In my library are three slightly repellent books. One is the colour of poisoned custard, and the other two are a poisonous purple.
They look as if they’ve been through a lot. And they have.
These fat volumes, of about 500 pages each, were compiled in a time of disaster, and at the time, I didn’t know what I was doing or why. All I knew was that it needed to be done.
But first, a word of explanation. I am often asked, as are most writers, “Where did your main character come from? How did you go about creating him/her?” The simple answer is “I didn’t”, but the truth lies hidden in the thousand and more pages of these three uneasy books.
We had, at the time, a comfortable home on the edge of a forest – just like in the fairy tales. Until one night, lightning struck, and our forest was ablaze. Although we managed to get out safely with our pets, just ahead of the flames, more than 200 of our neighbours’ homes were reduced to ashes. When we were finally allowed to return, several weeks later, we found ourselves living in a blasted landscape: skeleton trees in a dead landscape of soot and ashes.
Time changed, and everything became different, including ourselves. What were we to do?
Sometime during those long hours and days and weeks that followed, I began compiling a compendium of poisons. The psychologists ought to have a field-day with that! Without knowing why, I had begun collecting and collating everything I could find on poisons and their history, all nicely filed alphabetically and indexed all the way from ‘A is for Arsenic’ to ‘Z is for Zarutin.’
The files grew from a folder, to many, and then to a book, then two, then three.
They contained detailed descriptions of the life and crimes of famous and not-so-famous poisoners, the history of specific poisoners from antiquity until just yesterday, the chemistry of poisons and their medical aspect. Ancient newspaper accounts told many a grim story, all so sadly the same: love gone wrong, ambition gone mad, and cleverness come a cropper.
There were heart-breaking tales of poor children who, in searching for something to eat, had – but enough! You get the idea.
Then, as the world around us restored itself, I put these books away, not knowing if I would ever look at them again. Whatever angel had caused me to compile this stuff had not bothered to leave an explanatory note. When the time came, I would know why.
Several years passed. Five, in fact. And there came a day when I decided that it was time to sit down and write that ‘Golden Age’ mystery novel I had been mulling since my younger days. It was a book that I much looked forward to, a tale that would draw on my years of experience in television broadcasting. Something fresh – something startling.
But it was not to be. I got no farther than the second chapter when, in a scene involving a visit to a crumbling country house in England, an eleven-year-old girl materialised suddenly on the page and would not, in spite of my every effort, be budged. She would not be written out and she would not be ignored. After a time, I realised that she had taken over my book completely. It was her book now, and my role was to sit down, shut up, and write what she told me to write.
And it came as no real surprise that her whole being revolved around a passion for poisons. Her knowledge of the subject was, you might say, voluminous.
Since then, she has more or less dictated ten novels, and has gathered readers around the globe in forty-some countries and forty-some languages. She has been on the New York Times bestseller list.
And that, dear reader, is the origin of Flavia de Luce, as best as I can manage to explain it.
And these three noxious volumes are the only proof I have that all of this is true.
I grew up in a small town in Southern Ontario, and being always fascinated by the magic of light and colored glass, naturally went into television broadcasting, both private and public. After twenty-five years as Director of Television Engineering at the University of Saskatchewan, I took early retirement to write a mystery that never got written. I did manage to write other things, though.
Now that I’m retired from retirement, having lived for a while in Malta, my wife and I now live in the Isle of Man, in the shadow of an old castle, where we keep an eye on the sea at our door, which was once frequented by Saint Patrick and the Vikings.
Alan Bradley has written TEN Flavia deLuce books, plus a short story, The Curious Case of the Copper Corpse. His newest novel is The Golden Tresses of the Dead. All the books are available in audiobook form (which I love).
He also wrote a wonderful ebook memoir, The Shoebox Bible.
A common piece of advice given to school children and new authors alike is “Write what you know”. But many established authors dismiss the principle. Ken Kesey, author of One Flew Over The Cuckoo’s Nest, told The New York Times, “One of the dumbest things you were ever taught was to write what you know. Because what you know is usually dull.”
So where does an aspiring writer begin? Unlike most authors, I had no lifelong desire to write a book and only considered it as a potential career two years ago. We moved back to the UK from Kenya so my husband could begin training for his next military posting in Sarajevo, in Bosnia and Herzegovina. I realised that as I didn’t speak Bosnian, and the country had a high unemployment rate, I was unlikely to find a job.
Further, as a family we would be moving around the UK, and potentially the world, for at least the next eight years. I needed to keep myself busy and engaged, but not with a physical business like the farm shop I had set up in Kenya. My new venture needed to be portable and flexible to work around the demands of my family.
I first considered writing as a method to convey the incredible experience I’d had living in Kenya, in Eastern Africa. I’m not sure if moving to Kenya or returning to the UK was more of a culture shock. In Kenya I’d become used to a way of life lived at a slower pace, with no judgement of what people wore or what car they drove, and far less emphasis on the material side of life.
In Africa, the first priority is to survive and so each day, and certainly every birthday, is celebrated. After that come friendships and community and, of course, enjoying the glorious sunshine, fantastic scenery and amazing wildlife that Kenya is famous for.
P.D. James wrote in her “10 Tips for writing novels” for the BBC, “You absolutely should write about what you know. There are all sorts of small things that you store up and use, nothing is lost as a writer. You have to learn to stand outside yourself. All experience, whether it is painful or whether is is happy is somehow stored up and sooner or later it’s used.”
My Kenya Kanga Mystery Series is set in Nanyuki, a small market town three hours north of Nairobi, Kenya’s capital. It is dominated by the often snow-capped Mount Kenya which, at over 17,000 ft, is the second highest mountain in Africa. This is where I lived for six years, and it’s the perfect setting for a cozy mystery series.
In my books I’ve used actual locations, such as Dormans, a town centre coffee shop and a hub of gossip, and the relaxed garden location of Cape Chestnut restaurant. Other places, such as the Mount Kenya Resort and Spa, are recognisable as being based on real settings which I’ve altered to suit my stories.
Small towns in cozy mystery series can develop the “Cabot Cove” syndrome; if Cabot Cove existed in real life it would top a number of categories of the FBI’s national crime statistics.
To avoid this phenomenon, I themed the second and subsequent books around actual events. These include an important elephant focused wildlife summit, a 4×4 off-road charity event in the Maasai Mara and, in the book I am releasing in May, a marathon in a UNESCO World Heritage wildlife reserve.
A sense of place is important to me and my writing. Has a certain smell or the call of a bird transported you back to a memorable location? I try to convey the smells, sounds and sights of the individual settings and it does help that I’ve visited most of them. And if I haven’t, as P.D. James said, I can use snippets of other places that I have stored up to successfully create them.
The characters are another aspect of my books which I’ve developed as I’ve expanded my writing craft. Mama Rose is based on an incredible friend of mine, now in her 80s, who is a community vet, a staunch catholic and a member of various committees. The help and assistance she has given, and continues to provide, those less fortunate than herself can not be fully conveyed in my books. But is it important to recognise, and remember, that there are still people who put others before themselves and work for what is morally right and just in life.
The other characters have developed from meeting people and observing situations in Kenya: the interaction of customers and stall holders at the local vegetable market, street sellers trying to persuade tourists and visitors to buy their wares, and the ability of a charismatic priest to captivate his audience in a town centre park.
A snippet I have woven into one of my books occurred when I took my young children to mitumba; a large jumble sale of donated thrift clothes, and other items, from first world countries which are shipped to Kenya and sold in makeshift markets.
Two raggedly dressed, and shoeless, children tentatively approached our car holding out their hands in a begging gesture. I remembered two squares of jam sandwich which my boys hadn’t eaten. I handed the pieces to the children expecting them to stuff them into their mouths, but instead they just stood and waited. Slowly they were joined by a group of similarly attired children, and those who had the sandwiches carefully divided them up until every child had a small morsel to eat.
This was an incredibly humbling experience. So perhaps it is not necessarily “write what you know” but “write what you feel”. After all, as writers we strive to elicit an emotional response in our readers’ minds.
Finally, Dan Brown said, “You should write something that you need to go and learn about.” As writers we do need to expand our knowledge, and understanding, and researching is one of my favourite area in the writing process. I have learnt so much more about Kenya than I knew, or understood, when I lived there.
Rhino Charge, my third book, has many Kenyan Indian characters. It evolves around events at a 4×4 vehicle off-road event which is popular amongst the Kenyan Indian community. Whilst I had Indian friends, I wasn’t aware of how, or why, their ancestors had settled in Kenya. Researching this aspect of the Kenyan culture was fascinating. I learnt that Indians came to Kenya with the British and supported the creation of the East African Protectorate, which became Kenya, as clerks, accountants and police officers.
Two and a half thousand Indian labourers died during the construction of the Mombasa to Uganda railway line, including those killed by the infamous man-eating lions of Tsavo. The rupee was the first currency used in the colony which was ruled using an extension of Indian law. On the 22nd July 2017, President Kenyatta officially recognised the Indian community as the 44th tribe of Kenya. Researching and learning this extended my knowledge and increased the depth of Rhino Charge.
Not all authors are luckily enough to live in extraordinary locations such as Kenya, or Bosnia and Herzegovina, but small towns still have their own customs and query characters.
I’m currently planning my next series which will be set in areas of the UK I have lived in and visited. The theme is antiques, of which I have no knowledge. I enjoyed, and was fascinated by, auctions which I attended on my return to the UK, to buy furniture for our house. And I observed some fantastic people for the basis of my characters. I’ll research collectibles, antiques and related crimes to build interesting stories with “can’t put down” plots.
When I can finally move freely around Sarajevo, and Bosnia and Herzegovina, I will begin researching for a future series. I’ve already discovered that everyone here has a story to tell from the devastating war and various sieges, including the longest in modern history in Sarajevo. As I search for potential locations, characters and stories my attention will be more focused as I learn to observe and record even the smallest incidents. Who knows what snippets will make into future books.
Like most writers I have read dozens of how-to books, joined Sisters in Crime; Mystery Writers of America; the Authors Guild, and even ASJA – the American Society of Journalists and Authors. I’ve been a panelist at conferences, given talks all over the place, and enjoyed writing for this blog and magazines.
These days I have suffered from a lack of inspiration.
Previously I had deadlines that worked when I had a demanding publisher or if I was ghostwriting for a client. At present neither apply and I find myself with days, weeks even, of time to work on three books of my own that have been on the back burner.
They include a biography of a woman who pioneered aviation art in America; my third mystery, and a book about a terrorist event that was originally to be ghostwritten.
This last one is a true account of a teenager who was married in 1992 to a Middle Eastern college student who later became a terrorist. Divorced in 1994 she went on with her life. When she saw her ex-husband’s photograph on TV as one of the terrorists she contacted the authorities.
I interviewed her years ago in Oregon, made copies of her marriage certificate and divorce decree, and wrote a 40-page book proposal. I was quickly signed up with a top-five New York literary agent. However, no publisher was willing to touch it back then and a few months later, at the age of 31 and just before I was due to meet with her again, the young woman died in a suspicious car accident reminiscent of the Karen Silkwood story.
Last year, before moving to Connecticut, I emptied my storage unit and found the two bins of research I’d collected containing recordings of the girl, her mother, sister, and brother who knew the terrorist husband. Mindful of the fate she suffered I decided to fictionalize the book. I’d signed a contract with her mother giving me all rights, registered the book proposal with the Copyright Office at the Library of Congress, and went to work. So far I have nine chapters.
The decision to go forward with this project was easy. The implementation almost impossible. I just haven’t been able to get myself to work on it further for the past few months, perhaps because of the overwhelming amount of research I had gathered.
My research includes several books on the event and I have great quotes from the young woman and the family. I visited locations and took photos, and had lunch in the same restaurants her ex-husband had taken her to where they met up with “friends.”
The bins are brimming with marvelous, usable material. I was pumped and eagerly dove into writing. I became so engrossed I made dozens of cups of tea and left them in the kitchen forgetting they were there. The agent lost interest because the subject was no longer alive to promote the book. I stored the names of the detectives who investigated her death; transcriptions; the coroner’s report; the death certificate, and her obituary. So I went on to other projects.
Now, I want to complete it. But guess what?
I can’t get myself to open the document. I’ve thankfully avoided writer’s block for decades and I have come the conclusion that I am simply lazy. This condition is exacerbated by the virus causing enforced isolation more than usual, and my discovery of the wonders of Netflix. Or maybe the 123 files staring me in the face are too intimidating.
I remember reading how John Updike solved his lack of excitement for a story when he lived here in Connecticut, incidentally. In his den he set up three typewriters on which he was typing three different stories, During a day he walked from one to another when he ran out of ideas for one novel and moved on to the next for a while.
What to do? After a stern argument with myself last week which got me nowhere I reached out to friends for a solution and received some excellent advice.
Peggy Ehrhart who is on her eighth mystery in her knitting series, had a suggestion. She told me to start at the front of a bin, pull out the first file and insert whatever material was in that file into the appropriates chapters. And so on. Great idea.
Sandy Giedeman, a well-published award-winning poet who often edits my books offered more advice. I told her one of my favorite guides was “Writing Down the Bones,” by Natalie Goldberg. Sandy told me to re-read it and start putting flesh on the skeleton I had already created in the synopsis that included a sentence or two for each of the chapters. That helped. I had a terrific, ready-made skeleton for the entire book in the book proposal I had shelved years earlier. (It is one reason I am a fanatic for flash drives and printing out hard copies of precious writings)
A third friend said I should listen to uplifting music. I dug out my favorite CDs and heard the Mamas and Pappas singing “California Dreamin’” Well, that was a little sad as I was no longer in California and had a hankering to be back there. I also listened to ABBA, again a bit of a mistake since instead of writing anything I sat on the sofa and daydreamed about my life when the band was famous many years ago.
I also played “The Standing Stones of Callanish,” Celtic music composed about an ancient site in Cornwall but then I remembered I had bought that disc to put me in the mood for my Cornishwoman mysteries. I replaced it with “Puccini Without Words,” which is quite lovely but again, maudlin in parts because operas are so melodramatic. Nevertheless, all three suggestions helped and I am now happily engaged in methodically sorting through the first bin of files.
It is so easy to waste time instead of sitting down and writing. Such a strange paradox as we all share the passion and when inspiration smacks us on the jaw it is thrilling to get our ideas onto the electronic page – and just as disappointing when we don’t or can’t.
I’m sure most writers have their own solutions, even quirky ones, and someone has probably written a book about them. I still like Goldberg’s book not only because I write mysteries and love its title, “Writing Down the Bones,” but also for its content.
My current plan is to finish the first draft of the story by May 15, self-publish, and see how it goes.
As I sit at my computer and think back to 2014, I recall how devastating it was to me when I was forced into early retirement. But on the flip side, I looked forward to writing full time.
My first book, Cache in the Stacks, was loosely based on my personal experience of receiving a threatening phone call in the middle of the night. I used that as the premise for Cache, and my writing took off. When I discovered a historical twist that fit into my plot, I asked myself, “Why not write historical fiction?” which I love to read and always wanted to write.
I had an idea and began to develop my characters, settings, timeline, and plot twists. I wrote snippets starting in 2016 and revised my title but kept my characters and the basic premise intact. I wasn’t sure what subgenre it fell into, having started it as a historical romance, and it morphed into a murder mystery taking place during World War II.
In the meantime, I had an idea for a woman’s fiction that would start in my hometown of Pasadena, California, and move quickly to Kauai. Coincidentally, my husband and I planned a trip for our anniversary to Kauai, and I found the perfect opportunity to research my new novel. I gathered information and made contacts on the island, hoping that I would be able to have a book launch at a bookstore on the Garden Island in the future. I couldn’t believe how fast I wrote this book. It was published in December 2019.
I was happy to publish a book a year, but my historical fiction still sat with a few words written here and there. I knew where I wanted to go with it but didn’t know how to get there. To say I was stumped would be an understatement.
Then Covid hit, and my plans to launch my woman’s fiction were put on hold. Covid put me into a state of depression, and I lost my ambition to write. Thankfully, my critique group’s twice-monthly Zoom meetings kept me accountable. I started writing sequels to my first two books. But my historical sat in a holding pattern. It wasn’t that I didn’t think about it but I couldn’t put the “pedal to the metal” and take off with it.
I ask myself do I stay where I am where it’s comfy or move forward with my historical fiction? How can I pull myself up from the utter pits of despair I have felt for the past year? I don’t think so. My word for 2021 is persevere, and this is what I plan to do: sit down, pull up my manuscript on the computer and write what I dearly love: stories set during World War II, which satisfy my desire to write historical mysteries. Covid may still be here, but I refuse to let it impede my writing. I will persevere!
Can I ask you how you first got fascinated with that era?
Since I was a child, I’ve heard stories about the Second World War from family members who lived through that era. But my own interest in the Second World War era was really sparked when I moved to County Fermanagh, at the western edge of Northern Ireland, almost twenty years ago. Soon after I arrived, I began to hear stories from local residents about what life was like here during the war era. I was enthralled by their tales of the real servicemen and women who were stationed at the flying boat bases and army camps that were dotted around the county. This prompted me to do some research into life in the county during the war.
What I discovered was that the arrival of the Allied troops had a huge impact on the quiet, largely rural county. County Fermanagh is far from Belfast and Londonderry, the largest cities in the province, and, at the outbreak of the war, the way of life in the county had changed little in generations. Then there was an influx of servicemen and women from several nations, and approximately a quarter of the population were suddenly military personnel. The lives of the local residents were turned upside down. The county must have been so different from the tranquil place that I know today.
I’ve heard some marvellous and unique true stories of those days but very few wartime novels have been set in Northern Ireland. I think it’s a shame that such a rich heritage doesn’t receive more attention so I decided to write stories that will keep it alive. Although my stories are fictional, there are grains of truth behind them, and I do my best to evoke the era faithfully so readers can enjoy the unique place that County Fermanagh, and the rest of Northern Ireland, was during the Second World War.
How did you do research about it.
I do quite a bit of research for each of my books. And research is never finally finished until the story is written and released to readers. There’s always something else you need to check. Writing stories set in Northern Ireland also means I have extra research to do, compared to authors who write about the home front anywhere in the rest of the United Kingdom, as many aspects of the war in Northern Ireland weren’t quite the same as in England, Scotland and Wales. For one thing, there was no conscription because of the division of opinion about the war between the Protestant and Catholic communities, and the threat of rebellion by anti-unionist organisations if conscription was introduced. Related to this, there was the threat of the terrorist organisation, the Irish Republican Army, attacking strategic locations in Northern Ireland for their cause while the military and police were occupied with the war. The province was waging an internal war as well as the one against the Axis countries and I endeavour to include this aspect of the war in my books.
Before I begin writing, I do general background research, reading memoirs and accounts of life on the home front in Britain as well as general history texts about the war era. I also read local history books and memoirs to glean details about places in County Fermanagh that I won’t find anywhere else. I visit the places I write about speak to people who lived through the war to hear their memories. I’ve also trawled through countless photographs to get a flavour of the era. I try to make my stories as authentic and believable as I can.
Do you have relatives who fought in the war?
Yes, I do. My parents were both children during the war but members of my grandparents’ generation served their country. My great uncle was a soldier in a Canadian regiment, and my grandmother worked in a munition’s factory in Toronto, Canada. My great uncle was injured in a training accident while he was stationed in England so he returned to Canada before his unit deployed to the continent. Another great uncle was also a soldier and fought on the continent. During his time in Europe he met his future wife who was a member of the resistance movement in Belgium. Unfortunately, because I only became interested in the war after I left Canada, I never had the chance to ask my family members as much as I would have liked to about their experiences.
And a bit about The Yankee Years too.
During the Second World War Northern Ireland hosted American, British and Canadian troops. County Fermanagh welcomed Air Force squadrons hunting U-boats and defending shipping convoys in the Atlantic Ocean and Army battalions training and preparing for deployment to Europe’s Western Front. I’ve written The Yankee Years books to bring this era to life. Although my stories are fictional, there are grains of truth behind each plot. I look for snippets of information that grab my attention and build a story from there.
For instance, when I was planning Acts of Sabotage, the second story in The Yankee Years Book 1, I noticed numerous newspaper items in local newspapers from the era reporting on court cases where the defendant was charged with the theft of military equipment. The stolen goods were sold on the black market. I also noticed several articles about local residents’ fears that the I.R.A. would take the opportunity to mount terrorist attacks against strategic targets in Northern Ireland while the government was occupied with the war effort. I put these two pieces of information together and wove them into the events in my story. One of the newspaper court reports mentioned the judge’s comment when he sentenced the prisoner for theft, saying that the theft ‘was an act of sabotage’. This really hit home to me and catapulted my story into life.
There are six novellas in the two collections, The Yankee Years Books 1 and 2, and Allies After All is a standalone novella in the same series.
Be sure to check with Amazon on December 1st for this new collection of WWII Christmas stories “Wartime Christmas Tales.” (Dianne Ascroft has written one of the stories.)
AUTHOR BIOGRAPHY: Dianne Ascroft is the author of the Second World War series, The Yankee Years, and the Century Cottage Cozy Mysteries. She is a Canadian who has a passion for Canada and Ireland, past and present. Dianne enjoys walks in the countryside, evenings in front of her open fireplace, and Irish and Scottish traditional music. Born in Toronto, Canada, she now lives on a small farm in County Fermanagh, Northern Ireland with her husband and an assortment of strong-willed animals.
Some writers can sit down at their computer with no idea of what they will write about and launch into the first draft of their book. They find the blank screen and the infinite possibilities exciting and inspiring. I’m not one of those writers. I must have an idea of where the story is going before I begin writing. Otherwise, the blank screen paralyzes me. Before I begin a book, I spend a lot of time researching and thinking about the story. I’ve discovered that both nonfiction and fiction inspire different aspects of the story for me.
I like to dig into nonfiction as I brainstorm my historical mystery plots. Here are a few of the resources I’ve found most helpful:
Newspaper Archives—My historical series is set in early 1920s England, so the online British Newspaper Archive has been an invaluable resource. I scoured the Positions Available section, what we’d call the Help Wanted section today, which gave me an insight into the jobs were available, the qualifications required, and the salaries that were paid. The British Newspaper Archive has magazines in addition to newspapers, and those are wonderful for getting a feel for what people read in their leisure time. One delightful surprise came as I flipped through an issue of the Sketch. I came across the first publication of Agatha Christie’s short story, The Adventure of the Egyptian Tomb with Poirot and Hastings.
Magazine and newspaper advertisements are also helpful for researching clothing and fashion as well as helping me keep in mind the attitudes of the time. Ads for fur coats and smoking tobacco seem a bit jarring to me as a modern reader, but browsing the ads helps me keep in mind the typical mindset of someone who lived in the early 1920s.
Nonfiction books—Once I have a general idea of the direction of the story, I search out nonfiction books related to the theme of the novel. I’ve read all sorts of books—everything from books on the English country house to code breaking during World War I. I find nonfiction is an excellent source for clues and red herrings. Nonfiction books have even inspired a complete plot. The second book in my historical series is about an author who keeps her gender secret from everyone—including her publisher. A real-life author who did the same thing inspired that story idea.
While researching the Egyptomania that gripped the world after the discovery of King Tut’s tomb, I ran across a story of a British nobleman who had been connected to the excavation and committed suicide. That incident became the jumping off point for the third book in my series, The Egyptian Antiquities Murder.
Memoirs—One of the most valuable resources I’ve found for getting inside the heads of my historical characters are memoirs and biographies. The Bright Young People of the 1920s were a prolific and literary bunch. It’s easy to find information about them, and reading about their midnight scavenger hunts and paper chases across London as well as their extravagant themed parties meant that I had plenty of ideas for a book set in London among the high society set when it came time to write An Old Money Murder in Mayfair. In addition to story ideas, I also cull clues in red herrings from memoirs. I note down the things that people hid from their families or feared would become public knowledge.
Video clips—I didn’t realize how much video is available from the early 1920s. YouTube and stock image sites have quite a bit from that time. I’ve watched videos of people strolling in Trafalgar Square, dancing in nightclubs, as well as an informational video from the 1920s on how the brakes work on an early motorcar, which was critical when plotting how a certain murder was committed.
Vintage clothing auction sites—My readers want to imagine the characters wearing flapper dresses and elegant evening gowns. I need to know about the fabric, cut, and embellishments of the dresses. With multiple images of individual clothing items, auction listings of vintage clothes are a good source of detailed information about the materials and construction of the clothes of the era. Another great source for clothing details and inspiration is the Metropolitan Museum of Art’s Costume Institute with its extensive online collection.
I was a fan of Golden Age mysteries, but I’d always read them for pleasure, not research. When I decided to write a historical mystery, I began reading and rereading my old favorites as well as seeking out new authors from the era. I read the books in a different way and found that they gave me a first-hand view of day-to-day life in the time. I used my fiction-reading to glean small details that gave my stories the feel of the time.
Dialogue—Writing dialogue is one of my favorite parts of writing a High Society Lady Detective series. Much of the verbiage is inspired by my reading of Golden age fiction. Terms like old bean, old thing, topping, and that’s not cricket are common in Golden Age mysteries. The posh set was fond of their adjectives and adverbs, so I use those types of words in conversation in my historical books in a way that I wouldn’t do in a contemporary novel. Everything was ghastly, frightful or screamingly. I sprinkle those terms throughout conversation to give it a feel of the 1920s.
Culture—As I read Golden Age fiction, I made mental notes of how the characters’ lifestyles: the size of their houses, whether or not they had telephones, what they ate for meals, as well as what types of cars they drove—even if they had a car. Another thing I noticed was the formality of conversation and address. People rarely used their first names when they spoke to each other unless they were well acquainted. I fold all those details into my stories.
I’ve learned to allow some time to delve into research before I begin a book. I gather these all these details and ideas, then let them brew in my mind for a while. By the time I sit down to actually begin writing, I have a pretty good idea of the direction I want to go and some of the clues and red herrings I’ll use. If I take the time to absorb ideas from both nonfiction and fiction that blank screen isn’t as intimating and my writing goes much faster.
USA Today bestselling author Sara Rosett writes lighthearted mysteries for readers who enjoy atmospheric settings, fun characters, and puzzling whodunits. She loves reading Golden Age mysteries, watching Jane Austen adaptions, and travel. Publishers Weekly called Sara’s books “enchanting,” “well-executed,” and “sparkling.”
She is the author of the High Society Lady Detective historical mystery series as well as three contemporary cozy series: the Murder on Location series, the On the Run series, and the Ellie Avery series. Sara also teaches an online course, How to Outline A Cozy Mystery, and is the author of How to Write a Series. Sara’s latest release is An Old Money Murder in Mayfair. Find out more at SaraRosett.com.
As a Brit I put up with a lot of ribbing in America. Some friends take me to task for pronunciation. Well, I can’t help it if I have a very slight West Country accent as I am from Cornwall. To my amusement my accent is occasionally mistaken for Australian.
As a writer from over there, though, the ribbing can give me indigestion or at the very least depression for hours. The main problem is spelling. I am warned by colleagues that editors at U.S. publishing houses come down hard if you keep inserting a “u” into words like behaviour, colour, and honour, or substitute a ”z’ for an “s”. Other minefields include using “ae” rather than “e,” as in “aeon” and “eon”. Maybe it’s a matter simplicity. Americans pare as many ells from words as possible while Brits love double ells, such as “levelling” versus “leveling”.
My books are published here but habits die hard and I usually claim that Brits use the correct spellings. They only got chopped when unnecessary (to whom?) letters are summarily killed off. Flautists are called flutists, kerb is curb, and gaol is jail. Obviously what it comes down to is pronunciation, though. Americans spell words economically as they are spoken which is commendable although it escapes me why tyre is spelled tire. I think it has to do with the Boston Tea Party and wanting to be set apart from that awful king.
It’s a huge temptation to some authors who have leapt across the pond to use British spelling, perhaps as a sly signal to agents and publishers they are querying that the writer is a Brit – a sort of literary snobbism one occasionally encounters. In my first mystery I have my lead character admonish the British consul’s wife for this attitude which I did, in fact, actually encounter in Newport Beach.
Then there’s the grammar. Collective nouns in particular give me pause. Is a group, say, a government, singular or plural? Americans say it’s the former; Brits insist on the latter. I have a page from the Associated Press Stylebook permanently stuck to my printer to remind me which to use.
Figuring out past particles is always fun. For instance, Brits say “pleaded” Yanks say “pled”. Oh, and the very, very worst word I hate to see changed is “hanged”. To my mind it should refer only to someone at the loop end of a rope, giving the action a far heftier meaning than the briefer word “hung”, as used here. People are not paintings.
What else? “Have” and “take” always flummox me. Am I going to take a bath? Or, am I going to have a bath? I read somewhere that this is an example of a delexical verb, which I’m not even going to touch.
While writing my mystery my beta readers caught another mistake. I wrote, “He drove her to hospital.” Wrong. I was told there should be a “the” in front of “hospital”. I’m sure there’s some kind of diabolical rule about this but I think it is fine to give an in-house editor something to mark up to justify his/her salary. As for tenses, the past participle in the U.S. for “got” is “gotten,” an ugly word that makes me shudder enough to want to write a thriller entitled “The Dangling Participle and the Dark, Dark Pluperfect”.
While writing the first in my crime series, whose amateur sleuth is a disgraced Cornish woman exiled by the palace for discovering a scandal (not sexual!), I had to learn the police rankings and figure out who was a sheriff and who was a police officer. Having worked with a reporter at the good old British rag, the Sunday Dispatch, I decided to have my sleuth simplify her confusion (and mine) by using British titles. When caught speeding she addresses a California Highway Patrol (CHiP) officer as Chief Superintendent, and calls the Chief of Police, Constable. I was very pleased to learn that sheriffs and policemen can be lumped into a group collectively referred to as “cops”.
When I mention a British pastime, such as nighthawking, no one has a clue as to its meaning. I was going to give the nasty habit to a character in my next book but I decided the explanation could be tedious unless you’re one yourself.
Even the four seasons can be a challenge. Seeking representation for my new book I scoured the agent lists and was rejected by 55 of them. I knew small presses can be approached directly and I found one with whose name I fell totally in love: Mainly Murder Press in Connecticut. However, the website declared, NO SUBMISSIONS UNTIL LATE SPRING!
Ha. I immediately sent in my query along with a note: “Dear MMP, I live in Southern California and although it is only January according to the calendar, and snowing where you are, it is already late spring here. You should see the roses!”
I received an email back within three hours, asking me to send chapters. Which I did. Obviously the publisher was not off in Tahiti but still on the snowy East Coast.” MMP published only 12-14 books a year and has now closed its doors but who can resist the name? So my advice is to go ahead and break the rules. Lay it on thick. Change the climate. Worked for me.
Jill Amadio is from Cornwall, UK, but unlike her amateur sleuth, Tosca Trevant, she is far less grumpy. Jill began her career as a reporter in London (UK), then Madrid (Spain), Bogota (Colombia), Bangkok (Thailand), Hong Kong, and New York. Jill writes a column for a British mystery magazine, and is an audio book narrator. She is the author of the award-winning mystery, “Digging Too Deep” and the second book in the series, “Digging Up the Dead.” The books are set in Newport, California. http://www.jillamadio.com
This article was posted for Jill Amadio by Jackie Houchin (Photojaq)