Category: writing

PLOT, PLOT, PLOT

by Linda O. Johnston

We’re all novelists here at Writers in Residence. That means we all tell stories that may have some origin in fact, or not. But what we finish up with is fiction.

Whether I’m writing romantic suspense or mystery these days, the genres I’m into most, there always needs to be a plot. I’m not sure what the best definition of “plot” is, but in my estimation it’s how a story starts and continues and develops, with one thing that happens leading to the next until the grand finale, and then the wrap-up.

Where do my plots come from? My mind! I ponder them a lot as I plan a story and then write it, with things sometimes changing from what I originally intended. I make it somewhat easier on myself by plotting in advance, and I’ve even developed my own plot skeleton, pages with blanks to be filled in with people and how they interact and what they’re up to, whether it’s romance or murder, or a combination!

 So, you other writers here. How do you plot? Do you enjoy it? Are you usually happy with the result when you finish a draft or manuscript?

 I’m usually happy. But any issues may be the key to my figuring out my next plot.

A DILEMMA OF BOOKS… 

by Rosemary Lord

There I was, puffing and panting in the 90-degree sun, lugging box after box of books out to the car….

But I’m getting ahead of myself.

I have always felt that one can tell a dedicated writer by the books with which they surround themselves. Although I know that nowadays, if you’re technically and digitally proficient, you can do and find everything on your computer or even on your phone.

But it’s not the same. Not for real writers! You need to READ books to be able to WRITE books. Real, actual books, that is – with carefully designed crisp paper pages, glued and sewn together – or however they do the spines now. Enticingly designed covers, beautifully matched colors, and perfect fonts. There’s a lot of work that goes into every book.

Many of those who dedicate themselves to the magical world of writing have fascinating, eclectic book collections.

I recently culled 432 books from my overwhelming assortment. And I still have many left!

How did it ever come to this?

In my defense, as a book lover, I began with just a few small (only 6”x4”) volumes I brought with me when I moved here from England: ‘Poetical Works of Tennyson,’ some Edgar Allan Poe tales, Poems of Elizabeth Barrett Browning, and a worn 1915 printing of Gene Stratton Porter’s Girl of the Limberlost, that I knew would not take up much space.

Over the years of attending so many writers’ conferences all over North America, I kept those heavy bags filled with the new books publishers gave us.

To support my fellow writers, I loyally bought the latest book by the authors I knew.

I’m a sucker for an appealing jacket cover, too – especially when Amazon made special offers so affordable, as a way to discover new writers.

I still buy books for my writing research. I have a great collection of books on Old Hollywood. And then there was my late husband, Rick’s, assortment of books on motor racing, motorbikes, animals, snakes (don’t ask!), music, finances, and the Stock Market.

And so my library grew.

But my small apartment didn’t.

I had seven tall bookcases crammed, with more books stacked on the floor in front of them.

Time for a serious cull.

I kept books that fellow writers had inscribed to me. I boxed up Rick’s books. I found several duplicate copies of paperback mysteries and ‘cozies.’  Out they go.

Of course, I kept my rare and special Hollywood books. But I was strong in my intent.

No, it’s not: ‘make room for more books,’ I tell myself!

But then, knee deep in book piles, I realized they had to go somewhere.  Most of the charity shops where I donate clothes or household items are not taking any more books.

Hmmm. Where?…

Then I remembered The Last Bookstore. Years ago, my brother and I had schlepped half a dozen bags of books there to donate. It is downtown Los Angeles, at 453 Spring Street in an old bank building with marble columns and vaults filled with vintage books.  Owner Josh Spenser has created an intriguing world of not just shelves and stacks of books, but enthralling shapes – a tunnel of books, higgledy-piggledy towers of hardbacks and paperbacks, with comfy armchairs and leather couches to sit and gaze and get inspired by the fantastical displays of books, vinyl records, gargoyles, and dolls.

The Last Bookstore has a free community service called Re-Book It: to ensure that books don’t end up in landfills. They will pick up your unwanted books and find new homes for them, dispersing books to schools, charities, hospitals, and retirement homes. Currently, they’re focusing on getting books into the hands of children and families who lost homes in the L.A. fires.

“Hooray!” I had found such a great solution. Then came the fun task of packing the books in boxes and bags, counting and labeling them. Of course, lots of lifting is involved, squatting and bending, too. Quite tough on the knees and the back! But I reminded myself that I was getting a free workout! And lots of empty apartment space.

The 432 books packed into 24 boxes and bags were amassed by the front door, ready for collection. Then, I learned that Re-Book It was short-staffed and could not complete the pick-up that day.

“Why don’t you bring it to our store on Lankersham?”

“Okay,” I foolishly agreed, anxious to complete this project.

It was about 8 boxes in that I began to regret my fervor of “I can do this!”  The books were VERY heavy to carry across the patio, to the front lobby, and then outside to my car. What was I thinking?  And it was the hottest day of the year – of course. Over 90 degrees.

I had to stop every so often, sit down with a large glass of water, and cool off in front of a fan.

But once my car was overstuffed with boxes and bags of books, I made it safely to the Valley location of The Last Bookstore on Lankersham Boulevard, just past Universal Studios.

Just as the Downtown store was a magical, mystical store – so is this one. Odd, beautiful old doors, parts of wonderful, vintage walls surrounded by an eclectic mix of books and, well, just fascinating ‘things’ to look at, curios to examine. And, of course, books: from best sellers to first editions. A book-lover’s treasure hunt. Had I not been so exhausted carrying all those books earlier, I could have easily spent an hour or three browsing there.

I was very happy that my books were going to such a lovely new home. And I returned to my apartment happy I had made more space, promising myself not to fill it back up with more books. I wonder how long that promise will last!

So, this is where we came in. My exhausting but therapeutic adventures in book culling ….

Have you ever tried culling your book collections?

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HOW TO GROW A STORY

by Miko Johnston

I wish I could take credit for the title of this post, but the idea came from one of my favorite books on writing, How To Grow A Novel by Sol Stein. So instead, I’ll focus on what I’ve learned from the parallels between gardening and writing.

Know your regional growing zone

Trying to create a desert garden in the Pacific Northwest makes no sense. If you aim to sell what you write, be sure you have, or can create, an audience for it, otherwise write for your own pleasure.

Plant your seeds at the right time

In gardening, as in writing, timing can be everything. When I began working on my Petal in the Wind series in the early 2000s, I found little information about WWI’s eastern front (in English). That changed when the 100th anniversary of that war approached. We’re a year away from significant anniversaries: our nation’s 250th, the 25th of 9/11, and (looking at you, Mad) the 100th of Route 66, any of which should stimulate interest in books inspired by these events.

Know when to use seeds and when to use starts

With my local climate, anything slow-growing, like bushes, tomatoes or delicate herbs, takes too long to grow from seed, so I buy them as starts. Ideas also can be seeds, which require a lot of development, or “starts”, inspired by an existing story. If you like the thrill of seeing a workable idea break through the soil of your imagination, then go with seeds. Otherwise, get a head start with a pre-sprouted concept.

Plant them in the right place

Some plants need protection from the late afternoon sun while others thrive in hot, sunny conditions. Planting the latter in a place that provides some shade for the former benefits both. In writing, that’s called rhythm, which keeps the scenes flowing at a good pace, with moments of intensity/drama relieved by moments of relief/humor.

Nurture your seedlings, then toughen them up

In early March I plant some vegetable seeds indoors and set them on a south-facing windowsill to sprout. By the end of April, I’ll gradually acclimate them outside once the threat of frost has passed. If they don’t die, they go into the garden. I figure if they struggle a bit to survive, they’ll taste better. Do the same with characters; create them and then challenge them. It gives them, well, character.

Sacrifice the weak for the strongest

Thinning out your seedlings allows the remaining plants ample room to thrive, and lessens the competition for water and nourishment. Overloading your story with too many characters or too much (or a too convoluted) plot will starve out the best parts of your manuscript.

Know when to harvest

Whether flowers, fruits or vegetables, some need to be picked at their peak of ripeness, some slightly earlier and left to ripen on your kitchen counter. Leave a plant too long and it bolts or rots. Then all you can hope for is to collect seeds for next year.

A story must be tended and nurtured until it’s “ripe” for picking. Sometimes that means tackling a second draft while it’s fresh in your mind, other times it’s better to let a finished manuscript sit on the shelf awhile. Just don’t let it linger too long, but if you do, take a seed from it and start again.

Like planting a garden, a great pleasure of writing is growing your seedling into a full-fledged idea, nurturing it and watching it take form until it’s complete. The food we grow feeds our bodies, while the stories we grow feeds minds. But stories have one advantage over garden products.

My writers group used to sell our books at the local farmer’s market. We’d always remind shoppers that unlike the berries, tomatoes and lettuces they’d purchased, our products wouldn’t rot if left in a hot car awhile (insert laughter here).

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Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction series, “A Petal in the Wind”. Her fifth and final book in the series is about to be published. She’s also a contributor to several anthologies, including the bestselling “Whidbey Island: An Insider’s Guide”. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Superfluous Phrases – What Do They Mean & Why Do We Use Them?

By Jill Amadio

Often writers allow a well-known and well-worn phrase to trip off the tongue- or rather, onto the keyboard – to mark a particular moment in a story, just as we do in real life. In fact, to catch a moment in time, as in, “At this moment in time.”

What does that mean? Obviously, the first three words refer to a specific time frame, to the exact fraction of a second that is being noted. Exactly. It is a method for stating, or pointing out, that a moment is to be marked. All well and good.

 So why do we also need to add the words, ‘in time?’  Surely we are already talking, or writing, to pinpoint something that requires noting as to time. We want to make it stand out, with our ‘at this moment’ that alerts the reader to note the moment. Why, then, employ the redundant ‘in time’ to add to the statement? When else would it be happening if not ‘at…this…time?’

 If the ‘something’ happened earlier or later, the writer will be sure to note it, probably with a detailed following sentence or paragraph to explain the time lapse or hint at a future action.

Another hackneyed phrase that rather galls me is ‘Right now.’ This second phrase, in itself, poses another question – what do we mean by ‘right?’  The ‘now’ word is fully understood, but whence came ‘right’ in this sense? We often use ‘right’ as a confirmation in place of ‘correct,‘ to signify to the other person their words ring true, but it is rather inelegant. 

Here are other common phrases I don’t catch in my stories until perhaps my second or third draft:

Open any book, skim a few pages, and you are fated to come across ‘faded jeans,’ ‘a pale face,’ ‘the rugged terrain,’ or ‘winding road.’ These are all beautifully simple descriptions (a couple from Hemingway’s For Whom the Bell Tolls) that tell the reader in easy terms what we want them to know without going into unnecessarily exotic language.  Just writing a well-known phrase in the correct context can provide the reader with an instant understanding of what is meant.

One of my favorites is ‘standing pat.’ It makes no sense whatsoever on its face. Yet, it has a sense of mystery because ‘standing’ and ‘pat’ appear to have no relevance to each other, yet they belong together. And, incidentally, could provide us with the basis of a plot.

One can assume the phrase to be a description of someone named Pat. Was she standing up when the phrase was created? Was the word ‘with’ missing so that phrase may originally have been ‘standing with Pat?’ It does suggest a sense of loyalty, of being at the side of Pat. Yet, the word ‘pat’ has many meanings, as well as a person’s name, although I doubt it means ‘to pat’ as in patting a pet.

So many other phrases we use are hackneyed but perfect for the moment in time (sorry). Trying to find a substitute to avoid sounding boring can take up too much time, and even sound unnatural.

A foreign character’s use of phrases in their own language often introduces an interesting change of pace as long as there is a way to translate it, if necessary. This can easily be undertaken in conversation, while other remarks may not need any translation at all. In fact, we don’t realize that many words have become part of our own English language. Someone told me that English is based on German, while someone else swore it was based on Latin.

All that writers need to remember, I would say, is how rich and versatile English is, and how fortunate we are to be able to dive in and select whatever we choose.

 I recently bought an ebook from Amazon for my Kindle Fire, selecting a mystery at random. Not until the second chapter did I notice it was set in Norway and authored by a Norwegian.  Bravo!

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This article was posted for Jill by Jackie Houchin

A Writer Wastes Nothing

by Maggie King

“A writer wastes nothing.” This saying is attributed to F. Scott Fitzgerald. The renowned writer mined his college years to create his debut novel, the autobiographical This Side of Paradise.

I recently attended an outdoor event in a local park and feel inspired to write about it—in fiction form.

The crowd at this event was large, the air heavy with humidity. Virginia is a steamy place in the summer! I drank little water as I was unsure if facilities were available or even nearby (they weren’t). After standing for over an hour, the crowd started to leave—slowly.

A feeling of lightheadedness came over me and my vision blurred. To say I was frightened was an understatement. I was with friends and the crowd was friendly, so I wasn’t in danger. But the feeling of losing consciousness is scary and uncomfortable under any circumstances.

One of my friends let me lean on her until we came to a tree where I sank to the ground and sat back. People gave me bottles of cold water to drink and press against my wrists. I ate one of my melted protein bars. In no time I felt revived, grateful that I hadn’t passed out. A couple of EMTs showed up and took my vitals (they pronounced them fine!). I opted not to go to the hospital. Dehydration was named the culprit.

One of my friends left to get the car. The EMTs parted the crowd for me, and one of them stayed with me until the car arrived. While we waited, she asked what I did for work.

“I’m a writer, and I’m already planning to use this experience in a story.”

After all, a writer wastes nothing.

As I know how frightening it is to feel on the verge of losing consciousness, I can bring a visceral feeling to the story. My imagination will ratchet up the danger, raise the stakes. Possibly elements of a Hitchcock film I’ve seen is inspiring me as well.

My preliminary idea is based on a series of what ifs:

  • What if this is a hostile crowd, in addition being a slow moving one?
  • What if my character, a woman, is alone?
  • What if the heat and humidity make her feel lightheaded and make her vision blur?
  • What if she is carrying a quantity of cash and/or jewels that she’s stolen?
  • What if she is being pursued–by law enforcement? Another criminal? Both?

She must stay conscious and she must evade her pursuer.

Yikes!

A writer wastes nothing.

Has a personal experience ever led you to write about it, especially in fiction form? Tell us about it.

Telling Your Story

by Gayle Bartos-Pool

Whether you’re self-published or have the backing of a big publisher, a writer still needs to get a short version of their own life story in shape for that occasional interview they might do for publication or even a live broadcast. If the person doing the interview knows his job, he will have handed the author a set of questions ahead of time, so the writer isn’t blindsided by a question. That’s professional. Sometimes the person doing the interview will ask if there are questions the writer wants asked because often the writer has a story to tell that the person doing the interview will have no idea exists. This will make the interview unique. That’s good for everybody, even the audience who will get to meet somebody with an interesting story. For the writer, that doesn’t mean only the story in the book he just wrote.

Recently I had the opportunity to do both a written interview and a live talk for a local show where I live in Ohio. The first interview was done by a fellow writer, Jill Amadio, who started out as a journalist for a British magazine before she wrote her first mystery featuring a gal who was a gossip columnist back in Britain who has to leave the country because she did too good of a job digging up dirt only to trip over a body or two here in the States. Obviously, Jill knows a lot about writing for a magazine. That book is Digging Too Deep. A great read.

https://promotingcrime.blogspot.com/2025/06/jill-amadio-in-conversation-with-gayle.html

She asked if she could interview me for a mystery magazine, Mystery People, published in the United Kingdom.  This was fun. Working with the questions she first provided and adding a few of my own in order to tell my story, we came up with a good interview.

As writers, we need to get out in front of people and tell them not only about the book we wrote, but also a little bit about ourselves to let our potential readers know where we came from and maybe how we got the idea for our novel.

I have been doing this for a while, but it was only recently that I wrote my autobiography to tell people who I am. I learned a lot about myself. That’s why I recommend that everyone write their own story whether you write novels or do something normal…Sorry, I digress.

Having gotten to know myself doing my autobiography sure helped when I did these two new interviews. Not that I didn’t know who I was, but I needed to get organized. First, I wrote out basically what I wanted to say about my life and writing career. Then I wrote out a script like doing a movie. I had taken acting classes back in California when I wanted to write for television and/or the movies because I thought knowing what the actor needed from the writer would be a good idea. It was.

I wrote a script. I cut out stuff and added stuff until I had a fairly clear idea where I came from and how I got to be who I am. Then I rehearsed it. Two or three times a day. Even when I got into bed at night, I went over the script. As I walked around the house, I timed it. The televised event would be no longer than an hour. I made sure I could do all the aspects I wanted to cover in those sixty minutes. Then I rehearsed it a few more times.

The 54 minute interview is on the Avon Lake Library website: https://www.avonlake.org/communications-technology/videos?action=show&video=MjkwNg==

It was a challenge, but writers have to try new things in order to get our name out there so people know who we are and what we do. And, frankly, this was fun.

The written version for the British interview covered the highlights. The televised version was longer with some hand gestures thrown in to make a point and even photographs to add to the story. Those acting lessons allowed me to do the event without standing there like the Scarecrow in The Wizard of Oz before Dorothy came around. You cannot imagine the confidence those acting lessons gave me.

So, you writers might want to work on several versions of your story in case you’re asked to do an interview. Short ones and longer ones. It gives you a head start. And something else, it might get you interested in writing your own autobiography. You do have a story to tell.

Continue reading “Telling Your Story”

LONDON’S WORLD OF WORDS AND STORIES ….

  By ROSEMARY LORD

“London Bridge is falling down…” so the song goes. Well, it’s not. It is thriving, bustling with people, merchants, tourists and local inhabitants who love this very special part of London.

I was there recently visiting my family in England. I had a meeting with my new Editor at Harper Collins Publishing offices (I still get a kick being able to say that: “My publishers, my editor”!) at London Bridge. Many of the major publishers and newspapers are housed in this towering building that is right next to London Bridge tube station.

Security was very tight. As I approached the main entrance to the office tower, security guards stopped me, ready to turn me away. But I had an appointment and had to show my ID, which was checked against the computer appointments records before I could walk through those hallowed doors. Once inside the lobby, I was checked again by security and ushered through a metal detector. Just like at the airports. I had to wait until someone came to escort me upstairs. And when I left, I was chaperoned back through the same security system. So, this is what it’s like working in London today! Not quite the fun, easy-going offices I recall from my days of writing for the teenage magazine Jackie and the host of women’s magazines in Fleet Street.

My brother Ted had accompanied me and waited patiently nearby until my meeting was done. We had decided to explore the area of London Bridge and Borough Market – the new Hot Spot in London.  The hip, cool place where the young hangout. Pop-up food stalls proliferate; vintage clothing stalls, cosmetics, tattoos, stacks of vintage records for sale, ‘Bubble Tea’ adverts and music from all over the globe wafted through the crowds. I never did find out what ‘Bubble Tea’ was. But it seemed very popular. The market was wall-to-wall students and young entrepreneurs in their eye-catching, colorful attire. Creativity and innovative ideas abounded.

One of the reasons for the throngs of young people in the vicinity selling and buying was, I realized, because the market was so close to the medical colleges and universities. Lots of medical students.

I also learned that this market began life in 1756 as a cluster of stalls at the foot of London Bridge. It’s come a long way, baby!

The tall, grim buildings on St. Thomas Street are a focal point of the medical world. The famous Guy’s Hospital, founded in 1721 by philanthropist Thomas Guy, stands cheek-by-jowl with St. Thomas’ Teaching Hospital – where Florence Nightingale trained her dedicated nurses. This hospital was named for St. Thomas Becket and founded in the Middle Ages but located here in Lambeth since 1871. These are part of the Kings College, London Medical Education programs.

Just across the road is the tiny Operating Theatre Museum, in the Herb Garret at the top of the narrow 17th century brick building. A museum of surgical history housed in the old apothecary.  Herbs and flowers used in those days are displayed, with mortar-and-pestle and hand-written notes on their efficacy.  Completed in 1822 is the operating theatre is the oldest surviving operating theatre in Europe for surgeries that predated anesthetics and antiseptics.   

What fun! It offers learning experiences for all ages. I especially loved the large yellow rubber ducks placed around the exhibits. They were each painted with some dreadful disease: blobs of green goo representing gangrene, or drooling, lumpy additions depicting small-pox, syphilis, or the black plague. Symptoms were written on a card next to the duck. You had to guess what they represented. The answer was found underneath the duck. I noticed medical student visitors taking great delight in guessing the correct answers.  The enormous, black all-encompassing metal head gear with the long snout, for the brave doctors during the plague in 1660 London was there. Various operating tools were displayed, including the large hacksaw next to the operating table that was labeled “for the removal of legs and arms”.

There were rows of seats where the medical students sat to observe the operations by doctors who had no awareness of cleanliness, let alone surgical gowns, masks or even handwashing. Hand-written notes, instructions and explanations of the various implements (of torture?) used, as well as reports of individuals’ surgical successes – or traumas!

Today’s root-canals are easy-peasy by comparison!

This part of London shared so many stories, characters, tragedies and successes. I made copious notes, as Ted and I later stopped for a delicious cake and coffee in a little corner French café. A quiet haven amidst the noise and bustle.

Everywhere I looked were stories, historic revelations and wonderful new ideas and a revitalized energy.

Charles Dickens strolled through these London streets at night when he couldn’t sleep, and claimed this was where he found inspiration for his timeless novels. Incidentally, did you know that in 1847 Dickens founded a ‘Home for Homeless Women’ in London?

We walked down to the water’s edge and followed the River Thames as it snakes its way through London, past Shakespeare’s Globe Theatre towards Charing Cross, watching such a polyglot of people of all ages – “a seething mass of humanity” moving on its way through lives humdrum, urgent, desperate, happy, exciting. Who knows?

There is so much written about London through thousands of years. It’s difficult for a writer not to come away with a myriad of story ideas, a cacophony of images and circus of characters. Painters and artists of all fields must be similarly affected.

As Dr. Samuel Johnson wrote in 1777, “When a man is tired of London, he is tired of life. For there is in London all that life can be.”

What is your favorite source of inspiration?

 

A Group Question: Co-Writing with a Famous Writer?

Occasionally, each (or several) of us Writers In Residence answers a question about some aspect of writing or publishing.  Here is this week’s Q&A for you.  (Some of the answers may surprise you!)

Q:  If you could co-write a book with any author, living or dead, who would it be, and what genre would you choose? 

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JACKIE HOUCHIN. “I would love to co-write a book with MARY STEWART (no longer living). She wrote suspense mysteries with a young, adventurous female heroine. Her books took her to countries around the world; Greece, France, Italy, Austria, Crete, Lebanon, and England. Perhaps I got my wanderlust to travel the world from reading her books. (I was 13 when I read the first.) There was always a handsome man who could be a bad guy and always a scary situation.

Oh, to write like that!  I would let her do most of the writing, I fear, but every time her protagonist or the man in the scene would light up a cigarette, I would edit that out immediately. (haha).  That would probably be my ONLY part of the collaboration.  Or … I’d set some more of her romantic suspense in more countries!

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MIKO JOHNSTON.  “I don’t think I would want to co-write a book with another author, as I can’t see how two writers could successfully balance their styles. I’ve read mystery compilations where two best-selling authors combined their characters into a single story with mixed results. However, I have contributed short pieces to anthologies over the years and would be happy to do so again.

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BONNIE SCHROEDER. “I would love to co-write a book with the late, great KURT VONNEGUT Jr.–something in the dark humor/satire genre.

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G. B. POOL.  “There are so many authors I have read and admired through the years, from Ray Bradbury to Michael Connelly, James Patterson, Nelson DeMille, Thomas Thompson, Arthur Conan Doyle, James Ellroy, Robert B. Parker, and Steven J. Connell, all of whom are sitting on my bookshelves right now…their books, not them personally. Several of these writers I actually met, but as for co-writing with any of them, I don’t write like they do, and I don’t want to change my writing style just to have my name linked with theirs, even though the publicity would be magnificent.

But there is one person that I would have loved to co-write with. He was doing some early research on a mass murder that happened back in Texas at a KFC drive-in decades earlier and hinted that he wanted to write about it. He never had the opportunity to finish that endeavor.

The man was my husband, Richard Pool.

A few years after he passed away, I started reading the many journals he had written after he had been diagnosed with cancer back when he was twenty years old. On the fifth page of the very first journal, he mentioned that he wanted to be a writer. He was an avid reader and liked all the authors I liked. We had several of the same books in our respective collections. He wrote that being a writer was just what he wanted to be, but life got in the way of doing that. He moved from Texas to California and met me at the bank where we both worked. Richard knew I wanted to write. He told me before we got married that he would make my dream come true. We married. He got a better job and then another, making enough money to allow me to retire early and write. I did just that.

We had a great life together, and then he passed away. I started reading his journals and read that part about him wanting to be a writer. He gave me his dream.

If I could write with anyone, I would like to write with Richard. It would be what both of us wanted.

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ROSEMARY LORD. “I would like to co-author books with ENID BLYTON, the famous children’s author from my own childhood. Apart from the delightful “Noddy” books for the little ones about a wooden doll, “Noddy in Toyland,” Enid Blyton wrote wonderful mysteries for older children: “Adventures of The Famous Five” and others about “The Secret Seven.” They had all sorts of fun on ‘Adventure Island’  during their summer holidays. Total escapism and good, clean fun!! Seems like fun to write!

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LINDA O. JOHNSTON:  “Not sure how I’d do co-writing with someone else, but if I had to choose someone to write a book with, it’d have to be one of the well-known authors who also use dogs in their books, such as Kathleen Donnelly, Margaret Mizushima, Diane Kelly, David Rosenfelt, Spencer Quinn, C.B. Wilson, or Teri Wilson—some of whom I know already.

But I’ve never considered co-writing with any of them before! And the story would have to be mystery, romance, or romantic suspense, depending on who my co-writer was.

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Dear “The Writers In Residence” readers: who would YOU aspire to write a book with if you had the chance?  Comment or let me know at photojaq@aol.com.

Delving Into Everyone’s Life But My Own

by Jill Amadio

Last week, I was sorely tempted to slip back into a non-fiction writing career that has sustained me when my mystery book sales faltered. I gave a proposed project a few hours thought. Then, I came to the decision that my ghostwriting years were definitely gone with the wind, as vanished as the ghost I had become.

Ghostwriting popped up in my life when I least expected, and it was certainly not sought. In fact, I was barely aware of someone writing someone else’s life story for them. It seemed the height of hubris both from the viewpoint of the writer and that of the subject. I believe I thought, when I first heard of ghostwriting, that if you couldn’t write your own story, then forget it.

However, during a particularly “dry” period when my finances were almost non-existent, I held my breath and agreed to at least investigate what was involved. I was writing a business column for Entrepreneur magazine, and one day, the editor told me that a reader called, asking if they could recommend a writer to write their business book for them

“What? Be a fake writer? And on top of that, write a whole book?” I squeaked. “No way! I hardly manage to squeeze out 3,000 words for my column. How can I write a hundred times that number?  No way.”

“Jill, look at it this way. Approach each chapter as an article. Besides, it pays well.”

When the editor mentioned the sum of money I could earn, I no longer resisted. Ghostwriting, here I come!

Since then, I have ghosted 19 memoirs and enjoyed the process immensely. I met a fascinating group of clients who took me into the realms of several diverse worlds. I wrote books for a champion cowboy, a nuclear physicist, and just about everyone in between.

After I finished the business book and was telling a friend at the local TV station about it, she passed the word around. I soon received a referral that sent me to Hollywood to meet Ellie, the fourth wife of singer Rudy Vallee. She was one of those larger-than-life ladies who called everyone “Darling.” We clicked right away.

Ellie sent me to the Simi Valley Library, which had bought Rudy’s archives after he died. Five hundred boxes. I spent weeks delving through clippings, photos, contracts, reviews, personal letters, and marriage certificates. The material was rich with wonderfully intimate biographical pieces of Rudy’s rollercoaster life and career. The publisher decided that rather than following the usual process of hiding the ghostwriter, I should be named as the co-author of the book. A great and much-appreciated surprise.

During her book tour in Las Vegas, Ellie had lunch with the owner of the many taxi companies in town, who promptly contracted with me to write her own memoir.  I interviewed many of the cab drivers and collected some surprising stories of famous celebrity passengers. However, the cab owner decided to only publish enough books for her immediate family and friends. Thus, those stories remain undercover.

Another memoir (each of the 19 I ghostwrote was by referral, happily) was more of a revenge publication against no fewer than a dozen attorneys for malpractice. My client owned a small business, which soon expanded into selling one of the nation’s leading entertainment devices. However, the clients had hired what she and her husband called “incompetent” lawyers. Soon, there were lawsuits initiated by my clients all over the place. The book was to name each one and detail their transgressions. I knew a little about the law and told my clients we needed to give those lawyers false names or be sued ourselves.

Some of the names we came up with included Mack E. Avelly, Mal Lingerer,  Jep Ardy, Rack E. Teering, and an Ignorentia Legis (translation: ignorance of the law).

Several of the memoirs I wrote were written in the first person, from the client’s point of view. A favorite of mine was about Monterey, CA’s first policewomen in the 1950s. The lead female cop rode a Harley to patrol the streets and, occasionally seeing a fellow cop’s car outside another cop’s house whom she knew was working, discovered several love affairs taking place during her tenure.

One client hired me to write a mystery. She’d always wanted to write about a financial scam that victimized her father. It sounded boring, so I suggested we add a murder into the mix to jazz it up. She agreed wholeheartedly and asked how many murders we could include. I talked her down to two.

Some clients decide to write their memoirs after changing their lives. One of these was a model, international actress, and recently divorced mother of two who decided to leave her luxury life in New Jersey and move to California. I met her at her home, where she showed me the minivan they’d be traveling in for the cross-country trek. I was surprised that the SUV was pretty stinky compared to the shiny Rolls-Royce parked nearby. She said she wanted a completely fresh start. She got one when she met and married a California billionaire after arriving in Laguna Beach. Then she moved to Italy, where she bought a villa.

Before COVID struck and I moved back to Connecticut, I received a call from a cowboy in southern California. He had recently completed a humanitarian project: riding horseback across America from California to Florida. The mission was to raise money for an orphanage for disabled children. The book was fun to write, covering how he,  the seven horses, and a one-eyed mule he needed completed the journey.

One memoir I wrote on my own was the life story of the first lady of aviation art. A British artist, Virginia Bader, ran a gallery of paintings on both coasts devoted to World War II scenes, dogfights, and heroes such as General Jimmy Doolittle, Air Vice Marshal Johnnie Johnson, and many fighter aces from both sides of the conflict.  Her efforts helped establish the careers of the now top aviation artists in their field, such as Nicholas Trudgian, John Shaw, and Sam Lyons.

I wrote three other memoirs as my own client because I became fascinated with the subjects’ stories. One I was asked by the publisher to write about was Gunther Rall, the third-highest fighter ace of World War II and a General in the Luftwaffe. It was published in 2003 and continues sells worldwide.

“On Top of Spaghetti” (And the Italian Westerns!)

On top of spaghetti
all covered with cheese
I lost my poor meatball
when somebody sneezed.

It rolled off the table
and onto the floor
and then my poor meatball
rolled right out the door!

It rolled in a garden 
and under a bush.
Now my poor meatball
was nothing but mush.

The mush was as tasty
as tasty could be, 
and early next summer
it grew into a tree.

The tree was all covered
with beautiful moss.
It grew lovely meatballs
in a tomato sauce.

So if you like spaghetti
all covered with cheese
hold on to your meatballs
and don't ever sneeze!

But speaking of Spaghetti Westerns, do you know how they got that name?  You guessed it – because they were filmed in Italy (some in Spain or France).  They were also called Italian Westerns and Macaroni Westerns.

These films were popularized in the mid-1960s thanks to Sergio Leone. His film-making style and money-making success ensured that 500 of these films were made in Italy between 1964 and 1978.  He made Clint Eastwood famous with his trilogy of “Dollar” films. (A Fistful of Dollars, For a Few Dollars More. and The Good, the Bad, and the Ugly.)

Spaghetti Westerns were made with relatively low budgets. To save money they were shot at the Cinecitta Studios (like Universal Studios in Rome) and various locations in Italy and Spain.  (God’s Gun was filmed in Israel.)

Spaghetti Westerns were originally released in Italian.  Most featured multilingual casts.  To get around this, sound was NOT RECORDED at the time of shooting. Dialogue and sound effects were added post-production. 

Some of the sets and studios built for these Spaghetti Westerns are now theme parks that the public can visit. (The photo at right is in Andalusia, Spain.)

There you go.

Now you know. 

Does this encourage you to, 1) Write a funny poem? 2) Try your hand at writing a film script? or 3) Write another Western series that becomes wildly popular, like, Lonesome Dove by Larry McMurtry,  the Sundance Westerns series by Peter McCurtin, or the multiple Westerns by William J. Johnstone. 

Happy writing!

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 https://www.reddit.com/r/etymology/ 

https://en.wikipedia.org/wiki/Spaghetti_Western