Shepherd.com

 

I first heard about Shepherd.com in Jane Friedman’s newsletter, The Hot Sheet. It’s a book discovery site founded a little over a year ago by Ben Fox who is an avid reader. He was dissatisfied with online book discovery so decided to create a site that he thought was a better way to find new books.

Not long after reading this article, I received an email from someone at Shepherd mentioning my book, Designed For Haunting, and asking if I’d like to put together a recommendation list for the site. This was all free.

I am relatively cautious when it comes to people contacting me about doing things so I checked out the site and reread the Hot Sheet article. It seemed like a lot of fun so I agreed. Since Designed For Haunting is set around Halloween and I love traditional and cozy mysteries set around that time, I named my list “The best Halloween mysteries to escape into.”

It only took a few minutes for me to come up with the 5 books for the list: The Skeleton Haunts a House by Leigh Perry, The Spook in the Stacks by Eva Gates, The Legend of Sleepy Harlow by Kylie Logan, Hallowe’en Party by Agatha Christie and The Spirit in Question by Cynthia Kuhn.

It took a bit longer for me to do short reviews of the books. I actually reread all of them so I could more easily remember why I love these books so much.

I used the words “escape into” for the list because that’s how I feel about reading cozies and traditional mysteries. They are my escape from the problems of the real world. I love diving into other authors’ worlds and revisiting characters I’ve read about before.

Here’s the list as it appears on the site: https://shepherd.com/best-books/halloween-mysteries-to-escape-into

The site is a fun site to look around and see what other authors have recommended. You can also browse books by Wikipedia topic. I enjoy nonfiction and fiction books set in the Middle Ages so I searched for that and came up with a list “The best books on the Middle Ages”. I see a bunch of books on it that I want to read: Viking Age Iceland by Jesse L. Byock, Making a Living in the Middle Ages by Christopher Dyer, Growing Up in Medieval London by Barbara A. Hanawalt...

It was a fun experience, the people at Shepherd are good to work with and it’s a way for readers to become aware of me and my books and for me to spread a little love for books I’ve enjoyed reading. It’s a young site. It’ll be interesting to see how it grows in the coming years.

Fake Phez Phest

 This past weekend was the beginning of pheasant season in Western Kansas. It used to be our favorite family celebration. 

It began innocently enough at Jerry Hinger's house in Codell, Kansas with a group of relations and the usual assortment of hunting dogs. It moved to our place in Hoxie, Kansas to relieve Kay Hinger from the ordeal of providing bread and board to an ever increasing bunch of men. 

I can't remember when or how music became part of the mix. But it did. Music and women and children. We're talking serious bluegrass enthusiasts here. I certainly do remember when the New Old-timers started coming. They were a professional band. Joe Newman played the banjo, his wife, Kenda, manhandled an upright bass, and the incomparable J.F. Stover played the guitar. In a couple of years, Todd Toman and his wife, Mary, were added to the mix. 

Other people began bringing instruments. Pheasants flocked to the Hinger's little homestead because they knew they were safe. Collectively, this was the worst group of shooters that invaded Sheridan County that weekend. 

Our adult children and our grandchildren looked forward to it and told their friends about it. Soon friends and their relations made Phez Phest a priority. Ian Alexander and his boys came from Michigan. There was always a group from Missouri. There were Californians, and Coloradoans. I wish I had kept a list. 

This was a kind group. Little boy fiddlers got to squeak out "Twinkle, Twinkle, Little Star," to standing ovations. Vic Mowry was delighted to bring his fiddle because my husband knew the words to every dance song he wanted to play. Country Western competed with bluegrass all weekend long. Hingers have a particularly vicious version of pitch. That's a card game for those who don't know. Learning to play Hinger pitch was a requirement. 

It was a joyful weekend for the children. We have pictures and videos of kids rolling in leaves. I recalled the year they filled our garage with tumbleweeds and tried to sell them to the adults. 

After my husband died and I moved from Hoxie to Colorado, we tried renting another house for a weekend. We called it Fake Phez Phest. And it was just that. Times had changed. There were other deaths, and divorces and health issues for some. 

It didn't work. The world had moved on. We were all miserable. The time for Phez Phest had passed. 

Those of us who have joyful memories of their childhood and positive family experiences are very fortunate. I'm very grateful that I'm among that number. 

The trick is to be aware of how precious family events are when they are happening.

Changing Your Point of View

 by Thomas Kies

My last Creative Writing class of the year was last week.  I’m having lunch with my liaison at the college to discuss my next class that should start in January.  I always learn something new when I teach that class.  

Such as, one of my students took this class a second time and he’s an engineer by profession.  He writes like one.

His prose is heavy…heavy…on information but light on description and dialogue.  He will go on and on in his descriptions of his CIA agents’ accomplishments and accolades but by the end of it, all he’s done is written a series of resumes.  

It’s just not interesting. 

The way my class works, I will give a lesson (on writing emotional scenes or dialogue or relatable characters) and then offer a writing prompt.  The students will have a week to write about three pages, double spaced, and read it to the class on the following week.

Now, reading your work in front of people is scary.  I’ve been doing it for a while now and I still get the heebie-jeebies when I stand in front of people and read from my own books.  So, in my class, we listen to the reading, then we applaud.  Then we talk about what we liked about it and follow that up by making suggestions on how the work might be stronger. 

The whole thing is meant to be a positive experience.  Success for me is to hear that, after the classes are over, my students have continued to write.  

But when this particular student read his work, it was flat as an open bottle of beer left out all night. The characters were difficult to keep straight and had no depth.  Dialogue was stiff or non-existent.  

One week, as an exercise, I asked the class to write a piece that was “dialogue heavy” and by showing what the characters are doing while they’re speaking.  One editor I worked with once told me that dialogue alone is not action.  

My engineer wrote a piece that barely had any dialogue at all.  When he was asked about it, he said he’d used his week to look up information on the internet and one website said that his dialogue should be mathematically proportionate to the number of characters in a scene.

What?

I was getting frustrated with his lack of progress, and I sensed he was getting frustrated as well.  So, I tried something new.  He had been writing in the third person point of view the whole time.  I told him that as his assignment that week, he should write in the first person POV of his lead character.  

The next week it was like someone had plugged him into a light socket.  The piece he read to us was excellent.  I could tell he was energized and so was the rest of the class.

Another one of my students had tried moving from third person to first person and discovered she was able to better understand her protagonist and she was excited as well. 

So, back to the engineer---by changing his point of view to first person, his writing went from dispassionate to interesting enough that we all wanted to hear more.  Huzzah!!

A little bit about some of my students from earlier this year.  We have a writer’s organization in our county that had become moribund during the pandemic.  One of my students is now the chair of that group and another is the secretary and I’m proud to say Carteret Writers have become active, exciting, and meeting on a regular basis and holding cool special events.  

Plus, a whole group of my students now meet on a regular basis to read their work and offer critiques.  I’m flattered that they call themselves the Kiesters.  

If at the end of my class, they're all still pumped up about writing, then I consider the class a success.

Writing That Sings

Writing That Sings

 By Johnny D. Boggs

This week finds me in Albuquerque, New Mexico, for the annual International Western Music Association convention. What makes a writer of prose want to hang out with songwriters, poets and performers?

After all, my key is “out of;” a meter is something I feed to keep from getting a parking ticket; and notes are what I owe the bank or my scribbling that I can’t read three hours later.

But when I was sloppily writing short stories as a kid, sometimes I would decide: This needs a theme song. I’d pen dreadful lyrics, which I would imagine Frankie Laine singing.

That said, my friend Micki Fuhrman and I co-wrote a song that placed second – out of 116 entries – in the IWMA’s songwriting competition this year. Micki, who also writes fiction, won a Spur Award and finalist honors this year for Western Writers of America’s Best Western Song and is nominated for four IWMA awards this year, including Songwriter of the Year.

Jim Jones, a multiwinner of IWMA awards, also writes Western novels, so I asked him how writing songs helps him with his fiction, and vice versa.

“For me, a song is in some ways a synopsis for a novel,” he said. “If you write a song, you have a synopsis. And if you have a storyline, it gives you tons of songs to write.”

Jones mentioned Mike Blakely, a Spur Award winner for Western novels and Western songs. “Mike has transformed many characters from his novels into songs.”

The song Micki and I cowrote came about when we were talking about the placement of words. I said something like, “Take signing a letter ‘Yours Truly.’ What if you flipped the words to ‘Truly Yours?’” Next thing I know, we have a song titled “Yours Truly, Truly Yours.”

Micki’s album Westbound, nominated for IWMA’s Traditional Western Album of the Year, includes a song I wrote – “Loving County,” inspired from Elmer Kelton’s classic Texana novel of the 1950s drought, The Time It Never Rained.

Studying great songwriting helps when I’m writing prose. There are beats to dialogue, action scenes, descriptions. Sentences need a rhythm.

“I came into fiction writing as a professional songwriter,” Micki told me, “and I believe the skills I learned composing songs shaped the way I write stories.

“With a song, I have about three minutes to set up a scenario with a beginning, middle and end. Every word has to work hard, and the more ‘picture words,’ the better, since I see the lines of a song as movie frames.

“Now, as I write a short story or a novel, I subconsciously follow the tenets of songwriting: rhythm, pacing, fluidity of words, alliteration, color and emotion.”

Thank goodness, I don’t try to sing while writing pros. But when I’m looking over a draft, I will often think back to lyrical styles of songwriters I’ve long admired – John Prine, Guy Clark, Johnny Cash, Mary Chapin Carpenter, Pete Seger, Jimmy Webb, Carole King, Count Basie, Townes Van Zandt, Loretta Lynn, Bob Dylan, Sam Cooke, Jon Chandler, Rosanne Cash, Woody Guthrie, Bob McDill, Johnny Mercer, Joni Mitchell, Tom T. Hall, Bob Seger, Mickey Newberry, Bruce Springsteen and, yes, Blakely, Jones and Fuhrman – and incorporate some of that into my prose.

It might not always sing, but every now and then I’ll hit the right note.

Zen and the Art of Writing While Maintaining Your Sanity

I (Donis) have had 12 novels published during my nearly twenty-year writing career and done pretty well, but I've been having some trouble over the last two years. My two most recent books didn't sell well during the pandemic, so my publisher has decided they don't want to continue with the Hollywood series. Libraries didn't buy the books in any great numbers, they say. Well, duh! The libraries were closed! Annoying in the extreme, since the third novel is finished and if I do say so myself, it turned out quite nicely. I'm currently determining how to get the book published by hook or crook. However, they have encouraged me to start something entirely new. So begrudgingly, I shall.

 I have a couple of good ideas for new books, which cheers me considerably. As with any season of life, you go through your ups and downs, and as my mother always said (and I do mean always), this too shall pass.

For many years now, I have been a student of Zen, which I love, because it’s very helpful at times like these. It’s also pretty funny, and anything that’s pretty funny is okay with me. Years ago, I went to my first meditation retreat with some trepidation, since I had heard that during sitting meditation, the sensei prowls around the room with a long stick and occasionally whacks the hell out of you when you least expect it.  The point of this is to make you be totally in the present, and believe me, when you think you’re about to get smacked at any minute, you actually quiver with awareness. As it turned out, our sensei told us that he quit doing that because his students seemed to enjoy it too much. So I’ve never actually been assaulted while meditating.

I’m sure most of you Dear Readers have heard of koans, such as “what is the sound of one hand clapping,” those apparently senseless little sayings and stories that you can ponder on all day. Here is one of my favorites:

A Zen master was teaching his students when a cat wandered into the room. The master picked up a cleaver and said, “If any of you can tell me the true meaning of existence, I won’t kill this cat.” Not one student said anything, so the master whacked the cat, and his students ran out of the room, horrified. The next day, the master was relating the incident to another sensei. “I said, if any of you can tell me the true meaning of existence, I won’t kill this cat.” The second master sat there for a moment, then hung his shoes on his ears and danced out of the room. As he disappeared, the first master yelled after him, “If you’d been here yesterday, that cat would have lived! (Please don’t get all het up, cat lovers. It didn’t really happen.)

Or how about this one : Two masters were debating which of their teaching methods was best when a disheveled drunk burst into the room, kicked the crap out of the first master, and ran out. “Who was that!”  cried the second master. “That was one of my students,” said the first master. “You win,” said the second master.

 

A crime writer's take on travelling

 When my computer alerted me today that it was my week to post on Type M, I realized I had skipped my last Wednesday post. I doubt anyone noticed, because we have so many authors posting on different days, but I apologize anyway. I was galavanting around Italy on the first real travelling holiday I've had since Covid hit. In-person book events aren't the only thing that the pandemic has quashed. How wonderful it was to be exploring new places and meeting new friends again!

But this is a blog about writers and writing, not holidaying. Can I connect them? I did wonder, as I contemplated the stunning views of the Amalfi coast and the Island of Capri, whether I could work this trip into a book somehow. Partly, I confess, for the tax write-off, but mostly to relive the experiences and share them with readers. I've really enjoyed travelling all over Canada for the Amanda Doucette series and hope that readers felt they explored Canada along with me. But trying to transplant Inspector Green to Italy seemed a stretch. Law enforcement officials don't operate outside their jurisdiction, so if Green stumbled upon a possible murder on the Amalfi coast, say, he would have to hand it over to the local authorities, and if he continued to meddle, it would be for purely personal reasons, which would make him more of an amateur sleuth than a professional investigator. 

Roman law enforcement

Italy is a very densely populated country. There are few remote areas where Green could reasonably become involved before the national CID team arrived to take over. The Amalfi coast has some stunning wilderness trails and I did hike one of the more well-known of these, called "The Path of the Gods". It crossed my mind several times that it would be an easy place to dispose of an unwanted person. An irritating mother-in-law who stirred up trouble within the family, for example, or a tour group in which tensions and conflicts boil over. A stumble at the edge of the cliff or a boulder crashing down from above would be so simple to set up. That's the way a crime writer's mind works; we see opportunities for murder and for concealing bodies everywhere. But I try to stick to realism and I research my stories thoroughly, so it would be very difficult to create a set of circumstances where Green would realistically investigate, and if he did, it would not be a classic investigation. I would also have to learn a lot about Italian law and police commend structure.

Lost in the fog

Getting Amanda embroiled in a murder in Italy would be much easier. She is already an amateur sleuth, and with her penchant for rushing to the rescue, I could easily give her a reason for getting involved. Because I have already walked the Path of the Gods, I wouldn't have to research another location, and Amanda would know as little about Italian law and policing as I do. I hope the writer's best friend –Google  – could fill in the necessary gaps.

The Path of the Gods

But both these scenarios represent a significant deviation from the two series, and I'm not sure how successful they would be. It may be better to write about a completely different set of characters rather than trying to shoehorn one of my series into the Italian landscape. So don't be surprised if a short story surfaces in which a body is found at the base of a cliff, or a blood-curdling scream is heard by a group of hikers on a damp and foggy morning...

Travelling is always fun, but even more so when a writer's imagination is along for the ride.

No Sense of Time

 by Charlotte Hinger

The first time I bit off more than I can chew was when I was eleven years old. I was an avid 4-Her and a member of the Seekers Not Slackers 4-H club. The highlight of the club year was enrolling in projects. They were astonishingly varied. Every child could find a niche.

So one year, in addition to my usual sewing and food projects, I decided to take gardening, and plant strawberries. It was to be the biggest, gol-durned bestest strawberry patch the county had every seen. I certainly had the first part right. It was enormous. Big enough to stave off any Vitamin C deficiency in the third world.

We noble, conscientious 4-Hers were not allowed to accept help. Preparing the ground was hard enough, but inserting all those precious little plants was torture for even young backs. The worst was yet to come. I had to hand carry buckets of water. Every. Single. Day. It was hot, The metal handles dug ridges in my hands. The plants were bent on dying. I was determined to save them. It was a matter of honor. I was quite bitter that my parents didn't recuse me.

Late summer, the entire club formed a convoy and drove from farm to farm to view the members' projects. We admired all manner of livestock; calves, pigs, horses, chickens, ducks, dogs, sheep, and goats. Some members showed off their woodworking skills. With luck, those enrolled in cooking had thoughtfully baked a little treat.

At last the club came to our farm and viewed my huge strawberry patch. It was respectable, but nothing special. It looked droopy and some plants had died despite my best efforts. It had ruined my summer, but I didn't have to suffer the humiliation of a failed project.

The whole 4-H experience was highly educational. We learned to give talks, to present ourselves well, to assimilate failures, to be graceful losers and winners, to calculate time and energy, to pull together as a group, and most of all, we learned to think.

Recently I asked a new mystery writer who had a great debut novel if she would be interested doing a guest post on Type M. She calmly said she didn't have the time. She was writing her next book and didn't blog when she was actively writing.

Smart, smart lady. I envy her ability to think, to plan, to calculate time and cost.

I keep forgetting the strawberry patch experience and blithely assume I can do it if I set my mind to it. Most of the time I sort of can, but the cost cancels the pride of achievement and the nagging sense that I could have done much, much better on projects.

Most of us can remember the good old days when marketing demands were minimal. 

Pressing the flesh

Last weekend I was in lovely Grantown-on-Spey, nestling close to the Cairngorms, for the town's Wee Crime Festival.

It's been three years since the festival was last held. First 2020 happened. Then 2021 came along. 2022 hasn't been THAT much better but at least the festival was back on.

It's organised by Marjory Marshall, the energetic owner of the town's bookshop, the Bookmark. It's a popular store, footfall is incredible - local bookshops can be part of the lifeblood of a town. Someone told me that property prices for towns with a bookstore are higher than those without.

Anyway, the festival...

I've been lucky enough to be a regular there for a number of years. Along with crime writers Caro Ramsay and Michael J. Malone, I present a comedy mystery play each year called Carry on Sleuthing (there are three of them! And the mystery is, where's the comedy?) We also chair some of the panels over the weekend as well as participating in others as ourselves, as it were.

It felt good to be back, and not just because Grantown is a lovely place to visit. It, and the other festivals I've been lucky enough to attend this year, made me realise how much I missed getting out there and seeing the whites of the readers eyes! 

When I began this lark we call authoring, when I was writing true crime and non-fiction, I wasn't called upon to do much in the way of public speaking. There were radio and TV interviews but I was invited to only one festival, where one man approached me following my talk to remonstrate with me over the fact that there were no photographs of dead bodies in my books. 

I backed away sharpish, looking for a safe space. Or a panic button.

But since embarking on the stormy seas of fiction, I've become an old hand at the festival game, which is amazing to me because I am actually shy, Mary Ellen. 

Meeting the reading community is a vital part of what we do. A couple of months ago  I attended an event for a 'celebrity author' who announced at the start that he would not be doing a signing at the end - all books on sale were pre-signed. I was incensed that the unwritten contract between author and reader had been broken. To my mind, signing books and sharing a few words with the people good enough to shell out their hard-earned folding green to buy them goes with the territory.

The message he sent was that he didn't care if anyone bought his book. (Actually, he said that at one point during the interview. Quite breathtakingly arrogant, I thought).

I didn't buy his book.

I'll be out again next week. Every year that fine and august body, the Scottish Book Trust, funds events across the country for a week long literary extravaganza called, cunningly, Book Week Scotland.

It sees authors traversing the face of Scotland, up hill, down glen, into the streets, to talk in libraries, community halls, phone booths. Okay, I made the last one up.

I've got a full week going coast to coast, for which I'm grateful. I'll be in Musselburgh (on the East Coast), Saltcoats (West Coast), Motherwell (Central Belt) and then Dundee (East Coast again). 

Granted, the phrase going coast-to-coast in Scotland doesn't mean the same as it does in the US of A.

It will be exhausting, for I am not a young man, but it will be fun appearing with other authors, talking about my work, having a laugh and - it is fervently hoped - if not selling books then at least inspiring readers to borrow them from those all-important libraries. 

When next we are together, dear reader, I'll tell you how it all works out.

True Crime to Fiction

 I'm getting a late start this morning because I had to take my dog into the vet for his physical. Alas, he weighs more now than he did our last visit. We've been taking short walks during the week and long walks on Saturday and Sunday, and he goes to daycare. But even though everyone he greets with delight finds him "adorable," he is a chubby Cavie right now. His vet just put him on prescription dog food to give his metabolism a reset -- even the few training treats he will be allowed need to be subtracted. This is goiing to be a test of discipline on my part and stubborness on his. Fergus is as stubborn as he is adorable. Right now, he demands a treat to get in and out of the car, not chase the cat, not sit down and refuse to move in the middle of a walk. . . you get the idea. Even when a treat is only one and a half calories, they can mount up doing the day. But I am determined to get hm back to his "small dog" size. 

Anyway, that's why I'm running late today. I need to get back to the gangster movies manuscript I'm working on because my editor is waiting. But I'd like to mention something that I'm thinking about. Next weekend I'll be on a panel at the New England Crime Bake. My panel is "Fiction vs Reality: Taking Real Crime and Making It Work as Fiction." I had an interesting experience with that a few days ago.

I've been doing a deep dive into sources to make sure I've found the links between movie gangsters in my nine classic films and The Sopranos and the real life crime families and mobsters that have inspired the fiction. A few days ago -- as I was reading a story about a mob soldier with a nasty temper -- I had a burst of inspiration. I've been concerned about my male protagonist's motivation in my historical thriller. He has a reason for being curious at the beginning of the book. But when a death occurs and he narrowly escapes being arrested as a suspect, he has more reason to back off. As I was reading about that real-life gangster, it suddenly occurred to me -- I need a mob guy to make my protagonist "an offer he can't refuse".  The mobster has a girl friend who was related to the victim and he has promised to find out what happened. Now, he is passing that responsibility on to my protagonist because he was the one who got the victim involved. Having my mobster walk in and make his threat will carry me through the dreaded middle section of the book and give me the twist I need towards the end.

I think it's going to work. If it does, I'll have a recent example of using real crime as inspiration for my panel. I'll also have a boost as I try to sprint through NaNoWriMo this month. 

Anyone else have a recent experience with drawing inspiration from real life?

Active vs. Passive Entertainment

 

by Sybil Johnson

I was in the Seattle area last week visiting family. While I was there we went to see Disney On Ice and visited a cat cafe. That got me to thinking about active versus passive entertainment.

Let’s start with the cat cafe. For those of you not familiar with one, a cat cafe is where you can drink coffee/tea/hot chocolate and play with cats who are either permanent residents or are up for adoption. I believe they’re very popular in Japan. We found three in the Seattle-Tacoma area. We settled on one called Catffeinated in Tacoma. I mean, how could we pass that name up?

It was quite fun. The hot chocolate I had was good. My sister said the coffee was good. (I don’t drink coffee. I know, I know. How can I be of Scandinavian descent and from Seattle and not?) We had an hour to play with the cats. I consider that active entertainment.

 Here are a couple of the cats we interacted with. The orange one is a permanent resident. The other is being adopted.

Disney On Ice had a lot of kids in attendance, as you might expect. It was fun, but I noticed they spent a fair amount of time trying to get people actively engaged before the skating started. Honestly, with events like this, I’m more into the passive entertainment stuff. I do realize, though, with that many kids in attendance it was good to let the kids blow off some steam.

I’ve had an annual pass to Disneyland for over twenty years. Okay, now they’re called Magic Key passes. Whatever, it’s the same thing. I’ve noticed in that time that Disneyland/California Adventure has moved more and more toward encouraging active participation by its guests. There are “character experiences” at various places throughout the parks like the Avengers Campus and in Star Wars: Galaxy’s Edge. Some of the newer rides are more interactive. The Web Slingers ride has you actively slinging webs as you ride along. The Millennium Falcon: Smuggler’s Run ride is an interactive attraction where guests work together during a “smuggling” mission.

Me? I much prefer the more passive rides like Haunted Mansion, Pirates of the Caribbean, It’s a Small World. The classic rides. Maybe because I’m a “classic” myself.

That got me to thinking about books and television/films. Both are fine. Reading a book is active entertainment. The reader has to imagine the scene in their mind and fill in the details that aren’t on the page. Television/films is more passive. Those visuals are supplied by those who put the programs together. The one exception I’d probably say is silent films. I’ve watched a number of them over the last ten years since there’s a silent movie theater not far from where I live. I find, when I watch those, that I fill in dialogue of what’s going on the screen in-between the title cards. I feel like I'm more actively engaged with a silent film than one with sound.

What about you all? Do you like more active or passive entertainment or a mix?

Will Rogers Gold Medallion

 by Charlotte Hinger

 Saturday night I was awarded the Will Rogers Gold Medallion for Short Fiction for a story in the anthology, Librarians of the West. The title of my story was "The Book Mama." I was--and still am--just thrilled and frankly shocked. The ceremony was held in Fort Worth, Texas. It can be seen on YouTube. Just search for "will rogers medallion ceremony 2022."

It was a special treat to see a number of friends winning awards and to make new friends. There's something about "writing" trips. I always come back from them rejuvenated. I especially liked the keynote speech by Stuart Rosebrook because he spoke of the moral compass present in some of our most enduring writers. 

Here's a couple of pictures I took when some of us signed books at Monkey and Dog Books.

Pamela Nowak

Pam won the Gold Medallion in the Traditional Western Fiction Category (books) for Never Let Go: Survival of the Lake Shetek Women. I'm eager to read this one. 

Phil Mills

Phil Mills is the current president of Western Writers of America. His short story, "Cold the Bitter Heart" won the Silver Medallion. 

I'm so disappointed that my photo of Bill Markley, Rocky Gibbons, and Nancy Plain at the signing turned out to be a faint video. Not worth posting. Bill won a Silver Medallion for Geronimo and Sitting Bull: Leaders of the Legendary West. Nancy and Rocky, as co-authors, won Gold Medallions for their Western Nonfiction Book for Young Readers: Why Cows Need Cowboys. 

It's great to see ceremonies back because Covid brought a number of traditional events to a screeching halt. 

Recognition is rare and sweet. All of us in attendance at this year's Will Rogers event wish to thank Chris Enss and Laurie Cockerell for all of the hard work they put in to make this ceremony such a memorable one. 

 

What Scares Us?

 by Thomas Kies

Happy Halloween readers!!  Since today is the day when, according to the ancient Celtic tradition of Samhain, we should be lighting bonfires and donning costumes to ward off ghosts…but instead, we’re putting on costumes and eating ourselves into a sugar frenzy—let’s talk about what scares us.

Full disclosure, I like scary stuff.  I like novels by Stephen King, Dean Koontz, and the late Peter Straub.  I enjoy the occasional horror movie like Rosemary’s Baby, The Thing, The Shining, and yes, Halloween.  I like going on ghost walks and ghost hunts.

Regarding ghost hunts—I wrote about one in my first book Random Road. That’s loosely based on a real ghost hunt I was lucky enough to join.  I was the president of the Norwalk Seaport Association at the time and one night we ferried a crew of experienced ghost hunters out to Sheffield Island.  The island is on Long Island Sound and boasts a wildlife refuge and a nineteenth century lighthouse and lighthouse keeper’s cottage.  

The island has no running water and no electricity and when you’re out there, it’s dark and deathly quiet.  While I sat quietly drinking a glass of wine at midnight at a picnic table, the hunters snapped photos, took electrical and temperature readings, ran audio recordings, and prowled around the lighthouse and the island. They brought back photos of “orbs” and one picture of a little girl’s face in a second-floor window as she was gazing out at us.  One of the hunters was a psychic or “intuitive” who told us there were three ghosts living out on that island.

The only spirits I saw that night were in my glass.

I sometimes write about things that scare me.  In my third book Graveyard Bay I wrote about White Supremacist crime gangs, the Russian Mafia, dungeons, and S&M…oh my! My neighbor read it and when I asked him how he liked it, he replied with a deadpan expression, “Gave me nightmares.” 

As a writer, that’s when ya’ know you nailed it, baby.

My wife, Cindy, and I are in the middle of watching the Netflix anthology Cabinet of Curiosities originated and hosted by Guillermo del Toro.  I’ve always enjoyed his work, especially his movie Nightmare Alley.  The ending was not only scary as hell but dripping with delicious irony. 

According to Mr. del Toro, this is what frightens him.  “The moment Lon Chaney is revealed as the Phantom of the Opera was one of those seminal moments in my mind. It scared me not because of how scary it looked, but because of how remote and majestic Lon Cheney played it. That gesture, so unique and so commanding and so full of power and rage and despair. It was truly a powerful moment.”

What scares the master of horror Stephen King?  In many of his novels, characters go mad or lose their minds due to dementia, fear, or isolation like the Jack Torrance character in The Shining. When that happens, even well-intentioned people can do horrible things. In an NPR interview he did a number of years ago, King said, “That’s the boogeyman in the closet now. I’m afraid of losing my mind.”

Why are “haunted houses” and horror novels and movies so popular?  My own theory is that we know that, in the end, we’ll be putting that book down and all will be well.  When the lights come on at the end of the movie, we know we’ve had a good scare, but it wasn’t real, was it? 

It’s like being on a rollercoaster.  It feels like we’re facing death by moving at an eyepopping speed and dropping down the tracks over a cliff while your stomach is trying to figure out where it’s supposed to be. But at the end, we know we’ll be stepping out of the ride, legs weak, heart pounding, but safe.

So, it’s Halloween…what scary movie shall we watch tonight?  What will you be doing?

Connections

 

Connections

By Johnny D. Boggs

The telephone rang last week, and I pushed away from the keyboard and answered. The news stunned me.

Karl Cordova died after cardiac arrest the day before. He was 52.

Karl worked for, and loved, the National Park Service, serving as superintendent at Casa Grande (Arizona) Ruins National Monument and Pecos (New Mexico) National Historical Park. I met him after he moved to New Mexico to take the Pecos job. His two sons and my son were in the same Boy Scout troop -- Karl eventually became Scoutmaster, and I was one of several assistants -- and all three boys played baseball. I coached baseball with Karl, sometimes against him, and umpired a few ballgames in which the boys played.

                                                        Karl Cordova at a naturalization 

                                                        ceremony at Pecos National His-

                                                        torical Park in 2016.

I have never met anyone as calm and collected as Karl. He never lost his cool -- hard to do when you're wrangling pre-teen and teenage boys.

The sad news also had me thinking that as a writer, you often never know if you touch readers, and it's a blessing when you have. It's a bigger blessing when you realize how a reader can touch you.

The last time I say Karl was in March. He invited me to bring the family to a dinner in Pecos with Friends of Pecos National Historical Park on the eve of the park's annual Civil War Encampment (the 1862 battle of Glorieta Pass, in which Union forces turned back a Confederate invasion, was partially fought on what's now park property). I'd talk a bit about writing historical novels and answer any questions.

Over the years, I had given Karl some of my novels, and he had bought others. His father, he said, was a big fan of my books and loved Westerns. When you write in this genre, you hear that fairly often: My father reads ... My grandfather reads ... my great-grandpa reads. ... Well, Karl said he liked my books, too, though I'm pretty sure his sons had no interest in reading Westerns.

But that night, Karl told another story.

He was visiting his father in the hospital. His dad was reading Hard Winter, if my memory's right. I said, "I kinda like that one myself." They talked about my my writing style, how they liked the way I told different kinds of Westerns, how I did my research, how I made my characters realistic, believable, human. I was wondering if my hat would fit when I had to leave.

And then Karl said:

"My father passed away that night. So I'll always remember that the last conversation we had was about your books." 

Readers have written letters or emails or even telephoned to say how much they like something I've written, or why they didn't like what I'd written. But I'd never heard anything like what Karl said that night. I signed a copy of the book in memory of Karl's dad.

This morning, I'll be at Karl's funeral. This afternoon, I'll be back in the office, writing a novel with a deadline fast approaching. But I've already rewritten part of that book. A few days ago, I called up the Word doc and went to the dedication. Deleted what I had written, then replaced it with:

In memory of Karl Cordova (1970-2022),

fellow baseball coach, Scout leader, and friend;

and his father, Bill (1936-2020),

who liked my novels.

The Eighth First Draft

I have just begun the preliminary research and planning stages for my next novel (number 14), 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 naming my rock band. I was listening to Death Cab for Cutie when it occurred to me that they must have come up with their name by throwing darts at a dictionary. "Donis," I say to myself, "if you close your eyes and stab your pencil point at random spots on the newspaper, surely you could come up with your own effective band moniker." I've done this several times and have a whole pile of likely band names in case anyone is looking. Here are the latest, my four, three, two, and one word band names, in just the order random chance dictated.

Those Filet-Mignon Panini

Makes an Error

Secret History

Camera

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.

Why do I put myself through it? I’m never sure I can pull it off, no matter how many times I’ve pulled it off before. But then there are those days, even while you’re struggling with the first draft, when you do hit the perfect note, or compose a passage so beautiful and true that it brings tears to your eyes. Ray Bradbury spoke truth when he said that real success comes when you begin to write from the inside, and not from the outside.

Besides, once the first draft is finished and you’re on to the second and third and however many more, world without end, it all starts to come together and you realize with a start that you’ve got something. Maybe that old mojo is working after all!

p.s.  Years ago I heard Jerrilyn Farmer say that an editor told her once you have had seven books published you've pretty much made it. Until she had seven books published, then that same editor said, "Once you have ten books published... "

Lizzie Noel

 by Charlotte Hinger

My short story, "Lizzie Noel," was published in the Nov/Dec issue of Ellery Queen Mystery Magazine. I'm absolutely thrilled to have a story in this publication, which includes such notable writers as Joyce Carol Oates. I've submitted several stories over the years. Only "The Family Rose" was accepted. Ironically, that story was later published in two anthologies, Murder on the Verandah, and Murder to Music. 

The editor, Janet Hutchings, kindly provided an excerpt of my story on the Ellery Queen website. Here it is:

Lizzie Noel
by Charlotte Hinger

The glittery little floozy burst through the door of the Overhours Cafe like she was fleeing the gates of hell. Or her pimp, more likely.

Teresa Wainright had every reason to recognize her kind immediately. But she didn’t want trouble. No telling who might come looking for this one.

She gave a final polish to a stainless-steel napkin holder and scornfully studied the little whore as she swiveled onto the nearest stool. A small woman. Eyes ringed with straying mascara. She wore hot pants and scuffy mid-thigh leather boots and a stained lacy see-through blouse that needed a few extra buttons. Brittle white-blond hair piled on top of her head. Chipped dried-blood-black nails. READ MORE

Obviously, to "READ MORE" you'll have to buy a copy of the magazine. 

It'll be alright on the edit

 It's cold and wet here in Scotland, which is nothing unusual but still seeps into the bones like dampness into old walls.

It's the kind of day that makes me yearn for blue skies and golden beaches. For sitting at a table in warm sunlight, sipping a coffee, or a cold beer, and watching the world pass. No need to rush. No hassle. No pressures. Busy doing nothing and working the whole day through.

I'd settle for logs snapping in an open grate and an old movie on the TV. A jug of wine, a loaf of bread and thou beside me singing in the wilderness...

Hang on there, Omar Khayyam, before you recite the entire Rubaiyat - you've got an edit to do.

Ah yes.

It is an uncomfortable fact of writing life that we seldom, if ever, get it right the first time. Sometimes even the second time. We might think we have, but we really haven't. As our editors are quick to point out.

Editing is a vital part of publishing. As I tell creative writing students, this authoring game is a collaborative process.

Sure, we sit down in our garret and pound out the deathless prose, because if we didn't then everyone who follows on wouldn't have anything to work with.

But then we can find out that said prose isn't quite as deathless as we think. Sometimes it needs a little elixir of life, courtesy of a good editor.

They can spot plot holes. They can fix grammar. They can even suggest a new chapter that will make sense of something that previously didn't make much sense, even though you thought it did make sense when you sent the manuscript off with a sigh of relief and a deep draught from that jug of wine (see above). 

I'm sure a decent editor would have something to say about that last sentence.

I am currently in editing mode, for the second in my Jonas Flynt historical series. (I am contractually obliged to mention that the first, 'An Honourable Thief', is out now in hardback in-store and on-line and ebook on-line. That ends the word from our sponsor and we now return you to our programme).

Let me make something quite clear - for me, writing is hell. It's not something I particularly enjoy, generally speaking. As Dorothy Parker once said, I don't like writing, I like having written. I have no idea what she thought about the editing process.

Personally, I don't mind it. I do frown a little when Kit, my editor, highlights a sentence or passage and comments that it doesn't sense. I read it myself and, sure enough, it generally doesn't make sense. I try to remember what I was thinking when I wrote it but I often find myself incapable of remembering what I was thinking just a few minutes ago and....

I have no idea where I was taking that sentence.

That is why good editors are vital. We can write something we believe hangs together and they will tell us that it doesn't and the really good ones can tell you why. Kit has done that with me, by the way. They will do it not because they have an axe to grind or because they want to show off or because they want a co-writing credit. They do it because it's their job and everyone - author, editor, publisher - want to produce the best book possible, even if it's a silk purse/sow's ear situation. (For the record, I don't mean that about my book, because it's marvellous. 

(Or will be. 

(At least until the readers see it. 

(It's like Schroedinger's Cat for authors).

So grateful that Kit's eagle eye has highlighted some sections that need work, I must now bend to the task with a smile on my lips and a song in my heart.

Or something.

I have fresh material to write.

Did I mention I hate writing...?

Vaya con Dios, BookBar

I originally wrote this for October and set it to autopost, which didn't happen. 

Take 2. After too long of a delay, I finally had another book launch to get excited about. Unfortunately this news is bitter-sweet. The venue for the book launch party was BookBar, which sadly announced that after ten years, they will be closing on January 31, 2023. The reasons are many, explained best by them. After wrestling with the usual challenges of running a small business, aggravated by Covid lockdowns and its precautions, the final nail in the coffin was the City of Denver's mandated increase in minimum wage.

A decade ago, BookBar took over the location of another bookstore in the Tennyson Arts District, one that limped along and even sold ice cream to help pay the bills. BookBar expanded that hybrid model by offering coffee, food, and alcohol. Wine and readers, who would've guessed? Though the inventory was heavy in literary fiction and contemporary non-fiction, what endeared BookBar to the local community was their willingness to take a chance on local authors. BookBar became the go-to venue for book launches, poetry gatherings, and even hosted readings for the Colorado Book Awards. BookBar was a favorite location because of their friendly staff and attention to detail, like making sure consignments were paid, something other area bookstores found hard to do. In appreciation, people (me included) regularly ordered books from BookBar to avoid patronizing Amazon, who themselves are retreating from brick & mortar store fronts. BookBar was a spot to meet friends, out-of-towners especially were taken by the place, or to kick back with a good read, a coffee and pastry, or with a beer, glass of wine, or a cocktail.

During the quarantine, I sought to cope with the disturbing weirdness of it all by drawing a daily cartoon of cats dealing with the pandemic in ways that were both feline and human. Honestly, I thought that after two weeks to flatten the curve, plus another two weeks to let things settle down, that we'd be back to normal in a month. Two months, tops. Was I wrong. A few dozen cartoons became a hundred, then two hundred, three hundred, and more. When I was done, deciding that the fiasco in Afghanistan and the then looming war in Ukraine were fitting disasters to end cap the Covid disaster, I realized that I had chronicled the history of this pandemic--lockdowns, the masking, the hoarding, social distancing, Zoom calls, mostly peaceful protests, the vax/anti-vax wars. Hex Publishers offered to publish an edited collection of my work in Cats In Quarantine: A Cartoon Memoir of the COVID-19 Pandemic, which received a Starred Review from Kirkus Reviews.

As for my favorite cartoon? I have many but if there is one that I think best describes me and everyone else during the pandemic, it's this one:

Facts and Maybe Facts

 I'm in the midst of fact-checking for a nonfiction book that I'm doing for my academic publisher. The book is about gangster movies -- or, rather, nine gangster movies and The Sopranos.  The most fascinating task -- and the most grueling -- is trying to distinguish fact from fiction about multiple mobsters.

This week I've been looking at a dispute between two drug traffickers about who came up with a system for importing heroin from Southeast Asia during the Vietnam War. Ike Atkinson was getting out of prison after spending over three decades behind bars when he learned that Frank Lucas was taking credit for being the mastermind for a system that he claimed eliminated the Mafia middlemen. He had made that claim in his interview for an article, and the article had caught the attention of Hollywood, and now there was a movie  -- American Gangster -- starring Denzel Washington. Atkinson was not happy. He said he knew Lucas and had worked with him. But he was the guy -- the former U.S. Army master sergeant -- who had served in Southeast Asia and come up with the system for getting the heroin into the United States. He had controlled that system. He was not the minor character who had appeared in the movie as Lucas's cousin. 

The author of a book about Atkinson -- who did not believe Lucas -- makes a persuasive case that the media failed in their obligation to fact-check the assertions that Lucas made. The author of the article about Lucas pointed out that he had been writing about what Lucas "claimed" or "said" rather than what was necessarily true. But the article and the movie had revived the legend about Frank Lucas's "Cadaver Connection" -- a gruesome myth about heroin having been smuggled into the United States in the corpses of fallen soldiers. Even after both Lucas and Atkinson said it didn't happen, the question is who originally said it did. And if that wasn't true, then how had the heroin been smuggled in? Was it false bottoms in caskets or furniture with hollow interiors? However, it had been done, why would the media and everyone else who believed Lucas was a criminal mastermind has accepted the premise that a man who had never served in the military could have made a trek to Southeast Asia and established an elaborate system that would have required corruption at multiple levels to make it work. 

Any debate about historical truth is fascinating because of the "paper trail" that researchers attempt to follow. In this case, it involves DEA, FBI, lawyers. judges, reporters. social scientists, historians, and film critics. I have gone deeper than I needed to for my chapter on Anerican Gangster. But I can use this example next semester in my class on Crime and American Popular Culture.  

As it turns out, I can also use this research for my 1939 historical thriler. I think my protagonist is going to have an encounter with a gangster who can help him with his problem -- or, maybe, make it worse. 

Hectic schedules and tiny egos

It’s been a hectic fall with lots going on, so I’ve backed off on my Type M commitment, dropping down to one post per month for the time being.

I have a new day job. I’m leading the upper school at Detroit Country Day School now, having left boarding school for civilian life. Michigan, I’m learning, is a great place to live (and write). And aside from a fondness of bourbon, I now have one other thing in common with Ernest Hemingway: Michigan has given us both the freedom to write. While Hemingway went to Paris and wrote about Michigan; I moved to Michigan and am writing about boarding school life.

In late August, I finished a draft of what I’m hoping will be a new series featuring a husband and wife team at a New England boarding school, and I did something I haven’t done before: I brought in a hired gun to read it and offer a critique, hiring a longtime editor Marcia Markland (St. Martin’s and Avalon) to read the manuscript and offer her thoughts. Those thoughts were instrumental in me developing the draft.

I’ve long used a “home team” of readers –– close friends who are book lovers and who know me and the boarding school environment well. They offer excellent insights. But Marcia, who acquired and published crime and genre fiction, read the work as an acquisitions editor does. Her feedback allowed me to trust my instincts and have made the book much better.

It’s a question of ego, I think. I have published nine novels. Why pay for a reader? someone asked. My answer is simple: When trying to launch a new series, the goal is to go to houses with the best possible product, and I write only from 4 to 6 a.m. The rest of my day is spent with my head in another world, so I’m willing to pay Marcia for her time, excellent insights, and her ability to examine my book for plot unity.

I’m hoping to have the updated manuscript on my agent’s desk by Thanksgiving.

*

In an unexpected plot twist in the story of my writing life, an agent at CAA reached out to my agent, Julia Lord, last summer with unexpected news: two screenwriters wanted to option my Peyton Cote US Border Patrol agent/single mother series and pitch it as a TV series. In late September, we sold the option, and I’m thrilled that Bruce Norris and Caroline Wood will try to develop it with me as “consulting producer.” Caroline, who will take the lead, gets my vision for the series, which is set in the unique and isolated region of Maine known as Aroostook County.

Reality TV Show, Anyone?

 

by Sybil Johnson 

Recently, I’ve been hearing about a new reality TV show that’s in the pilot stage – America’s Next Great Author hosted by Newberry Medal winner Kwame Alexander. Co-Creators Arielle Eckstut and David Henry Sterry will serve as mentors. Jason Reynolds, Angie Goff and Marga Gomez will serve as judges. It’s billed as an effort to “give more authors a seat at the publishing table.”

You can read more about them and the official details here: https://americasnextgreatauthor.com/ 

Apparently, the way it works is as follows. The first phase is tryouts that are being held around the country. Contestants will have one minute to pitch their book ideas. This will eventually be pared down to six contestants who will live in a house together and have one month to finish the first draft of their novels. At the end a winner will be announced.

Applications were accepted through September 15. The 100 semifinalists were to have been notified by October 1. They’ll attend the pilot taping on October 30. During that taping, 20 semifinalists will be accepted to live pitch their ideas. The winner of the pilot will receive $2,500. The pilot is taping in New Jersey and contestants have to arrange for their own travel.

Honestly, I’m not sure what I think about this other than I don't want to participate in anything like this. I haven’t seen any details about what the winner of the entire show, not just the pilot, will receive. Money? A guaranteed publishing contract? All I’ve seen so far is info on the pilot. And, just because they’re taping a pilot, doesn’t mean that the show will go forward. It still has to be picked up. Something tells me that there’s not much chance of that. But, you never know.

I can’t believe that people will be all that interested in watching writers work. And, I’m sure the producers of the show, if it continues to the house stage, will try to amp up any conflicts between contestants to make it more “interesting”.

According to Victoria Strauss at Writer Beware, this isn’t the first time such a show has been attempted. I was actually surprised by that. At the end of her post she has a list of similar reality shows that have been attempted and failed. 

Her post:
https://writerbeware.blog/2022/07/15/americas-next-great-author-the-author-reality-show-idea-rides-again/

I suspect this will be one of those things that gets some press in the initial phase, then just fades away.

What do you all think about this idea? Has anybody ever competed in anything like this? Would you do it?