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The Right Writing Space by Bonnie Schroeder

Bonnie Schroeder started telling stories in the Fifth Grade and never stopped. After escaping from the business world, she began writing full-time and has authored novels, short stories and screenplays, as well as non-fiction articles and a newsletter for an American Red Cross chapter.

THE RIGHT WRITING SPACE

Do you believe in magic? Do you have a special space where your creativity blossoms?

When I first started writing fiction, at age ten, I had a vision in mind: me, in a cozy office lit by Tiffany lamps, tapping away on a typewriter (remember, I said I was ten) and producing page after page of flawless prose, destined for publication and awards. Nowhere in my vision did reality intrude.

A few years later, my mom gave me that typewriter: a big black Remington. I thought I was really on my way to becoming A Writer then. Since no office was available, I put the Remington on a metal stand in a corner of my bedroom, taught myself touch typewriting from a book, and churned out story after story about misunderstood adolescents searching for . . . well, I’m not sure what they were seeking except my recycled versions of popular television shows.

Fast forward a few decades. The Remington gave way to a Smith Corona electric. More paper was sacrificed in my quest for publication. Still my writing didn’t catch fire—with me or anyone else. I plodded, and it showed.

In young adulthood, I bought myself a big old oak roll-top desk. Maybe that would help, I thought.

It didn’t. I still have the desk; it’s a lovely piece of furniture, and I sit at it to pay bills, make phone calls, and write shopping lists. But I don’t write stories there. The desk gives me claustrophobia, with its high sweeping sides and cubbyholes that block the light.

Besides, my computer won’t fit on that desk.

Yep, the Smith Corona is long-gone, replaced first by a Dell desktop and eventually by a sleek little laptop. I bought a cheap metal table at Office Depot and it barely holds the laptop, a tiny printer, and all the electric cords and connectors. There’s not much room for paper or anything else.

And I find it really, really hard to sit at that computer table and write fiction. Ideas refuse to come.

It’s not like I need perfect conditions in order to “create.” I wrote the first draft of Mending Dreams on a 14-passenger commuter van (on the days I wasn’t driving it.) And for a while I wrote at a local bookstore. That actually worked pretty well; the soft white noise around me drowned out the omnipresent Critic who lurked behind me at home.

Then the bookstore remodeled. They expanded and added a “café” to replace their tiny little coffee bar. The clientele expanded, too, and with it the white noise turned harsh and distracting.

Finally, I re-thought my work space. Years ago, I shared a fairly large house with a roommate. The house had three bedrooms plus an office: a wood-paneled room with a built-in desk and tons of cupboards and shelves. My roommate generously forfeited the office to me, and she put her metal office-surplus desk in the third bedroom. Ironically, in the luxury of that genuine office space, I had trouble writing. The wood paneling seemed to swallow light. I found myself gravitating to my roommate’s metal desk when she wasn’t around, because there I felt able to breathe.

Maybe I needed the space and the light because what I was doing—making up stories and creating characters, only to plunge them into emotional pain and despair before they could emerge changed for the better—was such a dark art that it had to be practiced in as much daylight as possible.

I finally found my magic spot in my current home: my dining table, a clunky slab of pine on skinny legs, from Ikea no less. But you know what? It works for me. I can see the street in front of my house, but not enough to distract me. I have room for my stacks of folders, my drafts and notes and thesaurus, and they’re all within arm’s reach. I have a couple of little good-luck tchotchkes there too, and the chair is uncomfortable enough to force stretch breaks now and then. The laptop comes and goes, depending on which phase of writing I’m in.

The downside is that, yes, it’s the dining table, and it actually gets used for dining a few times a year. Mostly we hang out at the breakfast bar in the kitchen, but on birthdays and holidays, I have to move all my paraphernalia somewhere else. But that only takes a few minutes, and the trade-off is worth it.

Light and space and breathing room. For me that’s the answer. But what about the rest of you? Do you have a special place that makes you feel safe and creative? Was it what you expected it to be at the beginning of this crazy journey? Please don’t tell me I’m the only one re-purposing my furniture!

A Pet Psychic, A Gentleman, and an Exorcist Walk Into A Bar

Jacqueline Vick is the author of over twenty published short stories, novelettes and mystery novels. Her April 2010 article for Fido Friendly Magazine, “Calling Canine Clairvoyants”, led to the first Frankie Chandler Pet Psychic mystery, Barking Mad About Murder. To find out more, visit her website.

A Pet Psychic, A Gentleman, and an Exorcist Walk Into A Bar

It sounds like a joke, but it’s not. These are the characters who inhabit my head, along with a crime reporter, a mother and two daughters with a knack for stumbling into nefarious situations; and a few more who haven’t made it to print.

One of the difficulties with so many different characters is finding a common thread that runs through the various books that can be used to solidify an author brand. What is an author brand?

When you hear Joanna Fluke, you think mysteries and baking. And vise versa.

Is there a common thread among my characters? Well, Evan Miller is troubled, while Deanna Winder IS trouble. Frankie Chandler, Pet Psychic, considers the supernatural an intrusion in her life, while Father Gerald McAllister, exorcist, relies on it. And most of them would be left off the guest list of a dinner thrown by Edward Harlow, author of the Aunt Civility etiquette books.

An author, when coming up with a brand, also needs to consider his or her target market. I’ve never mastered that one. Most mystery readers are women, so I should try to determine who would like my books by age group and other demographics. Let see an example of how well that works.

I took a screenwriting class in Chicago. I wrote a scene that took place in a small town post office, and a confused, elderly lady at the front of the line was driving the impatient protagonist mad. The person who laughed the loudest was a young, black man. I would have picked the suburban-looking white women as my target audience, but her slight smile seemed reluctant. So much for stereotyping your audience.

Another trick to finding your brand is to brainstorm words that come to mind when describing your books or characters. Unintentionally funny due to the circumstances and people they are surrounded by. In other words, you and me. That doesn’t narrow it down very much.

Could this be the next
Agatha Christie?

You can always compare your books to others out there, but that’s too intimidating. When I put fingers to keyboard, I always hope to be the next Agatha Christie or Rex Stout, but the results fall far short. As for comparisons to current authors, each one seems so unique to me that I wouldn’t dream of holding my novel up next to theirs. I would feel like the gal on late-night television offering knock-offs for those who don’t care for the real thing.

JA Konrath has said that if you want to sell books, write more books. That I can do. I’ve slowly built up 4 novels, a traditionally published novella, and 4 short stories. Oh, yeah. And a children’s book. If my timetable holds out, I’ll have Civility Rules, my Harlow Brothers mystery, and the third pet psychic mystery out before the end of the year, and the Father McAllister mystery out at the beginning of 2016.

So what should I do about my brand? I’d solicit feedback from other people on what words they thought best represented my books and characters, but if anyone used the word sassy to describe Frankie Chandler or Roxanne Wilder, I’d throw myself out the window. (It doesn’t matter that I live in a one-story. It’s the intent that counts.)

Publishing in Ezines by Kate Thornton

Kate Thornton is a retired US Army officer who enjoys writing both mysteries and science fiction. With over 100 short stories in print, she teaches a short story class and is currently working on a series of romantic suspense novels. She divides her time between Southern California and Tucson, Arizona. You can find out more about Kate at her Amazon page.

From BLUE MURDER, David Firks’ ground-breaking classy online mystery magazine from the late 1990s to FLASHING IN THE GUTTERS, Tribe’s incredible venue for edgy and raw – beyond noir – flash fiction, ezines have come and gone. These two fine ezines have unfortunately gone. But let’s get back to them in a few minutes.

WHAT ARE EZINES?

Ezines are online magazines. They range in visual quality from beautifully-designed and finely-illustrated to very plain to so ornate it’s hard to figure out where the writing is. Fiction of all genres, non-fiction, self-help even specialty hobby ezines abound on the net – just Google your favorite phrase and you’re bound to come up with an ezine in your field of interest.

WHAT DO THEY OFFER?

The most obvious advantage is immediacy. Ezines often have a submissions turn-around time measured in minutes or hours rather than months. No SASE required, just electrons. Usually you can submit via email and you can send either in the body of the email – just cut & paste your whole story in – or as an attachment if the ezine permits. Always read the submission guidelines to see what they want.

Archiving is a wonderful thing – most ezines will archive your work online as a matter of routine, allowing you (and your fans) to access your work in past issues. Most ezines will also take down – after the initial publication time – any work you do not wish to have archived.

They also offer one of the widest readerships possible for your stuff – billions of readers from all over the world can access your writing. This is not to say they necessarily will, only that they can. Many have hit counters or readership statistics available, so you can get an idea of how popular a particular ezine is.

The most popular sites, like SLATE (which no longer publishes fiction) are operated just like a print magazine in many respects. Others are the online presence of actual print magazines, like THE NEW YORKER, and may even share editorial staff, guidelines and publication of submissions with their sister print magazine.

There is a certain amount of prestige accorded many ezines. Literary fiction ezines in particular serve a discriminating community, while many of the genre ezines are also routinely read by prize committees. The Pushcart Prize, Derringer and other prizes have been awarded to fiction published in ezines.

WHAT ABOUT MONEY?

Well, some pay quite well and some do not pay at all. Always check the guidelines for payment.

Some pay in cents-per-word, others in flat rate, still others in merchandise or print copies of sister magazines. Payment can be by check or through electronic funds transfer. I keep a PayPal account just for this.

WHAT ABOUT COPYRIGHT? WHAT RIGHTS HAVE I SOLD?

As in print magazines, the ezine usually copyrights your story for the duration of its run (the current issue) at which time the copyright reverts to you, the writer. As with other magazines, you need to read the contract or guidelines.ALWAYS KNOW WHAT YOU HAVE SOLD! (Back in the late 1990s, I sold all rights to several stories. At the time this sounded good as they paid me $100 per short story. But a few years ago a film company wanted to negotiate the rights to one of my stories and guess what – I didn’t own it!)

Generally, the rights you have sold are First Electronic Rights and sometimes First World Rights which include First Print rights. This means you have reprint rights still in your bag to sell at a later time, either to a print magazine or to another ezine. Usually, with an ezine, you have sold your rights for a specific duration, and then allow archiving.

WHAT ABOUT PEOPLE STEALING YOUR STUFF?

Let me be very clear – publishing your work online in an ezine does not negate your copyright nor does it put your work in the public domain. That said, I just don’t encounter it very often, and I do a regular net search looking for my materials.

WHERE CAN I FIND EZINES?

Here are a couple of guides. But Google is your friend when it comes to searching! And use your forums and online writing groups – many of them have market listings.

RALAN’S is one of the best market guides.

NewPages Guide to Online LiteraryMagazines is a good reference for literary fiction

LIFE EXPECTANCY

Well, ezines come and go pretty quickly. BLUE MURDER ceased production when the editor, David Firks, suffered a severe illness. FLASHING IN THE GUTTERS was taken down by the editor, Tribe. Others come and go as interest sparks or wanes or as editors shift gears or change directions.

Here’s a current non-paying venue that is particularly friendly to mystery submissions and a joy to read: KINGS RIVER LIFE, Lorie Lewis Ham’s delightful ezine. They publish new issues on Saturdays and always have a short story contest.

I miss the long-gone classic venues, but new ones spring up daily. So best of luck out there – I love the internet and the world it brings me.

Another Kind of Journalism by Bonnie Schroeder

Bonnie Schroeder is the author of Mending Dreams as well as published short fiction. Find out more about Bonnie at her website.

ANOTHER KIND OF JOURNALISM

I came of age in the 1960’s, the era of Hippies and anti-war protests, the Summer of Love and psychedelia. Dropped out of college to marry an art student. Lived in a loft in Downtown Los Angeles before it became the fashionable Arts District.

A lot of good writing material there—if only I’d taken better notes.

I didn’t start keeping a journal, however, until 1974. Here’s the first entry, from January of that year, scribbled in a blue-vinyl-covered spiral-bound notebook: “This journal was a gift from John, who will soon be my ex-husband.”

I didn’t consciously craft that sentence as a story opening; it just came out that way, from my brain to my fingers to the pen on the page. And at least I was able to write authentically about the ups and downs of a no-fault divorce in California.

I’ve become a devoted journal-writer since then and have lost track of the number of notebooks I’ve filled. It’s become a need, a way to preserve and (maybe) make sense of what goes on in my life.

Those lost years in the 60’s? I can research in libraries and online until the cows come home, but it won’t reveal what I personally was thinking and feeling and experiencing in those days. My journal is a repository for all life’s oddball experiences, good and bad, beautiful and ugly—all waiting to spring to life again.

But journal-writing has another, even more valuable application: it’s great writing practice.

For years I worried that I wasn’t doing my journal writing the “right way,” not filling pages with long, elaborate, lyrical descriptions and all that. Then I realized, that’s not necessarily what it’s all about. Journaling is simply practice in putting words on the page and building up those writing muscles.

Whether you intend to or not, once you keep a journal, you do start to notice the world around you more carefully as you strive to record and interpret your experiences, in as much interesting detail as possible. The challenge presents itself without your even trying.

And remember this: nobody’s looking (unless you want them to) so you free yourself to experiment with phrasing and structure, to invent whatever and whoever you want, to create fiction as well as re-create fact.

There are a ton of how-to books on journaling out there. I have two favorites that are especially relevant to me. When I’m feeling stuck or just need a break from my current project, I sometimes turn to them to jump-start my writing in unexpected directions.

· The CreativeJournal by Lucia Capacchione

· The NewDiary by Tristine Rainer

As for all those notebooks stashed away in my garage? I finally wised up and started keeping my journals on the computer, using MS Word (and a password protected file.) This has several advantages: my handwriting is horrid (the only D I ever got in school was in penmanship), I don’t have to make room in the file cabinet for yet another notebook, and the entries are searchable in case I want to look something up quickly. I confess, however, that sometimes only the scratch of the pen on paper will quell the writing itch, so I succumb and then in my OCD fashion retype the entry into the digital file “for future reference.”

I didn’t inventjournaling, of course. A lot of writers, better and more well-known than I (hello, Anaïs Nin) have even published their journals. Some have written novels in journal format (one of my personal favorites is Doris Lessing’s The Golden Notebook.) It seems a fairly common trait among writers, this deep-rooted urge to put words on paper, to capture and describe (or invent) their experiences, even if/when their words aren’t meant to be read by anyone else.

So let me ask: do YOU keep a journal? Does it add value to your writing life? If you haven’t been journaling, did this post make you want to consider it?

The Difficulties of the Back Cover Description

If I know an author well, I will simply pick up a copy of his or her book, confident that I’ll enjoy the read. I’ve seldom been disappointed this way. But what if I don’t know the author? What will make me lay down my money and take the book home, or even download it at a cheaper price from Kindle? After all, this is the position I have to assume most readers will have toward me when they first discover my books.

The back cover description is the key.

It’s ridiculous, if you think about it, that an author must condense the plot, the character’s arcs, the entire novel into a paragraph or two that will entice the reader to want more. But something on that back cover has to convince me the book is worth my time. Here is the back cover from Elizabeth Peter’s first Amelia Peabody mystery. (It’s a bit of a cheat, as my mother recommended it to me.)

“Crocodile on the Sandbank”

Amelia Peabody, that indomitable product of the Victorian age, embarks on her debut Egyptian adventure armed with unshakable self-confidence, a journal to record her thoughts, and, of course, a sturdy umbrella. On her way to Cairo, Amelia rescues young Evelyn Barton-Forbes, who has been abandoned by her scoundrel lover. Together the two women sail up the Nile to an archaeological site run by the Emerson brothers – the irascible but dashing Radcliffe and the amiable Walter. Soon their little party is increased by one – one mummy, that is, and a singularly lively example of the species. Strange visitations, suspicious accidents, and a botched kidnapping convince Amelia that there is a plot afoot to harm Evelyn. Now Amelia finds herself up against an unknown enemy–and perilous forces that threaten to make her first Egyptian trip also her last…

The basic story is that a spinster goes to Egypt and runs into a lost young woman, two brothers, and a mummy, but notice the adverbs and adjectives: irascible, suspicious, perilous, scoundrel. The verbs are strong as well: embarks, rescues, abandoned, threaten.

These word choices also work because the characters and situations are bigger than life, which I think comes through.

Radcliffe is described as “irascible but dashing”, which gives the reader a hint of fireworks and romance.

Out of this description, I’ll tell you what would have made me open the book.

“…a singularly lively example of the species.”

I LOVE dry, understated, and usually British humor. What a hysterical way to describe a mummy! That alone would convince me to open the book, because it’s my kind of writing style. I would also look inside to check out the writing style because there are only two authors who are good enough to make me suffer through present tense.

1. Condense the story into a few lines.
2. Choose strong adjectives, adverbs and verbs.
3. Make sure the description reflects the tone of the book.

Sounds easy, right?

Take your latest tome and apply the rules. Can you improve your description?

Dialogue – The Workhorse of the Story By Gayle Bartos-Pool

Dialogue – The Workhorse of the Story

By Gayle Bartos-Pool

Dialogue is the workhorse of the novel, short story, and screenplay. Even Silent Movies had dialogue. Dialogue performs several functions. It provides: Character Development; Plot Advancement, and Action or Movement.

In other words: It brings the story to life.

Dialogue Enhances (Describes) the Character – How a character speaks and acts says a lot more about him or her than just the words. Dialogue tells the place of birth, type of education, her temperament, his soul. Speech patterns denote character just as costumes do for an actor whether it’s a stammer or a dialect.

“Honey, somethin’s happened to yer livin’ room. Did ya’ll get another dawg?”

Dialogue Advances the Plot – and Provides Pacing – Good dialogue always adds something to the plot, whether it builds tension, relieves tension, imparts needed information to the other characters (and the reader), animates the story, thus moving it along; or even slows down the pace when you need a breather.

“Why’d you get out of the fund?”

“Frankly, I was scared. They played too rough.”

“They?” That got my attention. “Who’s they? Does Racine have a partner?”

Dialogue provides real time action. You are in the room with the characters as they speak. You are eavesdropping or right in the middle of the conversation. Or the character might be speaking directly to you. And dueling dialogue between opposing characters brings the reader right into the action. But note: as the argument gets more heated, the length of the sentences gets shorter.

“I never loved my wife!”

“Did you kill her?”

“No!”

Dialogue gets you Up-Close and Personal – Provides Tone and Mood while it brings the reader into the story. – How the words are delivered sets the verbal stage on which the scene is set; a whisper denotes mood just like a rant.

I lowered my voice before asking her my next question. “Do you outrank him?”

“No, I sleep with him,” Trin whispered.

Remember: A character blurting out information that advances the plot is far more interesting than a long narrative description. But note: Dialogue is the illusion of conversation.

In order to know how a character speaks or acts, or even the words he uses, you must get to know your characters…intimately.

First, make the characters seem real to you as well as to your readers. Let them speak to you and trust them. Most writers will tell you they actually “hear” their characters, and it is that particular “voice” that makes a character unique.

Archie Wright’s the name. Dishing dirt’s the game. My sandbox: Hollywood. The most glamorous and glitzy, vicious, and venomous playground in the world. If you come for a visit, bring your sunscreen and your shark repellant.

Make a character sound different from the other characters with him by adding: a dialect or a foreign accent or words to denote an education or lack thereof. Add rhythm to their speech to show how the person is thinking at the time: hesitation vs. rapid-fire. Word choice might show a character’s education level, but keep it consistent; a drugged out biker probably won’t quote Shakespeare, but a professor in prison might quote Hamlet.

Speech should: Move the plot along by telling us something about the character; convey information about the plot; add to the mood; change the POV to get another character’s side; and add to the reality of the piece. Just make sure somebody (a character or the reader) learns something new during any conversation. But if something is conspicuously held back, make sure it is found in the next chapter or at least by the end of the story.

If there is no purpose to the dialogue, rewrite it or dump it.

“Larry and I didn’t have children. We had two ‘vipers’ instead, just to be different. And to tell you the truth, if they didn’t kill their father, they hired someone to do it. But their funds are limited now. They’ll have to do the deed themselves.”

Language & Body Language

Simple gestures describe the characters more fully than words alone. Instead of: “Go ahead. Date my ex-wife!” he shouted. Try: “Go ahead. Date my ex-wife,” he said while slamming his fist into the wall.

Body language or Stage Business Helps Dialogue.

“I love you,” he said.

She blew smoke in his face. “How nice.”

Instead of a constant stream of he said/she said, use stage directions to show how someone is reacting while talking.

“I’m crazy about you, too,” she said, looking at her watch.

Internal monologue can shake things up.

I couldn’t believe they found Brad’s body. I thought I buried him deeper.

Things to Avoid:

Expository dialogue: “As you know, Fred…”

Pleasantries: “Hello. Nice weather we’re having.”

Long speeches – Unless you’re Shakespeare; less is always more in dialogue.

Adverbial action tags like: “I loathe you,” she said fiercely. –can be replaced with action: “I loathe you,” she said, grinding her cigarette into the back of his hand. “Have a nice day.” Instead of: he said gravely. Try: with his head bowed he said…

Sometimes what the character doesn’tsay is important: “I knew you wouldn’t care if I left you,” he said. She bit her lip.

Keep you, the writer, out of the piece. Don’t let your thoughts get tangled with those of your characters.

Write a biography of your main characters, whether it’s a paragraph or a page, describe who they are, where they came from, their background. Where a character was “born,” went to school, and his neighborhood will dictate his speech pattern, whether it’s a Southern drawl, a French accent, or a gangsta rapper from the ‘hood.’

If you are having difficulty, start with a “stock character” straight from central casting. If you want a villain, pick a character from some old movie, like Edward G. Robinson, and than mold him into your own creation. You can always find a picture in a magazine that fits the type of person you want in a particular role. Cut the picture out and devise a background for him or her.

If you know your characters, you can find their individual voice, even if the character isn’t human. Dogs, cats and birds have found their way into great stories.

After you have written your scene, read it aloud or have someone else read it to you, or use one of the many software programs that reads your work back to you. It will make a huge difference. You will hear things you didn’t know you wrote (both good and bad) and you will pick up the redundancies and misused words. And you just might find out how good you are at writing dialogue.

Let your dialogue work for you. It has a lot to say.

Tips from the 2015 California Crime Writers Conference, by Jackie Houchin

AS A MEMBER of Sisters-in-Crime and Mystery Writers of America, I’ve attended all their combined conferences so far, and agree with everyone (even Anne Perry), this was the best one yet. I love the camaraderie of fellow writers. I eagerly chat with them and sit in on their panel discussions. I commiserate with their anxieties and failures, celebrate their successes, and take note of the hard-earned tips they offer.

The key note speakers – Southern belle, Charlaine Harris and British maven, Anne Perry – were the icing on the cake.

I usually follow the “Craft” track because I’m a journalist with only an occasional dip into short stories. But the Industry, Forensics, and Marketing tracks were all well-attended, and for the first time this year CD recordings of each were made available for purchase.

To order any of them, follow the links at http://vwtapes.com/sistersincrimewritersconference.aspx or contact Patrick Von Wiegnandt at pvw@hawaii.rr.com.

NOTE: In order to be sure I did not misquote any of the authors from my scribbled notes, I listed their names on the panels, then used unattributed quotes. To hear just who said what (and more) check the CDs.

“Addressing Fear and Other Plagues of the Writing Life” — Tyler Dilts, DJ Adamson, Terry Shames, Terri Nolan, moderator: Dennis Palumbo

About anxieties for beginning new projects: “I let my alter self rant for about 3 minutes (maybe journal) then say ‘Shut up and get up.'” “Just get the words on the page. I do about 2,000 daily. When you have a draft the fear is gone.”

About procrastination: “I do writing activities (email, etc.) other than writing on my book.” ” My kids say I’m circling the computer.” “I don’t call it procrastination, but preparation.”

“Thrills & Chills” —- Laurie Stevens, D.P. Lyle, Craig Faustus Buck, Paul D. Marks, moderator: Diana Gould

About creating the elements of suspense: “I make characters sympathetic, then put them in jeopardy.” “Write thrillers only in 3rd person POV.” “Tell readers things the protagonist doesn’t know.” “Cliff hangers on most chapters.” ” Pace is critical.” “Short chapters.” “However, NEVER end the book with a cliff hanger.” “Don’t end chapters with ‘She had no idea what was coming’. It’s author intrusion.” ” I punch up violence in 2nd drafts.”

About writing processes: “I do the 1st draft as a screenplay, an outline of sorts, I guess.” “I write the crime first, then write the psychological parts.” “When finished with the 1st draft, I do passes on what concerns me, like characters or pace.” “Anyone who doesn’t use Scrivener” is crazy!” http://bit.ly/1G5W0Q4

“Miss Marple’s Rules, Traditional Mysteries Today” —- Jill Amadio, Susan Shea, Gay Degani, Carole Sojka, moderator Susan Goldstein

About labels and rules: “There’s more bloodshed in a Divorce Practice than in traditional mysteries.” “Solving a puzzle. A whodunit.” “No graphic sex or violence, an amateur or private detective, justice rules in the end.” “Multiple suspects and a small town setting.” “Victims are usually odious people.” ” No killing animals, no harm to children.” Traditionals are more cerebral, more analytical of human behavior.”

About changes in traditional mysteries: “Technology, cell phones, the internet.” “The basics don’t change (structure, clues, a puzzle, suspects).” “Authors today like to break some rules along the way.” “Today’s world – travel, social settings – can work its way into mysteries.” “Less likely to stereotype (maids all the same, etc.).” “More humor.” “Some authors today like to have a niche, a “craft” of some kind in their mysteries (quilting, cooking, bookstores, tea shops).” “You can usually tell a niche-type cozy by its cover.”

(A hot topic: Most in the audience said these types of popular mysteries were “cozies.” However publishers and book stores do not distinguish them from the more traditional (Miss Marple, Hercule Poirot) “whodunit” mysteries. They refer to ALL traditional mysteries (niche or soft-boiled) as COZIES. Women in the audience, as well as the authors, thought this was a bad rap, because men are less likely to try soft-boiled traditional puzzle/sleuth mysteries if they think they are reading “cozies.”)

A question from a gentleman: What is it about a woman liking to write mysteries? “Women are more willing to listen to others.” “They are more apt to ask a lot of questions.” “Maybe they are more intuitive.”

“Short and Deadly” —- Bonnie Cardone, Andrew Jetarski, Gay Kinman, Donna May, moderator: Kate Thornton

Why write short stories: “Immediate gratification.” “I was trying to make a living and had no time to write a novel.” “My first short story was the first chapter of my novel, slightly changed; the second one, the second chapter condensed. I wrote the third story on my own.” “Writing short stories was a way to put off writing my novel.”

About the importance of Short Story anthologies: “It’s how I began.” “I saw the announcement for submissions and thought ‘I know I can do that.'” “I wouldn’t be writing today without that opportunity. I like that when the theme is announced, everyone starts at the same time, no one has an advantage.”

About short story markets: “Anthologies, they get you started.” ” Kings River Life always needs themed stories.” http://kingsriverlife.com/ “Duatrope.com has searchable databases for fiction and other genres.” https://duotrope.com/ “Woman’s World is another good place; very strict guidelines, but pay $500 for 500 words + a clue/question.” “Alfred Hitchcock & Ellery Queen magazines.” “Try joining the online group, Short Mystery Fiction Society, they even give Derringer Awards.”

About free or paid submissions” “If you submit to non-paying markets, try to do it in places that give awards.” “I want them published before I put them into my own anthologies.” “You can put short stories on Amazon Kindle for 99c.” “Free to anthologies is good, it’s for a good cause.” “I introduce the characters in my novel in free short stories to see if people want to read about them” “Published (free) short stories can act as calling cards to other venues.”

About regrets: “I sold all the rights to an online market, then later when a film company wanted it, I couldn’t sell.” “I didn’t quite make the deadline on a story, then just let it go.” “I have a great story, but I can’t figure out the end!”

“Traveling Through Time, Historical Novels” —- Jessica Ferriday, Anne Cleeland, Ona Russell, Bonnie MacBird, moderator: Rosemary Lord

About what started you writing historicals: “Scrapbooks. Clippings of my husband’s grandfather who was a judge in the 1920s. When I researched him, I found a wonderful Jewish woman who worked in the courts, perfect as my protagonist.” “I have Sherlock Holmes and the Victorian Era in my blood.” “I love linguistics and languages. My stories are in 1890s London.” “I love Regency novels. You’re supposed to write what you read, so I write 1814 Jane Austin.”

About the language and style of historical speech: “I was trained as an actor, I learned to mimic. I listen to a CD every morning before writing.” “I get British people to vet my writing for Americanisms.”

About research facts: “I realized everything moved a lot slower (communications, travel, etc.)” “Hats! No one wears hats today.” “They had more ways to entertain themselves with each other – singing, instruments, dancing, storytelling.)”

“Putting Your Blog to Work” —- Sybil Johnson, Patty Smiley, S.W. Lauden, moderator Mar Preston

About expectations of a blog: “I’m a member of a multiple author blog (MAB), so there’s no pressure to write a post every day or week.” “When I hung up my shingle as a writer, I created a place for other to find what I’m doing – opinion , author interviews, short stories to music videos.”

About blogging to sell your books: “If I don’t, people won’t buy my books.” “I create a voice and style, but a blog won’t make you famous.” “I’ve gained readers.” “I announce my books on FaceBook and Twitter, but never talk about my books on the blog. I have conversations with people there.”

About writing that blog post: “We write from 1,500 – 6,000 words.” (WOW!) “I write 400-1,000 words.” “Begin your blog as if beginning a thriller.” “Offer content about YOU, your life, funny and entertaining stuff, not just about writing.” “Ask, ‘Would people care to read this?'” “Respond to comments.” “Make blogs visually attractive. Use photos and graphics. I imbed videos and book covers, use pull quotes. Use fewer words: people see a wall of text and don’t stay.” “Pay attention to ‘Keywords’ for your posts. Choose them carefully.”

About all those blog hits from other countries: “Creepy.” “How? Why?” (An answer from an audience member cleared this up. The International Institute of English encourages their students to find blogs by using keywords. They print them out and use them to study English and English/American idioms; reading and rewriting them.)

About getting started and keeping going: “Join a MAB, or guest post on one.” “Write a dynamic essay.” “Keep a list of things that are happening to you, choose the interesting ones.”

Keynote speakers

From Charlaine Harris: How long does it take to churn out a book? As long as your editor says. Being a writer means completing the book. It’s a business. If you don’t sell, you’ll be cut. No, I don’t outline. Outlining makes me feel like painting by numbers. I write maybe 250 words about the book, then get to it. My biggest challenge? Personal malice towards me! Sweet me!

From Anne Perry: Do you ever wonder why crime writers are such nice people? If we really don’t like you, there are other things we can do with you. The great thing about being a writer is that you are allowed (expected) to be eccentric. You can write your mysteries about anything you like, as long as there are the elements of crime and somebody to solve it. (Photo: with Rosemary Lord)

Keynotes discuss Elmore Leonard’s 10 Rules of Writing, Moderator Craig Faustus Buck

Harris and Perry agreed with most of Leonard Elmore’s famous “Ten Rules of Writing,” with exceptions. “It depends…” prefaced many of their answers, and then they often explained how they broke that rule! Or avoided breaking it by using other means. A perfect wind-down to the conference.

Sisters In Crime Anthology “LAdies Night” authors & editors —- Naomi Hirahara, Kate Thornton, Jeri Westerson (editors), Julie G. Beers, Julie Brayton, Sarah M. Chen, Arthur Coburn, L.H. Dillman, Bengte Evenson, Cyndra Gernet, Andrew jetarski, Micheal Kelly, Susan Kosar-Beery, Jude McGee, Gigi Pandian, Wendall Thomas

R.I.P., Alameda Writers Group

R. I. P., AWG

The Alameda Writers Group, aka AWG, went dark this year after a long and productive run as one of the premier writers’ support groups in the Los Angeles area.

I was a member for many years, and only now that it’s gone do I fully appreciate the benefits I derived from AWG.

At the General Membership Meetings I heard speakers like acclaimed novelist Diana Wagman, as well as writers from TV series like “Rome” and “True Blood” and had a chance to tell them in person how much I enjoyed their work. Some speakers discussed their craft and others told encouraging stories about their long and winding roads to publication/production.

It was a priceless networking tool, and I owe many of my friendships—including those of ALL the Writers in Residence—to the AWG, either directly or indirectly.

The relationships I formed through AWG were instrumental in my producing a published novel, thanks to the critique groups I joined. In them, I experienced the “tough love” that only fellow writers can provide: honest but compassionate feedback on what worked in my writing, and what didn’t. I heeded their comments, went back to my novel-in-progress and reshaped it until it did (mostly) work.

One of my peak AWG experiences, in fact, came when I joined fellow novelist Heather Ames (whom I met in those critique groups, one of which she moderated) to address the membership and describe our paths to publication.

Why am I going on and on about a now-defunct organization? Partly it’s guilt. AWG began to founder, and I did nothing to prevent it, so this post is a big mea culpa. When new leadership made some missteps, and many of the members felt the organization began to drift off-course, all I did was gripe about how AWG had lost touch with fiction writers. Some of my colleagues did try to intervene, but they were rebuffed, and I used that as an excuse for inaction.

Membership dwindled. New leaders came on board and tried to redirect and re-energize the group, but the damage had been done. Finally, the meeting venue closed down for renovation, and it became obvious that it was time to turn off the lights. All good things must come to an end and all that.

But I think it’s important to recognize the value of AWG, and I know that if I ever find another group like it, I will try to do more to keep it going. Good old hindsight.

When I joined AWG, I’d left a career in the business world and had a vague notion that I would devote myself full-time to writing. However, I wasn’t sure I had what it takes to be a “real” writer. Over time, I began to believe that I did have the makings of novelist, if I was willing to work at my craft and be open to feedback, and the result of all that was, among other things, Mending Dreams. I wrote my novel, and I found a publisher, and I honestly don’t know if that would have happened if I hadn’t joined AWG all those years ago.

And so, with apologies to Lerner & Loewe, “don’t let it be forgot, that once there was a spot. . .” where writers of all kinds were welcomed, acknowledged, encouraged, and given a chance to improve their craft.

For that, AWG, I thank you.

I AM NOT A ROBOT…. by Rosemary Lord

Actress and author Rosemary Lord shares many characteristics in common with her character Lottie Topaz, including an indomitable spirit. So, when she stepped off a plane from England the other night, her body was exhausted and jet-lagged, but her wit and determination were intact. She brings the Writers in Residence blog her thoughts on a topic that will cause many heads to nod in agreement as they read her latest post. Enjoy!

I AM NOT A ROBOT

Okay, so I have to copy that squirrelly lettering to prove I am a person and not a robot. I can do that. But the rest of all that trickery appearing on my computer leaves me cold. Well, more like frozen with panic.

I am a writer. I like to write – and have done so since I was about 4 years old. I am most content with a large legal pad or exercise book, a selection of well sharpened pencils and a good eraser. From there I can happily write away the hours.

So when our fearless WinR techie Jackie Vick sent our group a carefully written explanation of how to participate in the new blog, I almost had a case of the vapors.

But I gritted my teeth and followed her instructions. And so, in those early days, for 1-2 hours every day I determinedly followed these instructions to the letter, attempting to send a literary contribution. But Google was one step ahead of me. “Not so fast,” it seemed to say. “Password not recognized” and other phrases that stopped me going further, kept popping up on my screen. I did as bid and changed my password so many times that many, many days later, umpteenth new password added, I ran out of ideas and used a rude word. Google was not shocked, and repeated “Password not recognized.”

I considered chucking my computer through the window, but thought better of it and spoke with Jackie. My new un-techie system is to simply send my words to her and she does the rest.

But why won’t my brain grasp this new knowledge? Why am I so resistant? Is it just me? Admittedly, my writing is usually of a world one hundred years past: quill pens and an abacus. Ah, that’s what I need – a quill pen and an abacus. But I seem to have developed an allergy to this brazen new world of MAC versus PC, Twitters and Blogs, Excel Spreadsheets, Quick Books, Drop-Box and such.

Now if one is writing a journalist piece with photographs, I can understand all that trickery. And I can actually do that stuff, too, from my journalism days. But it’s the submitting bits of text and the passwords and not really knowing how to get it there. And “what ever happened to that page I just spent 2 hours writing, that has now vanished from the screen?” that stumps me.

Now I’m not a stupid person. In fact I have several GCEs and other clever things from my English Education at Tiffin’s Girls’ School (consistently in the top 3 best schools in England, my family remind me) to prove it – sort of. So I can’t be that stupid. But it’s all this new techie stuff that is my down-fall.

“It’s simple,” my 18 year old Australian friend Maddi tells me as she taps away on my i-pad. “There: done,” she hands it back to me – and I am none the wiser. So I feel that I’ve become really stupid… “You’re thinking too hard,” Maddi tells me. “Don’t try to work it out – just do it.” Easy to say.

But then, when I start writing about Hollywood one hundred years ago, or trotting out facts about my travels in various countries and my adventures through the years, I comfort myself with the recognition that I can do some things. Plenty of things. Just not the techie stuff. I really am not a robot – thank goodness…

"Episodic Kid Lit"

by Jackie Houchin

Or, how I got started writing serialized children’s fiction.

I guess it began with verbal bedtime stories. When my three granddaughters were quite young I would tell them impromptu stories about anything in their lives – toys, pets, games, etc. I tried to make them exciting and vivid, and always managed to finish the story before it was time for prayers and sleep. Next visit I would begin where I left off.

When the first granddaughter was about six and already an eager reader, I decided I wanted her to love mystery stories as much as I did. But how would I do that? There were Nancy Drew chapter books available, and I collected them for later, but I wanted to start her right away.

Then she broke her arm, and I got an idea.

I created a little girl who had a family and lived on a street much like hers, a little girl who also broke her arm, but under some mysterious circumstances. Then I introduced the two girls with a letter, like this:

Hi Shannon –

My name is Molly Duncan. I know your Grandma. We see each other at the park sometimes.

Last time she told me how you broke your arm when you were riding a scooter. And, you know what? I broke my arm too. Not just now, but way last summer, in July. Your Grandma said I should write to you and tell you about it.

Do you know what I was doing? I was riding my bike when it happened. But, I’ll tell you about that later, and what happened because of it.

But first I want to tell you about myself. (I was going to send you a picture of me, but I lost it.)

I’m 7 years old and I’m in the second grade.

I havered hair, which is very curly. It is kind of long, and I usually wear it in two French braids that my Mom fixes for me. But sometimes, some of the hairs get loose and frizz out from the braids.

My eyes are green, “just like Granny Smith apples” my mom likes to say. I wish they were blue like Benji’s. Mom says his eyes are “like the sky”. Oh, I forgot to tell you. Benji is my little brother. When he grows up he will probably be called Benjamin or Ben, but right now we call him Benji. He’s four years old.

I also have freckles. Do you know what freckles are? They are tiny, light-brown spots that most people have on their faces, and sometimes their arms, if they have red hair. I only have them on my nose! They remind me of sesame seeds on hamburger buns! When I think of that, it makes me giggle.

And last of all, I wear glasses, thick ones that keep sliding down my nose all the time. I hate wearing them, but Mom says the doctor promised if I wear them all the time now, I won’t have to wear them after “poo-ber-tee” (or something like that).

Well, anyway, about my broken arm. I want to tell you how it happened and what happened after that. There is a mystery and a surprise about it... etc., etc.

And that’s how an eight year letter-friendship began. (I don’t call them Pen Pals, because Shannon didn’t write back.) For a great long while, Shannon thought Molly was a real girl that I knew! But when she asked about it one day, I told her the truth and she was able to enjoy the installments like chapters in a book.

As Shannon and Molly got older, the stories got longer. I introduced other characters, friends at school, neighbors, older people (shop-keepers, a grandmotherly babysitter, teachers, a friendly policeman). The town took on a character too and I soon drew a poster-sized cartoonish map of the streets, shops, school, parks, church, hospitals and police station to walk through in my mind.

I wrote about age-related situations; new-girl jealousies, pre-teen angst, and a few quite serious events; a brother in a car accident, a search for a runaway girl, a mother’s stay in a mental home. But they always had a mystery twist to be discovered over a series of letters. God, the Bible, and prayer played a big part in solving the mysteries and in learning important lessons.

Think Jan Karon’s Mitford Series, but for kids. (http://www.mitfordbooks.com/ )

Before long, the other granddaughters said they wished they had letter friends too. Soon Kerry was getting letters from pet-loving Annie Black, and Jana heard from Kim Ling, a girl with four brothers. The letter-friends were all from the same neighborhood, knew each other, and occasionally crossed paths.

What fun to keep three story lines going! (I was also illustrating these episodic stories with cartoon-like characters.)

The big step came when Shannon said she couldn’t wait so long between letters. “Can’t you put them all into a book, Grandma,” she asked. So I did, and “Molly Duncan and the Case of the Missing Kitten” was born. Soon after that came “Princess Ebony and the Silver Wolf.” (Ebony was an ancestor of Annie Black. Think how The Princess Bride was told.) Later “Kim Ling, Cub Reporter” was imagined. I illustrated (very simply) each book, and included a map of the area in the front pages.

So…. What – besides entertaining little relatives and friends – can be done with serialized children’s stories?

1. Writers could choose a favorite age group, invent a winsome character in a compelling situation, write about her/him/them, and begin publishing the episodes as 99c short stories to promote a Children’s Book series you write, or to be given away free to those who sign up for your newsletter, or visit your blog. You could even print up a few and hand them out at panel or signing events.

2. Episodic stories – as long as they are written like short stories with a beginning, a middle, and a satisfying ending, even if the main mystery is not solved until later – can be gathered together into a novel or novella and published. Hugh Howey did this very successfully with his Sci-Fi Woolseries.

3. Serialized stories don’t have to be just for kids. Try a few episodes in your adult genre, or perhaps with a TV series in mind (the writers of LOST did it well on the fly… until the end that is, when it all fell apart!).

4. Or, write them just for fun to sharpen your writing skills or get over a major writer’s block.