Ordinary People

 Foyle's War is my favorite mystery series. It's being rerun on the Acorn channel. I like it because of its superb acting, plot line, and the faithfulness to historical accuracy. 

The series is set in England before, during, and after World War II. Foyle is a Detective Chief Superintendent who quietly serves as a policeman for a small English village. The complexity of war and the depiction of ordinary life on the home front is often heartbreaking. 

I had not realized how many children living in Londan were sent to the historic "great houses" and had to live in the countryside during the bombing. I hadn't thought about the number of Englishmen who had relations living in Germany and the ache of having to break off communication with those who believed in Hitler's aims.

Ordinary life is the backbone of literature. We are all enriched when persons from different time periods and countries understand and share the details of their culture. Throughout literary history, talented writers have given us a glance of ordinary life. Even a partial list would be too long for this blog.  

Last year, one of the Edgar finalists, Before She Was Helen, was especially intriguing to me because of the author's bio. It was about as modest and unassuming as it could be. Caroline B. Cooney taught Sunday School and helped with a choir. And she wrote this superior book set in a retirement community.

Wow. Some authors' credits are awe-inspiring. I'm quite wistful when I read of their travels and adventures and their interesting occupations. I would love to be able to follow in their footsteps. But then when I read Cooney's bio, I realized life is right under our noses. 

The rich and famous may be intriguing, but so are the ordinary people all around us. It's a matter of paying attention.   

Trying to look on the bright side

 Okay, before I get to what's been on my mind of late, let's catch up on the great Mickey Visits The Vet adventure.

After some difficulty, we did finally manage to see to it that he received his booster vaccination. I gave him  pills that were supposed to reduce his anxiety in a cascade fashion, whatever that means, but I didn't really see much of that, to be honest.

That was until after his ordeal was over and he was snoring on the couch at home.

Anyway, that's it done for another year or so. Let's hope he doesn't take anything wrong with him before then because I don't think I can handle the stress.

Perhaps I should have taken the pills. And I do think I need them, not simply because of the Mickster's antics.

I've mentioned before that I now have two series to write, my continuing Rebecca Connolly mysteries and a new historical series featuring an adventurer called Jonas Flynt. That means there will be times when I'm juggling not just two plots but also two time periods and two differing writing styles. But hey, that's showbiz, right?

At the moment I'm writing the fifth Rebecca book (the fourth hits the UK in July while the third will be for sale in the USA in the fall. The concludes the word from our sponsor). I'm also researching the second Flynt (the first will be out here at home in September. Another word, another sponsor). While I'm writing that I will be researching the sixth Rebecca. And so on, and so forth for as long each series lasts.

Is it ideal? No, but it's simply the way these particular cookies have crumbled and I am not going to insult writers who may not even have one series on the go by complaining.

There are other projects in which I am involved. A couple of TV documentaries, always stressful to me because I'm neurotic. A podcast. Not to mention the day to day pressures that we all have. And, of course, the situation the world is in, which is very worrying indeed.

Is it any wonder that I take a wee drink now and again? As in right now - and again soon.

But I have a lot to be thankful for. I have a home and I've not been forced from it by an invading army. Energy prices are ballooning but I'm not shivering in a cardboard box under a bridge. I'm healthy, as far as I know (physically, at least. Mentally I'm a mess. Hey, I'm a writer and we're all a little out of kilter). I have good friends. I have Mickey, troublesome though he can be, and Tom, the cat, who listen to my moaning without judgement. Or, if they do, they keep it to themselves because they know I'm the one who dishes out the food.

When times are dark, and they are, we need to look for the light in our lives and hope that it spreads a little.

Changes

 Type M for Murder has been guided by Rick Blechta since 2006. He has been the best blogmaster any group could hope to have. His wisdom and tact have kept the site going through good times and bad. 

For a while, I will take over his moderating responsibilities. I do this with awareness that I will not really be able step into Rick's shoes. I have this image of timidly tip-toeing after him. This is my last Friday post. I will switch to Rick's weekly Tuesday slot. 

I love this blog! Type M has been inspiring seasoned and beginning authors for years. It's set apart by the willingness of the participants to share their frustrations and triumphs as writers. There's no pretense here. We bare our souls when it comes to the difficulties of crafting manuscripts and dealing with agents and publishers. We are unusually frank in describing our tangled emotions. 

Type M For Murder has a large international presence. We have had 1,400,300 page views, with a surprising amount of support from Turkey and South Korea. In these troubled times perhaps there is some comfort in focusing on our on-line compatibility. 

Struggling to find just the right word is a universal endeavor. It's the tie that binds.  

Wait. What? You can DO that?

On Friday, my students in my creative writing elective finished their eight-week poetry segment of the course. For fun, the day before spring break, when motivation and attention spans wane, I thought it wise to give them something different to try, so we took a 70-minute baby step into fiction.

We read “Crossing Spider Creek,” by Dan O’Brien, now something of a flash fiction classic. The open-ended story was a hit with my seniors, who for one fleeting class, let impending college decisions go and dove head-long into O’Brien’s story, left wondering at the end, as we all do, whether “the seriously injured man on a horse,” makes it across the creek.

For me, inexplicably, the move from poetry to fiction was just as invigorating. Fiction is never far from me –– writing and reading it daily –– but reviewing a 600-word +/- story with kids who were saying things like, “Wait. What? You can DO that? Is that allowed?” I told them, “It’s fiction. Anything’s allowed.” And we wrote opening lines that posed questions that we as writers wanted answers to (presuming that our readers would too).

That was all. A pretty straightforward lesson plan. Nothing any teacher hasn’t done.

Yet the day was a reminder of sorts for me, after months spent revising a manuscript, getting feedback, and waiting for more, all in preparation to send a book to my agent, which will require more waiting and wondering if she’ll validate my hard work, and later waiting to see if a publisher will. Writing for publication often amounts to writing and waiting for the validation of others.

Which isn’t what it’s about.

It’s about that question: “Wait. What? You can DO that?” And it’s about finding the answer, which is all the validation any of us should need.

The Great Courses

 

I’m a big fan of The Great Courses, a series of college-level audio and video courses produced and distributed by The Teaching Company. Topics include history, linguistics, forensics, how to play piano, writing...and the list goes on. Each of the lessons is about half an hour so it’s not that hard to fit a lesson into a day here and there. Rick mentioned them awhile back in one of his posts.

I’ve watched or listened to courses courtesy of several local library systems in my area via Overdrive/Libby, Hoopladigital and Kanopy. What you have access to depends on what your library subscribes to.

They’re convenenient ways to do research for stories. I’ve gotten a few ideas from watching or listening to them.

As with anything, some are better than others. Some instructors are better than others. For some of them, the audio versions are adequate, for others you’ll get a little more out of them if you watch the video versions. Here are 10 of my favorite courses, in no particular order.

1) Great Trials of World History and the Lessons They Teach Us – Douglas O. Linder, J.D., professor at University of Missouri-Kansas City School of Law. 24 lectures on trials from Socrates through the Nuremberg trials and ends at O.J. Simpson.

2) Forensic History : Crimes, Frauds and Scandals – Elizabeth A. Murray, Ph.D. Dr. Murray is a forensic anthropologist and teaches at Mount St. Joseph University. 24 lectures. 

3) Trails of Evidence: How Forensic Science Works – also Elizabeth A. Murray, Ph.D. 36 lectures. All kinds of forensic topics from toxicology to computer forensics to...the list goes on. Pretty much touches on every topic in forensics as far as I can tell. 

4) The Secret Life of Words – Anne Curzan, Ph.D. Dean of Literature, Science, and the Arts at the University of Michigan 36 lectures. Lots of interesting stuff on English words, how they change, how new ones come into being... 

5) The Black Death: The World’s Most Devastating Plague – Dorsey Armstrong, Ph.D., professor of English and Medieval Literature at Purdue. 24 lectures. Okay, I freely admit that I’ve listened to the audio version as well as watched the video version. For whatever reason I find this subject fascinating. And, no my viewing this had nothing to do with Covid-19. I did my viewing/listening before Covid reared its ugly head. 

6) The Rise of Rome – Gregory S. Aldrete, Ph.D., Professor Emeritus of History at University of Wisconsin-Green Bay, 24 lectures

7) The Roman Empire: From Augustus to the Fall of Rome – Gregory S. Aldrete, Ph.D. 24 lectures. The follow-up course to The Rise of Rome. 

8) Language Families of the World – John McWhorter, Ph.D., American linguist, teaches at Columbia University, 34 lectures 

9) Myths of Language Usage – John McWhorter, Ph.D. 24 lectures 

10) Languages A to Z – John McWhorter, Ph.D. 24 lectures 

Can you tell that I enjoy Professor McWhorter’s lectures? Anybody else listen/watch The Great Courses? Any favorite ones?

And now it’s time for me to say goodbye

by Rick Blechta

Way back in mid-2006, Vicki Delany, Charles Benoit, and I decided to start a blog. Vicki, if memory serves, came up with the name Type M for Murder, got things pulled together with blogger.com, and off we went.

My first post appeared on July 12, 2006 and I’ve been posting weekly ever since. My total count of posts, is (more or less) 723. I never stopped to think how many I’d written until I pulled out my archive the other day. There may have been a few more when I was using other people’s computers while away from home, but 723 is the number I have in hand. Wow. Did I do that?

The last year or so, however, I’d been feeling the weight of coming up with yet another topic to talk about. It’s also hard not to begin repeating yourself after so many posts, and there were a few times this happened.

Anyway, I now feel, and very regretfully, it’s time for me to shut up shop on Type M, so this will be my last post.

I’m leaving behind a very strong group of bloggers — and terrific human beings — who will continue to share their thoughts with you, and I’m equally certain they will come up with someone to fill the Tuesday spot I’ve occupied for so long.

Thank you all for reading my post, and especially to those who have felt the need to comment on them, even if you completely disagreed with me. I really appreciate the fact that you took time out of your day to visit Type M. Please continue to do so!

I may well be back as a guest from time to time, and until then, I wish you all the very, very best.

Many thanks, and good night.

The Last Class

 By Thomas Kies

Tonight will be the last class in my Creative Writing workshop series at the college.  The last class is always a little bittersweet, although many of the participants sign up for my Advanced class starting in three weeks, so I’ll get the chance to work with them again.

This time around, there were seven people in the group.  Starting out, no one knows anything about each other. By the end of six weeks, they’re all friends, supporting each other in their writing, and sometimes their lives. 

Every week, I give them a writing prompt and the following week they read it in front of the class.  Now, I know how scary that is.  I’ve been reading my own work in front of groups for years, and I still get the heebie-jeebies. To make it easier on them and a positive experience, after the students read the piece they’ve written, the class applauds, and we go around the room talking about what we liked about what they’ve written and what might make it stronger.

One week, I asked them to write a kick-ass protagonist.  Another week, I asked them to write an extremely emotional scene.  Throughout the workshop, it’s clear that in some cases, they’re writing as wish fulfillment (think: James Bond-style spy thriller) and in some cases it’s therapy (think: suicide, PTSD, or spousal abuse). 

Whatever they write, it’s clearly personal.  And I think that’s what all writing is about.  We’re making stuff up, sure, but to some degree, what we’re putting down on paper is a piece of ourselves. 

Which is why we get nervous when we read it in front of a group of people. 

For my last class tonight, the assignment is to write the last three or four pages of your book.  Whatever that means to you.  

Some of the students have managed to keep the thread of a cogent story going using every one of my exercise prompts.  So, most likely, we’ll hear the last few pages of the book they have in their head.

When they go home, they will have written the first and last chapters of their first book.  Now all they have to do is fill in the middle.

Of course, that’s the trick, isn’t it?

In some cases, the last few pages of their book represent closure to something that they have written about that’s deeply personal to them. There will be resolution. 

This is the sixth time I’ve taught this workshop, and thankfully, the resolutions I’ve heard have always been positive. 

So, I look forward to tonight’s class and see how the friendships that have formed play out after the workshops have ended.  Some of my students have gone on to create writing/critique groups and continue to meet.  Two of my students have gone on to write books and one has had one published. 

That’s my reward. 

For Love of Animals

 My dearest sympathy to Barbara on the loss of her beloved Eva. I love the fact that Barbara has immortalized Eva in her novels. All dogs deserve to be immortalized. 

Lucy

From my very first published novel, The Old Buzzard Had it Coming (2205), I've made it a point to always have an animal as an important character. When you write murder mysteries you explore the psyches of human beings and all their foibles and ugliness (which has been on blatant display all over the world lately).

My first series, the Alafair Tucker Mysteries, mostly take place on or near a farm, so adding animals is natural and easy to do. One the ten book series, readers have gotten to know the horses, Hannah and Missy and Sweet Honey Baby, Gregory the Duck, and the family's dogs, Crook, Buttercup, Charlie Dog, and Bacon (Charlie Dog and Buttercup's illegitimate offspring) Often they figure in the mystery. In the fourth Alafair, The Sky Took Him, a Persian cat named Ike helped solve the mystery. I added Ike the cat after the entire manuscript of The Sky Took Him had already been  written. I had to go back and sprinkle Ike’s presence through the novel and it was a lot of trouble. And yet, I don’t know he did it, but that cat tied the action together with a big red bow. He was a magic character.

When I started working on my first Bianca Dangereuse Hollywood Mystery, The Wrong Girl, I was busily typing along on the MS when it struck me like lighting that my heroine needs a dog, and that dog is going do something that saves the day. Thus was born Jack Dempsey, the feisty little mutt who looks like a cross between a rat and drain hair.  He has the same juju as Ike and Bacon and all the others.  Putting an animal in one's books adds an element of ... I don't know what else to call it besides "trueness". Animals are true. They do not have an agenda. Even the crazy and the seemingly vicious ones are what they are and without shame they let you know where they stand. They are pure and innocent, and that's an element that we can all do with even when the rest of life goes to hell in a hand basket.

Immortalized on the page

 This year is only two months old, but already it's shaping up to eclipse 2021 in horrors. In the western world at least, as the fresh new year approached, we were just getting our hopes up that the pandemic was on the wane. We were dreaming of travel and family hugs and dining out again. And then Omicron slammed us, people were getting infected despite being double vaccinated, hospitals and ICUs were getting overwhelmed again, and, here in Canada, a dark, dismal winter loomed ahead. Restrictions and various public health mandates were brought back in. Some people snapped and began to resist, demanding the virus be over and all mandates be removed, including mask mandates. So we got the so-called "freedom convoy" which rolled across the country honking and blaring and gunning for the government. I won't say much more, except that the city was under siege for nearly a month before they were driven out. Vehicles were towed and arrests were made, revealing some very nasty organizers and financial supporters who had quite a different agenda from repealing health mandates.

So sooner had the last truck been towed and the last organizer denied bail than Russia invaded Ukraine. We are once again on the edge of our seats, frightened, helpless, furious, and gnashing our teeth as we watch a brave country, led by an extraordinary man, fight for its survival. What else is in store for the rest of 2022? The apocalypse?  

So like Douglas, I turn to a tale about a dog. But unlike Douglas's tale, this one is sad – yet another blow from this brutal year. A week ago, my beloved Nova Scotia Duck Toller Eva crossed over the rainbow bridge after a wonderful, fun-filled eleven years. She was the perfect dog. Sweet and loving, super smart, and tirelessly playful, especially if you had a ball or stick. She had energy to spare, putting most younger dogs to shame, and her sunny disposition made even the grumpiest, most depressed person smile. I still expect her to come rushing up the minute she sees me, her whole body wagging and the nearest toy or ball snatched up in her mouth. I still look for her hopeful, expectant face as she tries to judge what I'm up to. Memories fill every corner of the house, and her younger brother and I miss her at every turn.

But she lives on. Seven years ago I started to write the first Amanda Doucette novel, FIRE IN THE STARS, and I gave Amanda a dog as a support animal – a bouncy, playful, endlessly happy Duck Toller. I named her Kaylee after a previous dog, but she was all Eva. And through five books, I brought Eva to life on the page for others to meet. The fifth book, which comes out in early 2023, will be dedicated to her memory.

Kaylee is the only character I have ever created who is completely based on a real being. Humans might have taken issue with how they were depicted and what I made them do, but Eva would have loved every minute of the adventures and her role in helping Amanda. Kaylee proved to be adept at locating lost things, tracking scents, detecting danger, and providing moments of levity, and I'm so glad she is there on the page to be enjoyed. For as long as the books are read.

A sense of dread

by Rick Blechta

Unlike Douglas with his lovely post yesterday, I can't let my weekly post go by without a political comment. We usually don't make them on Type M, but well, a one-week moratorium seems in order in my view. So if you don't wish to read my post this week, I completely understand.

It’s with a sense of dread that I wake up in the morning as the news comes on the radio. These days you’re certain what the lead story will be and you only hope things haven’t gotten worse. I cannot begin to imagine what it’s like to be living in Ukraine at the moment where anything is possible, right up to nuclear annihilation.

War is such a stupid thing and always has been, yet it persists. I wonder, if a head-count in Russia were taken, I wonder how many people would support what their leader is doing.

The world lost something when those who started wars actually had to fight in them. In fact, they often led the charge. I wish that were still the case.

Political thrillers are a popular sub-genre of crime fiction, but they seldom have ongoing wars as a plot point. What is often a plot point is someone preventing a conflict from getting started. Not only can that be very exciting, but it gives the reader someone to cheer for. Who could be against someone who is (usually) risking their life to stop a madman? We can cheer on the good guy and hiss the evil genius behind the nefarious plot.

Right now the people of Ukraine are our heroes, but I don’t think they can pull off a miracle and save themselves.

What will be the outcome? It’s anyone’s guess, but one thing is for sure: the world will be even more damaged after, and nobody needs that. Unfortunately Putin doesn’t see it that way.

I hope he rots in hell — the sooner, the better.

Getting off the soapbox now…

Possession is nine tenths of the dog

Today I wrote an entire piece about the situation in Ukraine, because that is quite rightly preoccupying many of us. 

However, I've pulled it. There are people far better qualified than me who can comment. There are people far less qualified than me who are commenting, mostly on social media where a host of experts lie in wait to display their vast knowledge on any given subject be it global affairs, pandemics or movies. And books.

So let me divert you for a little while from the pressures and worries of the world stage, power-mad politicians and empire building.

Let me instead tell you about Mickey.

Now, as my regular reader will know (as long as she has taken her medication), Mickey is my dog. That's him above.

He was a rescue, originally from Bosnia, and he ended up with me after he had been returned to the rescue centre in Scotland three times. I was known at the centre and they were aware that I was more likely to persevere with him. And that's what I did so now he is, mostly, a good boy.

I say mostly because as you read this I may well be at the vet with him for the second time in four days. 

Don't worry, there's nothing wrong with him - he's merely going to get his booster injection. And no, he did not give his permission, in fact he was never consulted on this, for frankly it is for his own good and other dogs.

That doesn't mean he likes it.

Oh no, not in the slightest.

Mickey may be a good boy, he may be very loving, but in the vet's surgery he turns into Cujo. I don't mean the rabid dog of the movie but the rabid and also probably possessed hound of Stephen King's book. 

We were there last Thursday. He walked into the surgery quite the thing. He said hello to the receptionist. He allowed the vet to give him biscuits. He let her talk to him. He walked around the room to let her see how he moved.

But the trouble began when she pulled out her stethoscope.

Yes, her stethoscope.

He wouldn't let her near him with it. I tried holding him but he snarled and gave her the kind of look that would put a bad guy in an Italian western to shame. 

We decided going straight to the injection portion of the visit was the best way forward. Also, a muzzle was deemed wise.

I put it on him. He allowed it. Wasn't happy, but it went on.

That was as far as his goodwill went.

Whenever the vet approached him with the hypo he went bananas. There was barking, there were snarls, there was the kind of writhing you see in exorcist movies. If he'd had pea soup I'm sure it would have flown.

I tried to hold him, first this way, then that. At one point I was crushed against the wall, hanging onto his harness as if I was a rodeo rider and he was the bucking bronco. And I contemplated making that first b an f. A rear approach was attempted but rebuffed.

In the end we gave up and a new appointment was set for Monday morning. And this time he would be sedated.

I am writing this on Sunday evening. He is to get two pills tonight and another two tomorrow morning. I don't know how he will react, if they will work or even if he will let me administer them in the first place.

You see, he was listening to the conversation and sometimes I think he understands every word he hears.

He's looking at me as I type. He knows I'm writing about him. I can tell by the look in his eyes. I don't like that look.

Somebody send Max Von Sydow...

Making the same mistakes, and new ones.

 Every war is a rehearsal for the next one.

For my post this month I was going to write about La Malinche and me. Maybe in March. Hopefully.

But with what's going on in Ukraine I feel that I have to share my thoughts. At least to relieve the pressure building in my head. What upset me most were those photos and videos of ordinary people caught in the middle of this catastrophe. I don't understand the sense of this ruin and conquest. Who will be better off? The defense contractors are cheering, perhaps.

For the last few months I've been following a YouTube channel about World War Two. Lately they've been discussing February 1943, the surrender of the German Sixth Army at Stalingrad and the Soviet offensive into Ukraine. What a tragic coincidence to the present moment. We're familiar with the black & white images of civilian refugees trudging along, fleeing with what little they could carry. Now we're seeing the latest incarnation, moms and children, dressed like they've shopped at Kohl's, dragging roller carry-ons stuffed with the last of their possessions. People lined up at ATMs withdrawing cash to grease the escape route. SUVs on fire. Uploading TikToks of the carnage. Vignettes of industrialized murder. It's truly disturbing to see so much mayhem and terror amid the trappings of modern life. The war-ravaged locations seem as if they're on the outskirts of the Denver metroplex. 

This brings a sense of déjà vu from my military service in Desert Storm. When we drove through Kuwait City, I had a hard time wrapping my mind around the contradiction of so much destruction against the backdrop of a contemporary suburban landscape.

Then again, such devastation has been raging for years in the Middle East, Africa, Myanmar, Afghanistan. Not too long ago, Sarajevo, the site of the Winter Olympics, was under siege and artillery bombardment. 

In response to the Ukraine invasion, there's been a lot of the expected political bloviating, meant more to placate constituents on this side of the battle line than to intimidate Putin. Recent promotional videos of NATO aren't very reassuring, stressing diversity and inclusion over combat prowess. Meanwhile in Kyiv, the government is handing out guns, not equity pamphlets. 

If you're at most a casual student of history, you know things can spin out of control very fast and in a very bad way. Every war begins with a grand miscalculation of events and a disregard for unintended consequences. For now, let's stay upbeat and expect that next month, my post will be about La Malinche.

Terrible People

 I'm a historian. I know a little about Russia's troubled history. Not much. Not enough. But Putin's invasion of Ukraine broke my heart. What would possess the leader of a country to bring this much misery and suffering on people? Not only will Ukrainians suffer, Russian citizens will a pay a heavy price for the aspirations of this one man.  

"Real life" is very difficult right now. My own family has endured more than its share of death and suffering this past year. It's affected my tolerance for violence and dismal endings in books, movies, and TV series. 

Two nights in a row, I have watched movies that had an unexpected level of violence. I detest movies with an "oh well, it's the system" or "people are mostly evil"--"so we might as well join them" endings.

 Even worse are movies that have no ending. They have a beginning and a middle and a middle. At least I'm drawn out of my self-imposed popcorn stupor by these offerings because my reaction is absolute fury. I feel tricked. 

The alternative seems to be movies that are at best, silly or so poorly written that they are painful to watch. I loved The Power of the Dog. It has been nominated for a number of Oscars. I wish there were more movies that would emulate this movie's flawless plot and excellent direction. 

One of granddaughters said recently she was tired of reading books about bad people doing bad things. In real life, most of the people I know are good people. They try to do the right thing by their families and their country. I'm struck by how many kind people there are in this world. One of most engaging predicaments in literature is a good person who finds him or herself in a muddle because of unintended consequences. I find myself rereading books that I fell in love with years ago simply because of the excellent craftsmanship.

Right now, I'm quite taken by psychological suspense. This sub-genre is a throwback to my beloved Gothic authors. I loved books written by Daphne du Maurier.  Nevertheless, there is a growing trend to celebrate heroines bent on revenge or ruining someone just for kicks. 

Mysteries, as a whole, are a delight to read. I think that's why the bestseller lists are consistently filled with titles from this genre. 

In my favorite mysteries, the good guy wins. I like that best in real life too. 

Who or Whom?

I had back-and-forth email exchanges Saturday afternoon, diagramming a sentence –– written by me, no less –– with two colleagues, English teachers who know grammar better than I do. The line is in a manuscript I’m preparing to send to my agent. The nerdy exchange saw the three of us trying to locate the direct object in a muddy sentence I’d written.

The experience got me thinking about voice versus correct grammar when writing fiction.

My book is “done,” meaning the story is written. Now the manuscript is in the capable hands of four readers, a team I typically assemble for feedback and proofing.

One reader, Mima Eaton, is the former director of a college writing center. She stalks grammatical errors with a deep passion and can smell one in a manuscript a mile away. This time around, she called me out in several places where I’d written who when whom was correct.

In voice, I replied to her comment on my Google document.

(Arguing grammar with Mima is a little like trying to contest being caught with a hand in the cookie jar: You know you’re wrong but push back instinctively.)

Bo is an English teacher, she replied, insinuating that he'd know better.

(She didn’t write and so should you, which I appreciated.)

The story is told in the first-person, cynical voice of Bo Whitney. He is a casual speaker, an outsider in an insider’s academic world. Mima is right, of course.

Grammatically, that is.

But this is fiction, and it’s fiction, written in the voice of a middle-class guy caught in a world of wealth, power, and privilege.

I write and often edit by ear (I’m dyslexic, after all). So it would make sense that a first-person speaker in my text might say who when the grammatically correct form would be whom. Yet the decision of when or when not to break a rule of grammar must be decided in honor of the story.

Colloquial diction or not, Mima’s comment in the margin –– “Bo is an English teacher” –– carries weight and is the final say: I’ll go with whom, not who.

After all, who am I to argue with a grammarian?

Award Nominees

 

A lot of mystery award nominations have come out in the last few weeks. I usually scan the names and titles when the nominations first come out to see if (a) I know any of the authors and (b) if I’ve read any of the books. It’s also a good way for me to find out about possible books to read, particularly in the children’s categories. Here are the Lefty, Agatha and Edgar award nominees all in one place. 

LEFTYS

 Leftys are fan awards chosen by registered attendees of Left Coast Crime. Nominations are made by registered attendees of this convention and the immediately previous convention. They will be given out this year during LCC in Albuquerque, NM April 7-10. According to the LCC website “To be eligible for the 2022 Lefty Awards, titles must have been published for the first time in the United States or Canada during 2021, in book or ebook format.”

Lefty for Best Humorous Mystery Novel 

Ellen Byron, Cajun Kiss of Death (Crooked Lane Books)
Jennifer Chow, Mimi Lee Cracks the Code (Berkley Prime Crime)
Elle Cosimano, Finlay Donovan Is Killing It (Minotaur Books)
Cynthia Kuhn, How To Book a Murder (Crooked Lane Books)
Raquel V. Reyes, Mango, Mambo, and Murder (Crooked Lane Books)
Wendall Thomas, Fogged Off (Beyond the Page Books)

Lefty for Best Historical Mystery Novel (Bruce Alexander Memorial) for books covering events before 1970

Susanna Calkins, The Cry of the Hangman (Severn House) °
John Copenhaver, The Savage Kind (Pegasus Crime)
Naomi Hirahara, Clark and Division (Soho Crime)
Sujata Massey, The Bombay Prince (Soho Crime)
Catriona McPherson, The Mirror Dance (Hodder & Stoughton)
Lori Rader-Day, Death at Greenway (William Morrow) 

Lefty for Best Debut Mystery Novel

Alexandra Andrews, Who Is Maud Dixon (Little, Brown and Company)
Marco Carocari, Blackout (Level Best Books)
Zakiya Dalila Harris, The Other Black Girl (Atria Books)
Mia P. Manansala, Arsenic and Adobo (Berkley Prime Crime)
Wanda M. Morris, All Her Little Secrets (William Morrow) 

Lefty for Best Mystery Novel

Tracy Clark, Runner (Kensington Books)
S.A. Cosby, Razorblade Tears (Flatiron Press)
Matt Coyle, Last Redemption (Oceanview Publishing)
William Kent Krueger, Lightning Strike (Atria Books)
P.J. Vernon, Bath Haus (Doubleday)

AGATHA AWARDS

Agatha Awards celebrate the traditional mystery. They are nominated by and voted on by attendees of Malice Domestic. They will be voted on and awarded at Malice in Bethesda, MD April 22-24.

Best Contemporary Novel 

Cajun Kiss of Death by Ellen Byron (Crooked Lane Books)
Watch Her by Edwin Hill (Kensington)
The Madness of Crowds by Louise Penny (Minotaur)
Her Perfect Life by Hank Phillippi Ryan (Forge)
Symphony Road by Gabriel Valjan (Level Best Books) 

Best Historical Novel

Murder at Mallowan Hall by Colleen Cambridge (Kensington)
Clark and Division by Naomi Hirahara (Soho Crime)
The Bombay Prince by Sujata Massey (Soho Crime)
Death at Greenway by Lori Rader-Day (HarperCollins) 
The Devil's Music by Gabriel Valjan (Winter Goose Publishing)

Best First Novel 

The Turncoat's Widow by Mally Becker (Level Best Books)
A Dead Man's Eyes by Lori Duffy Foster (Level Best Books)
Arsenic and Adobo by Mia P. Manansala (Berkley)
Murder in the Master by Judy L. Murray (Level Best Books)
Mango, Mambo, and Murder by Raquel V. Reyes (Crooked Lane Books) 

Best Short Story 

"A Family Matter" by Barb Goffman (Alfred Hitchcock Mystery Magazine Jan/Feb 2021)
"A Tale of Two Sisters" by Barb Goffman in Murder on the Beach (Destination Murders)
"Doc's at Midnight" by Richie Narvaez in Midnight Hour (Crooked Lane Books)
"The Locked Room Library" by Gigi Pandian (Ellery Queen Mystery Magazine July/Aug 2021)
"Bay of Reckoning" by Shawn Reilly Simmons in Murder on the Beach (Destination Murders)
 

Best Non-Fiction

The Combat Zone: Murder, Race, and Boston's Struggle for Justice by Jan Brogan (Bright Leaf Press)
Murder Most Grotesque: The Comedic Crime Fiction of Joyce Porter by Chris Chan (Level Best Books)
The Irish Assassins: Conspiracy, Revenge, and the Phoenix Park Murders that Stunned Victorian England by Julie Kavanaugh (Atlantic Monthly Press)
How to Write a Mystery: A Handbook from Mystery Writers of America by MWA with editors Lee Child and Laurie R. King (Simon & Schuster) 

Best Children's/YA Mystery

Cold-Blooded Myrtle by Elizabeth C. Bunce (Algonquin Young Readers)
The Forest of Stolen Girls by June Hur (Fiewel and Friends/Macmillan)
I Play One on TV by Alan Orloff (Down & Out Books)
Leisha's Song by Lynn Slaughter (Fire and Ice/Melange Books)
Enola Holmes and the Black Barouche by Nancy Springer (Wednesday Books) 

EDGAR AWARDS

Edgar Awards are peer awards given out by Mystery Writers of America. Nominations are done by volunteer committees of professional writers. They will be given out April 28, 2022 during a ceremony at the New York Marriott Marquis Times Square.

Best Novel

The Venice Sketchbook by Rhys Bowen (Amazon Publishing – Lake Union)
Razorblade Tears by S.A. Cosby (Macmillan Publishers – Flatiron Books)
Five Decembers by James Kestrel (Hard Case Crime)
How Lucky by Will Leitch (HarperCollins – Harper)
No One Will Miss Her by Kat Rosenfield (HarperCollins – William Morrow) 

Best First Novel By An American Author

 Deer Season by Erin Flanagan (University of Nebraska Press)
Never Saw Me Coming by Vera Kurian (Harlequin Trade Publishing – Park Row)
Suburban Dicks by Fabian Nicieza (Penguin Random House – G.P. Putnam’s Sons)
What Comes After by JoAnne Tompkins (Penguin Random House – Riverhead Books)
The Damage by Caitlin Wahrer (Penguin Random House – Viking Books/Pamela Dorman Books)

Best Paperback Original

Kill All Your Darlings by David Bell (Penguin Random House – Berkley)
The Lighthouse Witches by C.J. Cooke (Penguin Random House – Berkley)
The Album of Dr. Moreau by Daryl Gregory (Tom Doherty Associates – Tordotcom)
Starr Sign by C.S. O’Cinneide (Dundurn Press)
Bobby March Will Live Forever by Alan Parks (Europa Editions – World Noir)
The Shape of Darkness by Laura Purcell (Penguin Random House – Penguin Books) 

Best Fact Crime

The Confidence Men: How Two Prisoners of War Engineered the Most Remarkable Escape in History by Margalit Fox (Random House Publishing Group – Random House)
Last Call: A True Story of Love, Lust, and Murder in Queer New York by Elon Green (Celadon Books)
Sleeper Agent: The Atomic Spy in America Who Got Away by Ann Hagedorn (Simon & Schuster)
Two Truths and a Lie: A Murder, a Private Investigator, and Her Search for Justice by Ellen McGarrahan (Penguin Random House – Random House)
The Dope: The Real History of the Mexican Drug Trade by Benjamin T. Smith (W.W. Norton & Company)
When Evil Lived in Laurel: The “White Knights” and the Murder of Vernon Dahmer by Curtis Wilkie (W.W. Norton & Company

Best Critical/Biographical

Agatha Christie’s Poirot: The Greatest Detective in the World by Mark Aldridge (HarperCollins Publishers – Harper360)
The Unquiet Englishman: A Life of Graham Greene by Richard Greene (W.W. Norton & Company)
Tony Hillerman: A Life by James McGrath Morris (University of Oklahoma Press)
The Reason for the Darkness of the Night: Edgar Allan Poe and the Forging of American Science by John Tresch (Farrar, Straus and Giroux)
The Twelve Lives of Alfred Hitchcock: An Anatomy of the Master of Suspense by Edward White (W.W. Norton & Company) 

 Best Short Story

“Blindsided,” Alfred Hitchcock Mystery Magazine by Michael Bracken & James A. Hearn (Dell Magazines)
“The Vermeer Conspiracy,” Midnight Hour by V.M. Burns (Crooked Lane Books)
“Lucky Thirteen,” Midnight Hour by Tracy Clark (Crooked Lane Books)
“The Road to Hana,” Alfred Hitchcock Mystery Magazine by R.T. Lawton (Dell Magazines)
“The Locked Room Library,” Ellery Queen Mystery Magazine by Gigi Pandian (Dell Magazines)
“The Dark Oblivion,” Ellery Queen Mystery Magazine by Cornell Woolrich (Dell Magazines)

Best Juvenile

Cold-Blooded Myrtle by Elizabeth C. Bunce (Workman Publishing – Algonquin Young Readers)
Concealed by Christina Diaz Gonzalez (Scholastic – Scholastic Press)
Aggie Morton Mystery Queen: The Dead Man in the Garden by Marthe Jocelyn (Penguin Random House Canada – Tundra Books)
Kidnap on the California Comet: Adventures on Trains #2 by M.G. Leonard & Sam Sedgman (Macmillan Children’s Publishing – Feiwel & Friends)
Rescue by Jennifer A. Nielsen (Scholastic – Scholastic Press) 

Best Young Adult

Ace of Spades by Faridah Àbíké-Íyímídé (Macmillan Children’s Publishing – Feiwel & Friends)
Firekeeper’s Daughter by Angeline Boulley (Macmillan Children’s Publishing – Henry Holt and Company BFYR)
When You Look Like Us by Pamela N. Harris (HarperCollins – Quill Tree Books)
The Forest of Stolen Girls by June Hur (Macmillan Children’s Books – Feiwel & Friends)
The Girls I’ve Been by Tess Sharpe (Penguin Young Readers – G.P. Putnam’s Sons BFYR)\

Best Television Episode Teleplay

“Dog Day Morning” – The Brokenwood Mysteries, Written by Tim Balme and Nic Sampson (Acorn TV)
“Episode 1” – The Beast Must Die, Written by Gaby Chiappe (AMC+)
“We Men Are Wretched Things” – The North Water Written by Andrew Haigh (AMC+)
“Happy Families” – Midsomer Murders, Written by Nicholas Hicks-Beach (Acorn TV)
“Boots on the Ground” – Narcos: Mexico, Written by Iturri Sosa (Netflix)
 

Robert L. Fish Memorial Award

“Analogue,” Ellery Queen Mystery Magazine by Rob Osler (Dell Magazines) 

The Simon & Schuster Mary Higgins Clark Award

The Secret Life of Miss Mary Bennet by Katherine Cowley (Tule Publishing – Tule Mystery)
Ruby Red Herring by Tracy Gardner (Crooked Lane Books)
Clark and Division by Naomi Hirahara (Soho Press – Soho Crime)
The Sign of Death by Callie Hutton (Crooked Lane Books)
Chapter and Curse by Elizabeth Penney (St. Martin’s Paperbacks) 

The G.P. Putnam's Sons Sue Grafton Memorial Award

Double Take by Elizabeth Breck (Crooked Lane Books)
Runner by Tracy Clark (Kensington Books)
Shadow Hill by Thomas Kies (Sourcebooks – Poisoned Pen Press)
Sleep Well, My Lady by Kwei Quartey (Soho Press – Soho Crime)
Family Business by S.J. Rozan (Pegasus Books – Pegasus Crime)

SPECIAL AWARDS

Grand Master-  Laurie R. King
Raven Award -  Lesa Holstine – Lesa’s Book Critiques; Library Journal Reviewer
Ellery Queen Award - Juliet Grames – Soho Press – Soho Crime

The new heroism

by Rick Blechta

It’s interesting that Tom wrote his post about characters yesterday (and it’s well worth reading) because I was planning to write something on the same topic. Well, put it this way, I had decided to write about characters as the subject matter of this week’s post, although what I want to say is nothing like what he wrote.

My wife and I have been buying university-level courses from thegreatcourses.com. We’d talked about doing this for years but the cost was way out of our price range. When Covid hit, the price for most of the website’s offerings dropped very significantly, so we bought a couple, enjoyed them a lot, and bought a few more. So far we’ve gotten through four and learned quite a lot. They really are good — plus there’s no homework or exams!

The latest one we’re enjoying, “Heroes and Legends: The Most influential Characters of Literature,” gave me the idea for this week’s post.

Titled “Frodo Baggins — A Reluctant Hero,” it posits that this character’s journey from reluctant participant to hero follows a much different arc than the classic story of a hero. It is a more modern take on the protagonist and it struck me as one that anyone who reads crime fiction is quite familiar with. It is exactly this type of character we often meet in those novels featuring an amateur sleuth or in a cozy, as examples.

The professor, Thomas Shippey, explains that after the disaster that was World War 1, the hero mold had been broken. Society became very cynical in the aftermath of what was in reality a very unnecessary conflict. A new type of hero was needed, one standing more on feet of clay, to use a cliché. His feeling is that this is a major reason Tolkien’s works were so wildly successful. Hobbits are almost anti-heroes by nature. They are small, unwarlike, easily overlooked, and keep to themselves. Not the stuff of memorable heroes, right?

But in a newly cynical world, they were just what readers were craving, something new, something we could believe in. Frodo, much like what the rest of the world had just experienced, got dragged very reluctantly into something he did not want to face and could not understand.

At the start of crime fiction, most characters were of the old heroic mold (Sherlock Holmes, Hercule Poirot, Miss Marple, Lord Peter Wimsey, etc.) seemingly superhuman in their ability to solve perplexing crimes. They did things the common person could not. Would it be a stretch to say we looked up to them as better than us?

I’ve always felt, as do many others, that WW1 changed humanity more than any previous conflict in history. A lot of what we thought about ourselves and our place in the world got broken irrevocably. It is only after this conflict that crime fiction began to see a move towards protagonists in the same roles as Frodo Baggins, heroes reluctant to take on a difficult task, not equipped with the necessary skills, and constantly filled with self-doubt.

In other words, very much like us. Ordinary people if you will.

Even mores today as we face unprecedented global problems, we crave these common people who are forced into uncommon, often horrendous situations, people who need to find their courage whether it be in our daily existence or in a goblin cave.

Too Many Characters?

 By Thomas Kies

How many characters in a book are too many?  I’m struggling with that because in the book I’m working on now, it just feels like there may be too many.

I found one opinion that 4-7 characters should be the number, except for an epic where 20 or more are acceptable. I found another opinion that set the number of characters as 8. Period.

I took a look around the internet and the consensus seems to be that there is no set number.  The number of characters is what it will take to tell the story. But there is agreement that each character should have their own identity.  They should stand out from the crowd somehow.  

Sometimes, that’s as simple as identifying their profession, like Joe is a cop or Mike is a chef or Clara is a Supreme Court judge.  Sometimes it is as simple as giving them a distinctive name, like Clara.

Maybe the distinction is in the physical description.  Ted is tall and built like a linebacker or Sally is petite, had dark hair and one eye is blue and one eye is brown.  

So, make the character vivid and memorable when they’re first introduced. 

One bit of advice I saw was avoid introducing a lot of characters all at once.  It’s like walking into a crowded room and your host tells you the name of everyone there.  I don’t know about you, but that’s information overload and more often than not, I don’t recall anyone’s name.

Speaking of names, don’t give the extras names.  If the pizza guy is delivering dinner, he’s just the pizza guy.  If the Uber driver is taking your protagonist to the airport, he’s just the Uber driver. Don’t confuse the reader with more names than they need to recall. 

Don’t give characters similar names.  In a book that was never published, I was admonished for using Jake, John, Jim, and Jack. All different characters but with names like that, who could keep them straight?

All of your characters should have some relevance to your story.  Why are they there? If they don’t add something to the storyline, kill your darlings.  

An example of that is in A Song in Ice and Fire by George R. R. Martin upon which the hit series Game of Thrones was based.  Just when you identify with one of his characters, he kills him or her off.  Most likely in the most gruesome manner imaginable. But in their death, that character has become more relevant.  It often becomes a reason for revenge.

I distracted myself with the Game of Thrones.  What I really mean, if the character doesn’t add something to the story, they shouldn’t be there in the first place. 

A disadvantage to a bunch of characters, especially in the same scene, is the use of dialogue tags.  We all try to stay away from them as best we can, instead, showing some action and then the dialogue.  But when you have more than two characters in the same scene, sooner or later you’re going to have to write Roberto said- or Matilda argued- or Ludmilla shouted...

Giving your characters distinctive names helps the reader recognize the players more easily when they show up.  I hope that I do that in my mystery series.  Geneva Chase-a crime journalist, John Stillwater-ex-cop and now a private detective, Shana Neese-dominatrix and leader of an organization that fights human trafficking, and Nathaniel Ruben-owner of Lodestar Analytics, an open-source research company. 

Time to go back to my work in progress and see if I need to kill any of my darlings. 

After the First Draft

 After having spent a couple of hours trying to get my laptop, that seemed to be frozen, to unlock, I decided to Google the problem before calling my tech guy about dropping it off. Sure enough, all I had to do was type my problem in the search box. Immediately, the exact wording of my search popped up on multiple sites. My battery could be reached by finding the little symbol on the back, inserting the tip of a small paper clip in the hole, and pressing. Another website provided step-by-step instructions for turning the laptop off and getting to the advance options for troubleshooting. But before I ventured into those murky waters, I saw a third website that advised the technically-challenged to look for the simplest issue first. The simplest issue was that I had managed to touch the wrong key. All I needed to do was press "Alt" then tap the "F7" key. Problem solved. 

However, I'm now well into my day and I haven't got a lot done. I still need to get to the supermarket and do a couple of errands before it gets later. I don't have time to write about what I had intended. But last week, I did come across a post I wrote back in 2013. I have no idea where I used it, or if I did. After as a quick read, I realized that -- although I am no longer with the same publisher -- my process is still much the same.

After the First Draft

Depending on your approach to the first draft – whether you are a “plotter” or a “pantser” – your first draft will be either an organized progression of events or a sprawling, intuitive plunge into telling your story. Or, maybe you’re a “hybrid,” who begins with an outline and allows your story to evolve organically. Whatever your approach to writing the first draft, you have finished. Now, what?

 You’ve probably seen the advice that you should put your first draft away and return to it with fresh eyes. This assumes that you are not pushing against an unyielding deadline for submission. If this is a first book and you have no obligations to a publisher, you have the luxury of time. If you are writing with a clock ticking, the length of time that you can put your first draft aside is limited.

 I like to hand my first draft off to my “first readers” – a small group of friends who I can depend on to come at the draft in the ways that reflect their backgrounds and reading personalities. Two are lawyers, who are organized and detail-oriented. The “genre expert” reads widely within the genre of crime fiction and understands the conventions and innovations. The “character expert” has a feeling for characters as “people” (i.e., who they are and how they would behave). I give the first draft to these readers and then try to step away from the writing for at least a couple of weeks.  

 I say that I “try” because I want to plunge right back in and start revising. I want to “fix” the things that I already know need fixing. I have finally settled on allowing myself to read the manuscript and make a list of problems, but not make changes. I’ve discovered that using this time for research is also productive. I do research before I begin writing and during the first draft, but it is the nature of crime fiction that things will come up that need to be verified or that you need to learn more about. Time away from the first draft allows you to get away from your computer and make field trips to the library or to consult with your expert or back to the location that you are using as your setting.

 But eventually – to the relief of those of us who love revising – the time comes to return to your first draft. A systematic approach to revising reduces stress and ensures you will deal with first-draft problems. The process I favor – learned from the copyeditor I’ve worked with for years on my first mystery series – involves three cycles of editing. We begin with the problems that are obvious (e.g., continuity issues). During the next two cycles, we zoom in. By the third cycle, we are debating issues such as word choice and checking details such as the color of the eyes of a certain breed of cat. I’ve adapted this three-cycle process to my own self-editing during the revising process and am applying it prior to submission with my new series. During this revision process, I also consider and often incorporate the feedback I’ve received from my first readers. I am now – because I have less time between draft and submission deadline with my new series – moving to a checklist for my first readers. That will help us all be more systematic and help me to be a better writer.