parker--science/corporate writer by day and crime fiction author by night--writes the award-winning Silver Rush historical series, featuring saloon-owner Inez Stannert, set in 1880s Colorado. The newest in the series, A Dying Note, brings Inez to the golden city of San Francisco, California, in 1881. Publishers Weekly calls this latest addition to the series "exuberant" adding that it "...brims with fascinating period details, flamboyant characters, and surprising plot twists."

Hoodlums in 19th Century San Francisco by Ann Parker

As a writer of historical mysteries, I'll admit I am a fool for period slang, intriguing turn of phrase, and the etymology of words. Language-related trivea is a rabbit-hole I disappear down time and time again when I should be doing other things. . .such as putting words on the page of whatever book I'm working on. So, it was with great delight that I sumbled across the background of the word "hoodlum" during my research for A Dying Note, the newest book in my Silver Rush historical mystery series.

Hoodlum is hardly an uncommon word, even today. In fact, you can view its image over time with a neat-o-Google algorithm called the Ngram Viewer in Good Books. (NOTE: The Ngram Viewer graphs the frequency in percentage terms, of the text being searched, over the time period being specified.)

As you can see right away, "hoodlum" first cropped up around 1870 and ascended in popular usuage from then. However, were you aware that the term was originally coined in San Francisco?

I wasn't!

That is until I stumbled across an online SFGate article titled "'Hoodlums,' a distinctive San Franciso product of the 1870s," by Gary Kamia.

For more historical edification, I turned to (take a deep breath, here comes the title) Americanism, Old and New: a dictionary of words phrases and colloquialisms peculiar to the United State, British America, the West Indies, &c., their derivation, meaning and application, together with numerous anecdotal, historical, explanatory and folk-lore notes. This vastly entertaining reference book by John Stephen Farmer was published in 1889, and you can read it, and download it from the Internet Archive here.

Farmer's definition of hoodlum is a whole lot shorter than the title of his book:

Hoodlum.--a young rough. The term originated in San Francisco, but is now general throughout the Union. 

For a historical perspective on hoodlums and hoodlumism, check out Lights and Shades in San Francisco by Benjamin E. Lloyd published in 1876, which has an entire chapter on the subject (and yes, you can view and download the book with this link I've provided).

A couple of passages from Lights and Shades involving hoodlums caught my eye. The first--quoted below--discusses the sorry state of San Francisco's "corner groceries," which, as it turns out, are not at all what I initially thought they were (i.e., local stores to buy canned goods, mild, cheese, what-have-you):

Of evenings, these corner grocery bar-rooms are largely patronized as "loafing places," by the mechanics, laborers and idlers, whose home are in the neighborhood. A simple lunch is set out here, and also a card table is provided. Here young men and middle-aged men, boys and grey beards congregate at night, to talk vulgar slang, play cards for the "the drinks," and smoke and chew--to go home at a late hour with heavy heads and light purses. It is at these places that the youthful San Franciscan Hoodlums are developed.

This second excerpt is the opening of the Lights and Shades chapter on hoodlums:

THE Hoodlum had his origin in San Francisco. He is the offspring of San Francisco society. What particular phase in social life possesses the necessary fertility to produce such fruit is not obvious. It is certain, however, that the seed has been sown in productive soil, for the harvest is abundant.

The hoodlum has been called a "ruffian in embryo." It would be a better definition to call him simply a ruffian. He has all the essential qualities of the villain. He is acquainted with crime in all its froms. The records of vice are his textbooks. He is a free-born American in its widest sense...

If these passages pique your interest, I encourage you to wander on over and read the rest of Lights and Shades, which offers an intriguing perspective on the world of 1870s--1880s San Francisco (and proved a very useful reference to me for A Dying Note.)

Finally, I just have to add a coda to this post. Th illustration below is from a book titled Quad's Odds by M. Quad 9 (publication date 1875). Here is the text that accompanies the picture:

It requires nerve and courage to be a hoodlum. The boy has got to have the heart of a man, the courage of a lion, and the constitution of an Arab. Only one in a hundred gives him credit for half his worth. No one cares whether he grown fat or starves: whether Fortune lifts him up or casts him down; whether night finds him quarters in a box or a comfortable bed. He's a hoodlum, and hoodlums are generally supposed capable of getting along somehow, the same as a horse turned out to graze. Not one boy in ten can be a hoodlum. Nature never overstocks the market. If left an orphan the average boy dies, or has relatives to care for him, or falls in the way of a philanthropist and comes up a straight-haired young man with a sanctimonious look. The true hoodlum is born to the business. He swallows marbles and thimbles as soon as he can creep, begins to fall down stairs when a year old, and found in the alley as soon as he can walk.

Beware the hoodlums! (The title of this illustration from Quad's Odds is, believe it or not, "The Future Presidents." I shall refrain from political comment, difficult though it is...)

For more information about Ann and her series, chick out http://www.annparker.net.

Writing the end: How much detail do you really want?

Writing a novel is never easy, no matter how many times you’ve done it. We hear so often the first 50 pages must establish conflicts and grab the reader by the throat; the middle develops characters and the plot; and the ending must not be predictable but also provide a satisfying solution.

When I work on the ending of a book, I’m usually thinking about pacing and twists. What must logically take place? Where can I offer an unexpected event that also makes sense?

With this in mind, setting details often take a hit. My agent pointed this out the last time I turned in a manuscript. She told me there were fewer setting details at the end of the book. She was right. There were, and that was by design.

I tend to write novels in which the action takes place in several repeated locations. For instance, my current project is set at a New England boarding school. This provides a contained locale. It also allows me to not waste the readers time by describing the setting more than once. I can focus on using setting details to establish tone within each scene. Dialogue drives my writing, and this consistent setting allows me to focus on that. It was Hemingway, after all, who said writing is architecture, not interior design.

The end of the novel, then, often feels like a sprint, which is what I believe my agent was saying. How sparse should the text be? How much detail does the reader really want at the end of a novel? I can answer for myself. As a reader, at the end of a novel I enjoy, I've got my head down, and the pages are turning. (I'm not even aware there are pages.) The awkward silences that existed in the opening moments of this first date with this novel have long since passed. By the time I reach the end of the book, the relationship is well established and we’re way beyond awkward silences.

I hope the ending of the novel I'm working on right now provides the reader with both an unexpected and logical solution. I also hope the climax and resolution of the novel were like being at the top of a roller coaster, teetering, just before the final descent. Because when the roller coaster starts down, you're not looking at what's around. You're concentrating only on what's coming at you, and the pages are turning on their own.

National Library Week

I’m at the tail end of my first round of edits for Designed For Haunting, the next book in my Aurora Anderson Mystery Series, but I’ve come out of my writing cave long enough to discover this week is National Library Week.

This is the 60th year of the celebration sponsored by the American Library Association. This year’s theme is “Libraries Lead” and its Honorary Chair is Misty Copeland, principal dancer at the American Ballet Theatre. She is also the author of the New York Times bestselling memoir, Life in Motion.

I’m lucky to have many, many libraries within a reasonable distance of my home. That’s the good thing that comes out of living in a densely populated county. I’m a 15 minute walk from my hometown library in Manhattan Beach, a branch of the Los Angeles County Library system and named one of the most beautiful libraries in Los Angeles, and a short drive from several others. Right now I have four library cards. And, yes, I use them, some more than others.

I’m aware that libraries offer more than just books, e-books and movies these days, but I didn’t realize how much more until I read this article. Drones, vegetable seeds!, violins are all available from some libraries somewhere. I think that’s pretty amazing.

As We Love Libraries Coordinator for Sisters in Crime, it’s my pleasure every month to notify a library somewhere in the United States that they’ve won a $1000 grant to purchase books and audio books for their library. Any library in the U.S. is eligible as long as they haven’t won before. Please encourage your local library to apply for the grant. Simply have them go to http://www.sistersincrime.org/?page=WeLoveLibraries, fill out the form and include a photo of a library staff member with at least 3 books in the library’s collection written by Sisters in Crime members.

Well, I need to get back to my changes. If you’re attending Malice Domestic this year, I’ll be there too! I’m participating in the Malice Go-Round this year. I’m also on a panel Saturday morning 9-9:50 a.m. called The Art of Murder. Also on Saturday, I’ll be doing a Facebook Live interview with A Cozy Experience around 3pm Eastern Time. The interview will go live through their Facebook page https://www.facebook.com/cozyexperience/

Location, location, location! (part deux)

by Rick Blechta

My post last week was a riff off one Aline had published the day before.

The importance of setting is indisputable. Every story is set someplace. If it’s a made-up land, then the writer is free to indulge themselves to the max, but what they write must firmly set their location in readers’ minds. The same is true if a writer is using actual locations — or portions thereof. Job #1 remains the same whether you’re utilizing pure fantasy or reality.

There is a large difference, though, when reality is used, either partially or completely: the writer should expect mail, good and bad. Anyone who knows that location well enough will certainly feel the urge to correct errors — and they may act on it. “There’s no bar on that street corner!” “That’s a one-way street and you have a car going the wrong way!” The answer to the first quote might well be that the writer needed a bar to be on that street corner for plot purposes so that’s what was done. Tough boogies. The answer to the second quote might be that the author boobed on the research. If one is using actual places for setting, it is critical that errors are kept to the bare minimum. Much can be gotten away with if the setting is not known to many, but get something wrong in Times Square and you risk being flooded with irate comments. Of course that would mean the book is selling well, which would make responding to irate comments much more enjoyable.

Which brings me to my own experiences. As I mentioned in last week’s post, I used the living room and garden of a good friend’s home in Scotland for the climax of When Hell Freezes Over. I didn’t think of asking if this was okay with him. I described the location of the house pretty specifically (it was critical to the plot). Only later did it dawn on me: “What if this book becomes a bestseller, a classic if you will, and people start showing up on my friend’s doorstep?” Don’t laugh. It has happened. (And I should be so lucky to write a classic thriller…)

Since that time, if I’m using real places for setting, I weigh my considerations more carefully. Two of my novels, The Fallen One, and its sequel, Roses for a Diva have my protagonist living in a large apartment block in downtown Toronto. It is easily identifiable. To my mind, that’s not an issue. It has concierges at the entrances. However, I would never use a specific apartment number. A private person does not need to dragged into my scribblings.

I always try to use real places for setting. It helps me to have a fixed image (plus reference photos) in my mind as I write. But now I’m more circumspect in being too specific (or shall I say 100% accurate if I’m using a private individual’s residence or a small business. If I set something in a public space, I consider that fair game.

To finish off about locations, I recently watched the second series of the Netflix production, Jessica Jones which is shot in and around New York City. The final episode used two locations with which I am very familiar. One is a diner in Ossining, NY that my mother-in-law really likes and we’ve eaten there frequently over the past two years. While watching, I’m thinking, That looks like Route 9 in Ossining. As the camera moved around I thought, That’s gotta be DD’s. A minute or two later my guess was confirmed when Jessica escaped from the place (after ripping out a table top and throwing it at two cops. Funny thing was, the signage out front was changed for the shoot, and unless one knows the specific area, you wouldn’t be able to find it. (I wonder if the owner’s didn’t want the notoriety.)

The climax in that episode, though, was the real kicker for me, It takes place at Playland, an amusement park in Rye, NY and is fully identified in the episode (the title of which is “Playland”). What’s really incredible is the climactic action takes place on the park’s Ferris wheel, which my future wife and I rode moments before she told me she loved me — and the location of that event appeared in one of the final scenes in the movie Big.

How’s that for locations with real impact — well, for me at least.

Weekend Guest Sasscer Hill

Frankie, here. I'm delighted to welcome Sasscer to Type M for Murder. If you aren't familiar with her work, you should be. 

Sasscer was involved in horse racing as an amateur jockey and racehorse breeder for most of her life. She sets her novels against a background of big money, gambling, and horse racing, and her mystery and suspense thrillers have received multiple award nominations, including both Agatha and Macavity Best First Book nominations, as well as a nomination for the Dr. Tony Ryan Best in Racing Literature award.

THE DARK SIDE OF TOWN, out April 2018, won the Carrie McCray 2015 Competition for First Chapter of a Novel, as well as a 2015 Claymore Award nomination for best unpublished mystery-thriller. 

TELL DON’T SHOW, THE OLDEST MISTAKE IN THE BOOK.

With six published novels, and multiple award nominations, how was it possible my current WIP suffered from this error?



Was it the new subject? My first six novels are racetrack mystery-thrillers, and horse racing is a game I lived for more than thirty years as an owner, breeder, and rider of Thoroughbred racehorses.

I suspect my failure was due to the unfamiliarity of a story world about Irish American Travelers, those gypsies so famous for their cons and scams here in South Carolina.

I was two hundred pages in, when I agreed to send the work to my agent for her opinion. But as I read what I was about to give her, problems leapt out at me. It’s one thing to give pages to your critique group, and quite another when you’re placing it before the eyes of an accomplished agent. Reading it this time, I saw the story had a whole lot of telling, and not nearly enough showing.

Learning about the Travelers required in-depth research, and parts of my manuscript almost read like a documentary. Probably all that research, which is supposed to enable you to write with authority, not beat your reader over the head with facts and figures.

Though there was action and dialogue, there was also an endless first-person monologue from my protagonist, Quinn, telling the reader what the Travelers do and how they do it. Oh, yuk! What was I thinking? Quinn was even telling her backstory!

My agent was not thrilled with the manuscript, but being kind, simply said it wasn’t “organic enough.”

When I said there was way too much “telling,” she said, “I’m so glad to hear you say that!”

I’d saved her having to tell me I’d made one of the worst beginner’s mistakes. So, I’m back into those pages and instead of telling about the travelers, I’m using dialog, and action to show the reader their culture and behavior. I have cut out much of the lumps of backstory and will piece them in later, if they are needed. Although I don’t believe a dead body must appear on the first page, this novel was taking too long to get to the action!

When I finish this manuscript, it must suck the reader right in with action, emotional conflict, and vivid sense-laden descriptions. I’ve done it before. I know I can do it again.

Have you ever lapsed back to your beginner days?

Finalist

This coming weekend I will learn if my 2017 novel, The Return of the Raven Mocker, has won this year’s Oklahoma Book Award. I was notified a month or so ago that Raven Mocker is one of the finalists in the fiction category. This is the eighth of the ten Alafair Tucker mysteries to be a finalist for the award. As of this moment, none of the eight have won. The truth is, though, that whether I finally win or not, I will not be disappointed. It's pretty good news to be a finalist for the award eight times for eight different books, and I am most happy about it. The entire finalist list is sent to every library in Oklahoma and it’s hard to top that kind of publicity.


Now that I think about it, I have to admit that I don't readily feel disappointment when something doesn't pan out, nor am I particularly elated by success. I've had a lot of both success and failures, and when the dust settles, nothing much is changed and I am still me. Another author told me once that she shopped a novel around for eight years, and she grew so calloused by rejection that when her agent did sell it, she felt nothing. I can easily be seduced by praise, though, and I wouldn't say no to an award of any ilk. Something has to keep you going in this business, because the likelihood is that it won't be riches.

A wall full of finalist consolation prizes.

I have just begun the preliminary research and planning stages for the next novel in my series. and soon I'll be in that apply-glue-to-rear-end-and-sit-down-in-front-of-computer-whether-you-like-it-or-not stage. Wringing out the first draft.

Or trying to. I find my mind wandering at the most inconvenient times, and considering that I have a tendency to give in to random thought as it is, I'm not having any luck completing the tasks I should.

For instance, rather than work on the manuscript I've just spent the last fifteen minutes thinking of names for a rock band. I discovered several books ago that if I’m going to be able to power through the pain of a first draft, I have to set myself a rigid writing schedule. This is difficult for me, since I’m not by nature a disciplined person. I don’t enjoy forcing myself to put words on the page, whether I’m feeling inspired at that moment or not. I’m always anxious and unhappy for much of a first draft. Why, I ask myself, isn’t this better? It seemed like such a good idea when it was still in my head.

Somerset Maugham follows a similar rule about sitting down to write whether you’re in the mood or not. An interviewer once asked him if he kept a strict writing schedule or if he simply waited for the Muse to strike him before he sat down to compose. He replied, "Oh, I wait for the Muse to strike. Fortunately she strikes every morning at precisely nine o'clock."

My piece of advice? The number one thing that works for me is just to sit down and do it and quit trying to figure out how to do it. Quit fooling around, Donis. The dishes will wait.

p.s. I looked up the Somerset Maugham in an attempt to get the above quote right, and I must say that Maugham is a fountainhead of quotable wisdom. Here are a couple that particularly spoke to me:

"The great American novel has not only already been written, it has already been rejected."
"There are three rules for writing a novel Unfortunately, no one knows what they are."
"You can do anything in this world if you are prepared to take the consequences."
And this, which seems especially apt right about now: "My own belief is that there is hardly anyone whose sexual life, if it were broadcast, would not fill the world at large with surprise and horror."

The best and cruellest of April

Barbara here. The arrival of spring always brings a sense of optimism and renewal especially for those of us living in the Great White North. Crocuses are pushing up, tiny leaf buds are forming, and the new book season is beginning to unfurl. In addition to the release of the ARCs of my new Amanda Doucette novel, Prisoners of Hope, I have two exciting book events to look forward to: the Arthur Ellis shortlist parties on April 18 and the 1000 Islands Writers Festival on April 27-29.

The Arthur Ellis awards are juried awards given annually by Crime Writers of Canada to honour the best in Canadian crime writing. There are seven categories, and every spring a panel of judges reads through all the entries in their category and selects a shortlist of five. This is a time-consuming, important, and sometimes contentious job, and their dedication is greatly appreciated. The shortlists will be announced on April 18 at parties across the country, with readings, signings, and sometimes blood-letting by local authors. I will be participating at the Ottawa event. Check out the one nearest you at Crime Writers of Canada and come on down to join the nail-biting!

The 1000 Islands Writers Festival is being held on the final weekend in April in the picturesque riverfront town of Gananoque, and brings together a mix of talented authors for a large gala reception, more intimate conversations, and lively interviews. The theme this year is Stories: a matter of life and death. Among the guests are myself, Kelley Armstrong, Maureen Jennings, and Terry Falls. Check out the website for details and tickets. Maureen and I are doing a luncheon chat where we promise to reveal some of our writing secrets (but not all!).

But this year April brings sad and shocking news as well. The wonderful independent mystery bookstore in Ann Arbor, Michigan, Aunt Agatha's, announced today that it is closing its doors this summer. Aunt Agatha's is not only a local and national treasure, but an international one as well.  For years the owners, Robin and Jamie, have been bringing mystery authors and readers together through their books, newsletters, reviews, book clubs, and invited author programs.  It's been my privilege to be invited several times and I gladly make the trek from Ottawa to Ann Arbor for the event. There are no greater fans and advocates of mystery.

It is a sad testament to changing times and buying habits that this loving, personalized service is being lost. Robin and Jamie, thank you so much for your years of support to readers and writers alike. You are irreplaceable and will be missed. As a final hurrah, Aunt Agatha is hosting a series of author events and book sales until the doors close, so check out their Site and come on down to share your thanks and best wishes for the future.

Location, location, location!

by Rick Blechta

My reference photo of Loch Striven

My post this week spins off what Aline was speaking about yesterday. One thing I’ve learned over the course of 10 books is that location can bring a story to life as much as great characters.

I agree with Aline that fiction writers should never apologize for their imaginations. So what if we add a castle to the landscape? If it helps our story, then go for it. The only disappointed people will be those who travel to the locale and don’t find the castle there. If they have their own good imaginations, they’ll “see” the castle where the author placed it and understand why it was placed there.

I have my own Scottish story to relate. While researching in Argyll for my novel When Hell Freezes Over, I needed a lonely house in a picturesque location. We were staying with a friend and not having had much luck on two research forays from his home just north of Dunoon, I asked him for some help.

“What you’re describing we would call a bothy, basically a farmhouse. There’s a road that goes around the bottom of Loch Striven. You should try that.”

Off my wife and I went. The views from the road were really lovely, but there was no building placed anywhere which would work in my story. None that we saw gave me what I was looking for: lonely but with a great view. Reaching the end of the road, we turned back. It wasn’t until we returned again to the bottom of Loch Striven where the road is about a quarter to half a mile from the shoreline and up fairly high that I realized the location was perfect for my needs — except there wasn’t even a shed in sight. And then I though, Well, there could be…

Back at our friend’s house after taking some reference photos, I sketched out a description of my old bothy, the outbuilding I needed, and a short but precise description of the view, and voila! I had just what I needed.

And I did not feel a twinge of guilt.

For the record, I used our friend’s house (particularly his living room) for the climactic scene of my novel.*

We fiction writers lie for a living. Really. Everything we do is made up. Sometimes it might be based on fact, but at their hearts, our works are always made up, aren’t they? If that means adding buildings to a landscape, so what?

I’m with Aline on this one.

Next week: *the dangers of using recognizable landmarks in fiction writing.

Imaginary Places

Catherine Macdonald, commenting on Donis's post last week, said that she felt guilty about creating a castle in Scotland because there wasn't one in the right place. I was enormously impressed by her moral standards because I do far worse and don't feel guilty at all!

My books are always very firmly rooted in the landscape, but I create the village, the town, or even the island that's going to be my main setting. There are various reasons for this.

I always have at the back of my mind the thought that if I use a real place and comment adversely on an organization, a business or an institution, or have an unpleasant character linked to one, I could fall foul of the libel laws. People have an amazing tendency to 'recognize' themselves in books – my mother was always convinced that she was the elderly lady who was murdered in the first chapter of my first book. (She wasn't, honestly!)

Real places are so inconvenient, too. They will persist in not having the streets organized in a way that would make it convenient for my story and local readers do tend to get stroppy when you move their buildings around. Not only that, if they spot a mistake they don't hesitate to point it out; I got an irritable email from a reader pointing out that I had got one figure in the number of the road my character was driving on wrong.

But my creations are always precisely placed in a gap where they could plausibly be and the descriptions of the scenery round about are exactly what you would see if you stood on that particular spot, and the distances from real towns or landmarks are carefully calculated.

The other reason I choose to invent is that I love doing it. The best fun of all was creating my island for my book, Evil for Evil. There is a series of tiny islands, the Isles of Fleet, just off the coast of Galloway and I slipped in my own, just at one end. I had a totally clear picture in my mind's eye – still do! At one end a rough causeway led from the shore at low tide and from there it swept smoothly up, past the little ruined chapel and the Norse graves, to the bothy and sheds for the feed for the roe deer that were farmed there, close to the little wood with the sea-cliffs on the farther side. I almost can't believe I wouldn't find it there if I went back.

I wouldn't do it without having done a lot of research in the area first. Atmosphere is really important and I have to get it right, since that will be the background to my own creations, and the only moral aspect for me is that I don't distort the places that really are there. If I name a genuine town, the description will match what I know is there. Can't have people getting totally confused!

When I explain the principle to people who ask me exactly where a book is set, they seem, so far, to be quite happy to accept that. It's fiction, after all!

Guest Blogger: Naomi Hirahara

Hi, everyone. John here. This week's guest is my dear friend, Naomi Hirahra. I have enjoyed reading (and teaching) her books, and my students have enjoyed her Skype visits to my classes. She is the Edgar Award-winning author of two mystery series set in Southern California. Her Mas Arai series, which features a Hiroshima survivor and gardener, ends with the publication of HIROSHIMA BOY in 2018. The books have been translated into Japanese, Korean and French. The first in her Officer Ellie Rush bicycle cop mystery series received the T. Jefferson Parker Mystery Award. She has also published noir short stories, middle-grade fiction and nonfiction history books. For more information, go to www.naomihirahara.com.

Beauty of the Fan Convention

By Naomi Hirahara

I got a new perspective on mystery book conventions when I was describing them to my friend Martin, a punk rock aficionado and former zine publisher. “Oh, that’s your fan base, right?” he said, commenting that an entertainer always wants to be where their fans are.

New Yorker SJ Rozan with Naomi

I honestly didn’t view the attendees of Left Coast Crime and Bouchercon in the same category as Comicon cosplayers or groupies. As you probably know, most people at our conventions skew older and are predominantly white, different from my identity, although as the years pass, my hair is graying more and more and I now definitely fall in AARP designated status.

But as I was attending Left Coast Crime Reno as one of its guests of honor (unbelievable – but that’s another post), I changed my thinking on how I would approach the experience. I would still reserve time to hang out with my writer friends, whether it would be a one-on-one walk by the river in downtown Reno or a bowling party held by my publisher. But more than any other mystery convention, I decided that I needed to hang out with fans, or readers.

Bowling for beers and laughs

Probably the best thing to break the ice was agreeing to lead a Mystery Improv session. This had never been done before and I had only taken one class last summer, but I suggested it as an activity as a break from the talking heads of panels. As time passed and I got more busy, I tried to get out of it, but programmer Chantelle Aimée Osman insisted on it, and she can be quite convincing.

Oh, well, I thought. There probably would be only a handful of people attending so it could be a small, intimate affair. I was even finding it difficult to recruit my fellow writers to participate, so my expectations were low. But about 30 minutes before the session, people started walking in and filling seats. It didn’t stop. The fans were curious and perhaps they also wanted to get away from panels, too.

Improv with Glen Erik Hamilton, left, and Tyler Dilts.

I purposely planned on doing simple games that I had done before; at least I understood how they worked. I was delighted to see volunteers from the audience – some of them writers, but many of them fans. It didn’t matter if you weren’t a published author; you got a chance to be on stage and be the center of attention.

With Angie of Petaluma, CA

The other guest of honor, William Kent Krueger, also did an improv session with me and afterwards he said, “We should do this at every convention.” I kept hearing that over and over and I do think there are plans to reprise it at next year’s Left Coast Crime (but it doesn’t have to be led by me!).

During the awards dinner (food was excellent, by the way), I hosted a table, and had a chance to talk to readers. One, Angie, I had seen before but I never really had a long conversation. I learned that she was part of a book group which had read my first mystery, SUMMER OF THE BIG BACHI. “We were hooked from then,” Angie said. A resident of Petaluma, she drives an hour to San Francisco to attend the ballet as a season subscriber. Another couple, Dwight and Kathy, were from Riverside, California, and active in the movement to preserve the Harada House, important because the property was used to challenge the alien land law in California that barred Japanese and other Asian immigrants from purchasing land. They were also close friends of literary writer Susan Straight, who won an Edgar for her short story in LOS ANGELES NOIR and a wonderful supporter of my Mas Arai series.

Full improv mode with Guest of Honor William Kent Krueger

There were many other conversations, an elderly woman who remembered her Japanese American friend disappearing from elementary school during World War ii and no one explaining to her what had happened. Tears came to her eyes and even though she must have been in her eighties, I felt her childhood pain and confusion. I began to realize that as I sometimes feel stereotyped in these settings, I was also stereotyping the attendees. Each has an interesting story to tell, a reason why she or he loves mysteries and fan conventions.

On the last day of the convention, I had an interesting conversation with a long-time convention organizer. We both are very much aware of the aging of the attendees and planners – would there be these types of gatherings, produced by volunteers, in ten years? My friend was unsure. But then younger enthusiasts like Chantelle, author Jay Stringer and Erin Mitchell came to mind. Maybe there’s a future for these fan conventions. I certainly hope so. In the meantime, I plan to take another class in improv this spring. You never know when it will come in handy.

Dwight and Kathy from Riverside

Naomi Hirahara’s final Mas Arai mystery, HIROSHIMA BOY, was published this spring.

Faraway? Nearby? Places

When I started the Lottie Albright series I fully intended to use fictitious names for places. Because we Kansans are a bit touchy and quick to see an insult where none is intended.

In fact, there's an old joke that someone asked where a man was from. He joked, "Kansas. Now laugh damn you."

Fully half of the counties in Kansas had vicious county seat fights during the organizational stage of development. Of course I couldn't use a real county name. That would just be asking for trouble. So my series is set in Carlton County Kansas. Smart choice. No county in Kansas was ever named Carlton. Some county names disappeared when districts merged.

The town in the series is Gateway City. I don't believe there was ever a Gateway City in Kansas. I was charmed by the headline in a newspaper in Sherman County that declared Goodland was the Gateway to everything important in the West. Sojourners were especially encouraged to stop in Goodland on their way to Denver.

I steered away from existing city names because of the ancient animosity between some of the towns. For instance, in the early 1900s, Goodland hired a rainmaker. But lo and behold, it rained on Colby. Goodland sued it's neighbor for stealing its rain.

Then I messed up. I thoughtlessly said the Fiene family's housekeeper came from Studley, Kansas. I needed that town because it was settled by Englishmen in the 1800s and I wanted Zola Hodson to have been trained in estate management by an English grandfather.

Studley was a lively community. Many of the men were "remittance men." This term was given to English second or third sons who would never inherit under the laws of primogeniture. Only the first sons were blessed with the land and property. Remittance men were paid an allowance and politely urged to get lost. The population of Studley did its best to recreate jolly old England. They rode to the hounds--substituting jack rabbits--and partook of high tea.

Other names crept into other various books. My last mystery, Fractured Families, begins in the strangest place in all Kansas--the Garden of Eden. It is a marvel of grass roots art. The joined sculptures surround a block and endorse a passionate populist political philosophy. No place in the United States can be substituted for the Garden of Eden.

My next book, Silent Sacrifices, contains a lot of information about the Kansas Salt Mines. As with the Garden of Eden, there simply can't be another name used for this powerful geological marvel. Plus, it's creepy. The ideal place for "strange things afoot."

I started out with pure intentions and kept places fictional, but in this state, facts are always stranger than fiction.

LCC Reno Recap

I recently returned from Left Coast Crime held at the Nugget casino in Reno. Had a great time, but did worry for a bit about the drive from my home in Southern California to Reno. This year has seen slightly unusual weather in the area, which meant the possibility of the need for chains or temporary closures in various spots along US 395. We bought the chains and crossed our fingers. Turns out we picked the perfect days to drive both ways. We managed to avoid putting on chains and saw little rain along the way. It’s a really beautiful drive if you get the chance.

Driving, driving, driving

Along the way we listened to my first book, Fatal Brushstroke, on audio, half of it on the way up and half on the way down. Quite fun, though a little unnerving for me. Don’t know why that is.

Guests of Honor at LCC were William Kent Krueger, who I had the pleasure of hearing speak at last year’s California Crime Writers Conference, and Naomi Hirahara. Both are great writers and people, but I was particularly happy to see Naomi being honored. I’ve known her for a while and consider her a friend. She’s given me some great advice over the years and even talked me off a ledge a time or two.

It was great to catch up with friends at LCC, including other Henery Press authors who I rarely see in person. We stay connected online, but it’s still nice to actually see their faces. That’s my favorite park of mystery conventions, catching up with old friends and meeting new ones. Met many new people at this one and got some great recommendations for authors to read.

As always, there were a lot of good panels to attend on all sorts of subjects.

The All the Way to Reno: LCC Regional Settings Panel. Katherine Bolger Hyde, Kellye Garrett, Mary Feliz, Glen Erik Hamilton, Nancy G. West

Some of them were more raucous than others. Many of the panels I wanted to attend were at the same time so that made for some tough decisions. The panel I was on, Wooden Hearts: Craft Mysteries, was fun. Gay Coburn Gale performed the moderator duties. She had a lot of great questions for us. Besides me, on the panel were Peggy Ehrhart, Cheryl Hollon and Camille Minichino.

At the awards banquet, I felt honored to be at the table hosted by Vickie Fee and Cynthia Kuhn. At the table were many interesting people including Lefty Award nominees Cynthia Kuhn (for Best Humorous Mystery) and Kathleen Valenti (for Best Debut Mystery). Both are fellow Henery Press authors and lovely people.

Cynthia Kuhn, Kathleen Valenti and Me

Lots of good books nominated for the Lefty Awards. For a complete list of Lefty Award nominees and winners from this and previous conventions go here. I did get to spend some time outside the hotel. It even snowed on us a tiny bit as we walked along the river walk. Alas, I did not win anything at the slots.

Left Coast Crime is in Vancouver, BC, next year and San Diego, CA the year after.

The emancipation of book publishing

by Rick Blechta

As I’ve written about before on Type M, we’re living in the brave new world of book publishing. In some ways it’s a good thing. Anyone who wishes to can actually publish that book they’ve always wanted to write. But there’s another huge problem: should they?

Prior to the arrival of the internet and computers, publishing a book was a very complicated and expensive proposition, something not to be undertaken on a whim. For those who either couldn’t find a publisher for their book, or just wish to go their own way, it could be done, but there was a hell of a lot to learn. The costs were also pretty steep.

I’ve mentioned before that I self-published my first two books. Part of this was impatience because the wheels of the book publishing industry grind ever so slowly, but equal to that was what I felt was a smart business model: get my feet wet, garner some reviews (trusting they would be favourable) and figure out how the book business works from the inside out.

Only problem was, each of those first two novels (1000- and 1500-book print runs) cost me north of $10,000. It could have been a lot higher, but having grown up in our family printing business, I could do most of the design work on my own. All I had to fork over cash for was the printing of the books, and covering after-printing costs (delivery, storage, fulfillment, promotion).

That’s a lot of dough, though, isn’t it? The goal was always to use this endeavour to secure a publishing deal with a “real book publisher.” Happily, it all came together for my third novel — and incidentally, I was later told that if I’d submitted my second novel, they would have published that too. My first novel remains my much-loved but ugly child.

Now, though, it doesn’t cost much at all to get a book out, the price of a modest vacation, halved and you have the choice of publishing a real book (via print-on-demand) or an e-book, costing way less. With these production costs, even modest sales can generate a profit. What could be better?

Well, this: a lot of self-published books are truly awful. I’m talking here about workmanship. Writing is not just about throwing words onto a page. It’s about careful craftsmanship, patience and hard work, and that takes knowledge of the craft as the willingness to have your work edited — including the criticism that comes with that. You must be prepared for that. Do you wish to be good — or right?

Sure, if you want to publish a book of family history and have a few copies done up for relatives and friends, great. Go for it. (I’ve done two family recipe books and photo books for my two grand children.) But if you’re expecting to become an overnight sensation, think again. The chances of that happening are probably equal to winning the big lottery. All of the authors here on Type M have learned their writing craft through hard work and long hours, and none of us are household names (except in our own households). We don’t have million dollar bestsellers, Hollywood producing movies based on our works. Self-publishers, if it happens to you, be it known that I will be thrilled for your good fortune.

But the other big issue the wild west nature of current book publishing has created is a major muddying of the marketplace. With huge numbers of books being released due to the explosion of self-publishing, how do readers know what to buy? What is quality and what is utter shite? That is a real problem not only for those self-publishing, but also for those who are being traditionally published. It’s nearly impossible to sort the wheat from the chaff.

Am I against self-publishing? Absolutely not! I think it’s a great thing. Writers have been emancipated and you can hold your authorial destiny in your own two hands.

But please do your homework! Purchase the help of an experienced editor and listen to what they say. Don’t be satisfied until your craftsmanship is the very best you can achieve.

The rest of us will thank you!

Not There Research . . . and a Question

I've been following the discussion about research and setting, and it reminded me once again of the dilemma I've created for myself. I use real places, but because of my slowly-developing series arcs and my reluctance to write in a "present" that can change in a moment, I can't physically be in the places I write about at the time of the story.

When I write about Gallagher, Virginia, my fictional stand-in for my hometown, Danville, Virginia, I can go home to Danville and walk through history. As in this photo of the courthouse. The statue is of Mayor Harry Wooding, who was a young officer in the Civil War and served as mayor for over 40 years.

But then there's the matter of  Danville/Gallagher in 2004. I have no memories of the city or the state during that era because I lived in Albany, New York. I made occasional visits home, but I don't have the same sensory memories that I have of the years when I lived in Virginia. When I write a Lizzie Stuart book, I need to rely on newspaper accounts of the city to provide the chronicle of changes and fill in the empty spaces based on what I know and remember.

The books set in Albany in the near-future are a different matter. I can see what exists now, and I need to walk into an imagined future. I imagined what Central Avenue would look like if the traffic pattern changed. I imagined a building downtown with a vertical garden and an attached restaurant.

Now, I'm imagining what urban explorers would find inside a deserted building. Sometimes, I'm ahead of the curve. I gave Albany a convention center because it was being discussed. Now, there is one. Not my convention center because my Albany exists in a fictional, parallel universe. But it's a little creepy -- if I conjure it, will it come?

I have another unrelated question. Tomorrow, the Mavens of Mayhem (our Sisters in Crime chapter) will host our first, "annual" Murderous March afternoon event at a public library (East Greenbush). I think we know why writers attend such events even if they aren't on panels. I've been thinking about readers. What brings readers in, even when the weather outside has a hint of spring, and there are other competing events?  Thoughts?

Making A Real World

Great-grandfather's farm

After I read Vicki’s entry about location research, below, I commented that I’ve researched a lot of places using Google and imagination. But upon reflection, I have to admit that is not really true. I think that it’s incredibly helpful to experience a place before writing about it. My series is set in a place that I know down to my bones, because I was raised there. However, the place I write about and the place I was raised no longer exist, so I actually rely on memory—and use imagination to fill in the gaps.

Where I live now

But it’s true that there is no substitute for actually experiencing a place. I’ve been to Britain several times, and every time I'm reminded that we may speak a common language (kind of), but we are not the same. I get the same impression when I travel to different part of the United States. I moved  to Arizona thirty-four years ago and was quite surprised to find out that it's very different from Oklahoma. I did not recognize one native plant, tree, grass, bug, bird, or lizard. Who would have thought it? Both states are located in the American Southwest. You'd think the cultures and the landscape would be basically the same. But in my experience, keeping in mind that I am not an Arizona native and live in a giant metro area, Arizona is culturally like back door Los Angeles, but more conservative in attitude. Oklahoma, at least when I lived there and knew it best, is easily as conservative as Arizona, but the culture is like nowhere else I've ever been. Put Texas, Arkansas, New Mexico, and Kansas in a blender and mix it well, and you may get an idea. I am quite politically and socially liberal, but I can't deny that I am marked by the values of the place I grew up. And it shows in the characters and themes I write about.

I was born and raised in Tulsa, a rich oil town located in the hilly bend of the Arkansas River. I came up among people in three piece suits, cowboy boots and stetsons. My father owned a construction business and raised quarter horses on the side. My mother ran his office. I rode horses every weekend. The picture at the top is my great grandfather's farm in eastern Oklahoma, where I spent a lot of time when I was a kid. I played in blackjack woods draped with wild grapevines, hot and sweaty and covered in cockleburs and chiggers. I picked up wild pecans off the ground by the bucketsful in the fall. At the time, I'd have rather stayed at home and read a book. I was not a lover of the outdoors. Now I look back on it through a golden haze of nostalgia. In fact, I write about it.

The author creates a universe with her choices and invites a reader in. If the writer is really good, the reader is enveloped in the story and moves through it without being quite aware that he’s in a made-up world. The writing is all-enveloping, but unseen.

I’ve quoted this before, but it is to the point. The very best writing reminds me of one of my favorite Zen sayings: The fish is not aware of the water it swims in.

That’s what we writers are shooting for.

A tale of two stories

Vicki's post about the importance of getting the setting correct got me thinking. I have always been a big believer in walking in the footsteps of my characters, so I could infuse the story with the real-life and often unexpected sights, smells, and sounds that they would experience. As Vicki says, not only does it add realism to the story but it helps to draw the reader into the magic. My Inspector Green novels are set in Ottawa, a city I know well after nearly fifty years here, and yet I always visit the specific locations I put in the novels to make sure I'd captured all the detail. Fortunately (or perhaps unfortunately), this usually entailed a half-hour car ride.

Not so my Amanda Doucette books, all of which are set in different locales far from my home. Newfoundland, Quebec's Laurentians, and Georgian Bay. At least these could be reached by car, so I could throw my bags, my notepads, and my dogs into the car and set off to follow my imagination. The Newfoundland drive took three days, but it was entertaining.

But the next two in the series are planned even farther from home, necessitating a plane ride, a car rental, and a kennel for my poor pups. I can only afford to make one trip there, so I have to make the most of it. Ideally I would like to visit while I'm still at the "glimmer of an idea" stage, knowing the place itself will give me unexpected and unique fodder for my imagination and for the story I create. But if that trip gives me the idea, I won't know all the details I don't know I need until I am deep in the writing of the story. Normally that's when I would make another trip, but this time I will have to rely on books, the internet, and helpful friends and contacts. It's not the same as walking in the footsteps of the characters, but it will have to do.

Visiting the location gives you so much more than the smells, sounds, and sights of the place. It gives you the culture, the people, and the way they see the world. It gives you a glimpse of what moves them, angers, excites, and saddens them. It give you an idea what they celebrate. All this molds that "glimmer of an idea" into a story and enriches its development.

I am currently working on the third in my Rapid Reads Cedric O'Toole series for emerging, reluctant, or just plain busy readers. It's in an imaginary village, its setting left deliberately vague in the books. There is a wonderful freedom to writing about an imaginary place. I don't have to check police procedure or Tim Hortons locations. I can rearrange geography without anyone calling me out. I put farms and roads and lakes wherever I want.

Despite this, the setting is very clear in my mind, because I use the area of Eastern Ontario where my summer cottage is located. All the sights, smells, and sounds are vivid to me, as are the culture, the people, and the issues they care about. I think this is the key to inventing a place; use a real-life place (or two) as your blueprint, and the vivid detail will help to draw your readers in. And then put the churches and lakes and bars wherever you want. Just remember where you put them, for the next book.

Rewriting history

by Rick Blechta

In reading Aline’s post yesterday, she made a comment (the second in a week on Type M) about reading one’s earlier books. I’d like to take that one up. You see I have recently re-read The Lark Ascending, one of my earliest novels.

Now I’m not one of those glasses half-empty sort of chaps, but it was a pretty sobering experience. It’s not a bad book, but it certainly isn’t something of which I can be overly proud at this point in time.

The writing is okay, not horrible, but not all that memorable, either. Plot wise, I made a number of poor choices. Seen through the lens of an additional nine books, I would certainly not make some of the choices I did.

That’s the bad part.

The good part is that the characters are very acceptable and the basic premise of the story really stands up. My two protagonists were well-thought out (and turned out to be good enough to use in a additional novel, Cemetery of the Nameless). I was not embarrassed by what I did in this regard.

The really good part is that the novel was self-published so I own all the rights. Copies are very scarce since only 5000 were printed (my first sell out). Now I’m beginning to think it may be worthwhile re-releasing my “second literary child,” probably as an e-book. Thing is, though, I would definitely want to rewrite the entire book to bring it up to a standard of which I can be proud. Not many authors take up that particular task — even if they can. If they don’t own the rights, tough luck unless they can talk the publisher into it, which is doubtful.

So the question is: should I do it? I would not re-release this novel without considering fixing anything I don’t like — some of them pretty major — and that’s not normally done when book’s are occasionally rewritten. Sure, fix the wonky writing, make it stronger. Maybe remove a scene or two that don’t really add anything to the story. But to actually change the plot? Hmmm…

I don’t expect the second coming of The Lark Ascending would be greeted with record sales and a Hollywood film offer, but it is a worthy enough story to be retold and shared with more readers. I own the rights and the only investment would be my time.

So what are your thoughts, Type M readers? Should I rewrite a bit of my authorial history?

End Result

I've just reached the end of my new book. I make a distinction between 'reaching the end' and 'finishing'; for me they are two very different things.

The great thing about reaching the end is that I know the story works. I've now got past the terrifying stage where the plot gets more and more complicated and shows no sign of ever stopping and it now has a beginning, a middle and – hurrah! – an end. But there's a lot of hard work ahead.

I don't describe this as a first draft. I'm constitutionally unable to go on writing when I know that something I've already written is inconsistent with what I'm writing now; I have to go back and change it. Not doing that would feel to me like going on building a house when you knew the foundations were faulty and it could collapse at any time.

Continuity has to be maintained too. I have previous on making mistakes with that – like a car that went on fire in chapter two and was being driven around a few chapters later – and if I don't keep a time continuum mistakes get embedded and trying to spot them first of all, and then dig them out is a complicated business.

So the job I'm starting on next week isn't exactly a rewrite. I come to it with a list of editing points that have accumulated, where I know something ought to be emphasized or clarified. It's an evaluation of what's there and how it can be improved and polished and initially it's quite an appealing prospect – at least on the first run-through.

But the nearer the time gets for letting it out of my hands, the more the worry creeps back. I start seeing all its faults and get savage with it – hacking back verbiage, deriding implausibilities, slashing wordy dialogue, trying to see it with the eye of a critical stranger rather than that of a fond parent. By this stage I have convinced myself it's rubbish and can't bear to let it out of my hands.

There was a mention last week of re-reading one's earlier books. I can't, particularly at this stage. They were published, so an editor liked them and readers have enjoyed them; my poor, pathetic infant of a new book has no such imprimatur as yet. I look at it with pity and fear.

And then the time comes when I have to let it go out into the big cruel world. I read it through one final time and it's only then I find myself thinking, 'Well, perhaps it isn't so bad after all.' I press 'Send.'

That's when it's finished. It's still a long way ahead but at least I can celebrate making it to the end.

On Location

Here I am!

By Vicki Delany

Right now, I’m working on the fifth Sherlock Holmes Bookshop book, in which I’m taking Gemma, Jayne, and the gang to England for a Sherlock Holmes conference.

Sir Arthur Drank Here

At the end of November I went to London for five days to do location research for the book.  I had a great time and saw lots of interesting things to put in the book.  We stayed in South Kensington, close to where Sir Arthur Conan Doyle hung out during his time as president of the College of Psychic Studies, and had a couple of drinks in a pub where he was a regular. My books are not about Sherlock Holmes, so I didn’t spend much time at Sherlockian sites, I was there more to walk the streets my characters would walk, look at houses they would visit, travel the tube where they would go, visit museums they, as tourists, would visit, and drink at pubs they would frequent. It’s a tough job but someone has to do it.

I came home with plenty of ideas and lots of pictures.

In-depth research

More In-depth research

But what about all the things I might have not known I’d want to see when I was there? Such as the inside of a Georgian row house in Kensington or a high end flat in Canary Wharf, or the exact route one would take to get from point A to Point Z with all the points in between.

For that I have the Internet. All that, and so much more, at my fingertips.

Which started me wondering how writers of old (meaning more than ten or fifteen years ago) managed. Sure they had maps and reference books at home or at the library they could refer to, but 

I’m thinking of the small details, the things that add colour and verisimilitude to a book. How much would a row house in Kensington cost? (Answer: twenty to twenty-five million pounds). What’s the view from the fifteenth floor of a flat in Canary Wharf? (Pretty nice).  Where do I transfer if I’m travelling from Harrods to the Tate Modern?

I suspect the writers of old simply didn’t put in as much description and minor fact as we do today. Sir Author Conan Doyle wrote a book set in Canada, and he’d never been here.  

After all, I could always say, this house is worth a lot, rather than specifying the amount, or say they travelled across town rather than giving the names of the stations.

Does it matter? Why am I going to all this trouble (and the expense of a trip) for details that don’t affect the plot or the characterization of my novel?

Gemma's parents live here

Because I think today it does matter. Readers are used to books full of color and background and minor details, they love the sense of ‘being there’ and if they have ‘been there’ they demand that the author get it right. They’ve come to expect it.  Get it wrong about the tube stations and I’ll hear about it, whereas Sir Arthur probably didn’t get letters pointing out the error of his ways.

All of which just makes writing a novel in the 21^st century, so much more complex, interesting and, yes, fun.

The Cat of the Baskervilles, the third Sherlock Holmes Bookshop mystery, is now available.