Category: writing

How Writing Has Become My “Virtual Vacation.”

by Author Hope Callighan

After a tumultuous 2020 (Who saw that coming??), I’ve found writing has become easier – easier for me to escape what’s going on in the world and become immersed in my characters’ worlds.

I’ve also discovered that readers are looking for an escape these days, more so now than ever before. I hear it over and over in the emails that I get.

For those of you who have never heard of me, I’m a Christian cozy mystery writer, with several published series. Most feature a mature female character who has faced some life-altering event and been forced – or decided to – start over. As each series progresses, the characters develop strong and lasting friendships and relationships.

So…if you’re a seasoned writer or just beginning, I’ll share a few tips on how I have decided what to write and then once I start, how to find my happy place so that the words flow.

I love what I write. Back in 2015, my husband and I were brainstorming one day, tossing out ideas for a new series. We came up with the idea for me to write one about a woman who became assistant cruise director on board a mega passenger cruise ship since cruising was something that we both loved.

Not long after, I released “Starboard Secrets.” After writing the first book, I was hooked. I had so much fun joining Millie, my main character, on her cruise ship adventure. That series has continued for five years with book twenty releasing a couple weeks ago.

The joys of research. Researching about cruising makes me happy and when I’m happy, the ideas flow. What better way to write a cruise ship adventure than when I’m sitting on my private balcony gazing out at the vast ocean and breathing salty sea air?

I use my own experiences. Adding my own experiences helps make my stories more authentic. Readers are smart – they pick up on that and appreciate it.

I love cruising, but I also love visiting Savannah, Georgia. Thus, the idea for my “Made in Savannah” series, which is also popular with readers.

After the third or so visit to this great city, I decided that Savannah would be the perfect location for a new set of characters and adventures.

The main character, a mobster’s wife, promises her husband on his deathbed, to get their sons out of the “family.” After his death, she discovers a key in his pocket that leads her to a property he owned in historic Savannah, Georgia.

Keeping good on her promise, she moves from New York and starts over. It’s a bumpy journey and the lead character realizes escaping her past isn’t quite that easy. Readers love learning about this unique location, her commitment to her family and they are emotionally invested in her and her children’s success.

The latest release, “Christmas Family Style” is a fan favorite – and one of this writer’s favorites, as well. It has elements of things that I love…Savannah, Christmas, family. I’m already getting emails from readers, asking when the next book will release.

What’s new? I currently have three “WIP” – works in progress. Actually, they’re the first three books in a spinoff series for my first cozy mysteries, The Garden Girls, set in the fictitious town of Belhaven, Michigan.

So…if you happened to hop off here to take a peek at my author page, you know that I have several ongoing series…four to be exact. I have devoted, die-hard readers for each and am convinced they would hunt me down if I ended any of them.

How do I successfully keep them running, keep readers buying the books and turning the pages? I’ll share a couple of my tips with you:

Be mindful of “Cookie Cutters.” If you write a series, or plan to write a series, always remember that your readers have expectations. They want to pick up your book and know what they’re getting. That’s why they bought it, right? But there can be a fine line between meeting expectations and writing cookie cutter books. (I can’t tell you how many times I’ve heard the phrase wash, rinse, repeat – but that can be misleading, because there is SO. MUCH. MORE.)

If you write the exact same (for example) mystery story over and over – and the only thing you change is the basic mystery, the names of the suspects and the “whodunnit,” you run the risk of cookie cutter burnout – for you as the writer as well as the reader. I believe that a series needs to progress…just like life. New characters are added while others fade away. Difficult circumstances arise – divorce, death, yet the main character prevails no matter what.

If your plan is to start a new and long series, spend some time thinking about it. Where do you want to start? Where do you want the series to go? How many books do you plan to write? How will you keep the series the same – to meet readers’ expectations, yet fresh, where they’re eagerly and anxiously waiting to find out what happens next?

Be original! A few years back, the hot, new cozies were all about donuts. There were donut shop settings everywhere. After a while, the covers and stories all looked and sounded the same. I couldn’t tell one from the other.

So, be original and your work will stand out.

I’ll end with this – a piece of advice I wish I’d had before writing my very first fiction story. Keep notes, notes and more notes.

I keep copious notes on each of my series…characters, descriptions, locations, a synopsis of every story. I even track the seasons. This helps me “jump right back in” when returning to a series, so I’m not totally overwhelmed or completely lost.

It also saves me from backtracking, spending valuable time poring over previous books to track down details that are important to the story, which takes me out of the moment and makes it harder to get the creative juices flowing again.

A lot of my readers re-read my series and they read straight through from one to the next, which means I need to be on my toes with the details. This is particularly important if you write long series.

We’ve certainly faced some challenging times this year. As I write, I keep reminding myself that those words mean something to readers…to my readers. I’m helping make the world a little brighter by bringing a smile to someone’s face or have touched their heart.

Perhaps it was a Bible verse I included that struck just the right chord and encouraged someone. (I have gotten emails from readers who have told me this and let me tell you, it never fails to give me chills that God is able to use me in such an incredible way.)

My last piece of advice is to find joy in your writing, because when you love what you write, your readers will, too.

*****

If you would like to find out more about me or my books, you can find me at:

Website:  hopecallaghan.com

Facebook:  https://www.facebook.com/authorhopecallaghan/

Amazon: https://www.amazon.com/Hope-Callaghan/e/B00OJ5X702/

This blog post was posted for Hope Callighan by Photojaq (Jackie Houchin)

Skeletons After Halloween

by Linda O. Johnston

My fellow Writers in Residence always seem to come up with some wonderful writing advice when they blog here. 

Me?  Not so much. 

Oh, I love writing. It’s what I do. And years ago, I used to attempt to learn, and follow, all the rules I could. 

Now, I’m just used to doing it my way–which, yes, does include some rules, at least. 

And what is that way?  Well, first I need to come up with an idea.  What kind of idea? That depends on what I want to write next. These days, that’s nearly always a romantic suspense book or a mystery that is part of, or might become, a series. 

Then what?  Well, I sit in front of my computer and plot. And plan. And more. 

Over my many years of writing I’ve come up with what I call a “plot skeleton.” 

 It has various blanks to fill in, although I don’t always complete everything.  The beginning is just a blank where I put down anything that appears in my head.  From there, I’ll focus on my main characters and write all that comes to mind about them: their backgrounds, what they’re doing now, why they get involved in this story, and what’s likely to happen to them–often putting it into a character arc. 

I also make a list of other characters at the end, though it doesn’t have to be complete. 

Eventually, I get around to my actual plotting part, where I have blanks to fill in that generally follow screenplay plotting: grabber, three acts that are each ended by a plot point, a black moment, climax and ending. Do I follow them all exactly?  No, but having the skeleton there to fill in is a good reminder if I choose to do so.          

And then–I use that screenplay plotting to create the synopsis.  From there, if I need to put together a full proposal, I write the first three chapters. 

Simple? Yes… and no.  But it works for me. 

So Happy Post-Halloween, and my skeleton is still keeping me company!  And if you’re a writer, may you plot the way that works best for you.

Photo by Matthew Schwartz, Unsplash

(Linda O. Johnston's article was posted by Jackie Houchin)

WORDS & MUSIC – AND INSPIRATION…. By ROSEMARY LORD

                     

We writers write to express ourselves, to share an idea, to inspire – to give a glimpse of another life. We write to take people on a journey that they might never take in reality; journeys to places they might never see, in a time or a world they may never inhabit or discover. But, if it’s written well, our readers feel they have been there, maybe have lived that life, fulfilled that ambition – vicariously.

After finishing a good book, readers know more about that distant place or country, that time in history – or even the fictional future. Our audience has had the opportunity to have learned something new about people, their work, their pursuits and more about the world – vicariously.

Reading books is a way we ‘meet’ new people that we would normally never get to encounter and the chance to have wonderful, or perhaps scary, or even exotic, or romantic adventures, without ever leaving our armchair or couch.

Within these stories, the writer skillfully creates characters and plot lines that touch on parts of our own personal qualities and idiosyncrasies that we, as the reader, can identify or empathize with. Or perhaps the characters brought to life are those we recognize as someone we know or have met along the way.

The books that readers immerse themselves in are a wonderful escape from the humdrum and the stress of everyday living. They broaden our horizons and sometimes inspire people to make changes in their lives, to try something different or find a new perspective.

Inspire: there’s that word again. So, what inspires us writers to spend such long hours composing in our notebooks or wrestling with words on our computers?

Writers – Where do you find your inspiration when you’re stuck?

For me – music often inspires me. As I’m driving or when I’m washing the dishes or cleaning up, and I hear a particular song or piece of music, a story idea often pops into my mind. I find the inspiration for maybe a new twist on something I am writing. Sometimes it’s simply the title – often, the lyrics – and the music brings it all together. Songs can inspire perhaps a new character to solve a plot problem or a change of scenery that will move my story along.

The lyrics of some of our classic songs tell a story. When you think about it, just as poets have that special skill to say so much in a few (usually rhyming) words, so lyricists have a special gift of creating characters and a scenario, which they edit down to just a handful of words that say so much. Those carefully chosen simple words meld seamlessly with the melody and can touch on a story that we novelists can fill in, color, investigate, enlarge upon. We can be inspired to creat a whole world around a brief stanza that we then nurture into many thousands of words of a completed novel. That is our writer’s talent.  

As a scribe, we can change the names and places, (to protect the innocent and the copyright!) but the plot line in some songs is already set out. So, when you’re stuck for what to write next, think of, say, the Beatles song Eleanor Rigby. What a poignant story for us creative minds to fill in the gaps. Or the dark storyline in Mack The Knife. Johnny Mercer’s Moon River is a more whimsical tale of “Two drifters off to see the world…” And how about Cole Porter’s 1934 facetious tale of the hanging of a society woman after she murders her unfaithful lover – the song made famous by Ethel Waters and later Ella Fitzgerald: Miss Otis Regrets, she’s unable to lunch today? 

Take George Gershwin’s An American in Paris – inspired by his time in the City of Lights in the 1920s. Apart from the lush musical score, what story could that simple title inspire?  Glenn Campbell’s Wichita Lineman, “I am a lineman for the county, and I drive the main roads…” could be the start of an intriguing tale. Barry Manilow wrote about showgirl Lola’s ambitions stymied by a jealous admirer in his disco hit Copacabana: there’s a tale ripe for embellishment. 

What about Andrew Lloyd Webber’s Memory from his musical Cats, based on T.S. Elliott’s Old Possum’s Book of Practical Cats? Or Elaine Stritch’s signature song, Here’s To The Ladies Who Lunch, from Stephen Sondheim’s musical Company. Perhaps a more whimsical tale could be based on Antonio Carlos Jobim’s Girl from Ipanema.  You get the idea.

Today, even traditional world-famous book titles can inspire us. I notice that some of the new books now use old and borrowed titles anyway. When authors had worried about their ideas being stolen, someone pointed out that if ten writers were given the same assignment, their styles and experience would be so varied that the ten books would turn out to be totally different.

And so I pondered: what if we wrote our own version, inspired by just the title, of A Tale of Two Cities, The Man Who Came to Dinner, A Caribbean Mystery or Witness for the Prosecution? The results would be as varied, as creative and fascinating as befits our own individual talents. Some scribes’ version would be a romantic comedy, or a hardboiled noir, others would produce a thriller, a cozy or a charming escapade.

Today I see inspiration everywhere – and am frankly open to ‘borrowing from the best’ when I get stuck. I like to channel their inspiration. I enjoy any way I can to write and to perpetuate writing for all of us. To paraphrase Pinocchio’s chanson – “Hi-diddle-dee-dee – A writer’s life for me….

BACK TO BASICS: WRITERS’ BOOT CAMP PART II

by Miko Johnston

In any story, the beginning sets up the problem that must be solved and the ending solves it. How that happens comprises the plot, which plays out in the middle chapters. A good plot is like a good EKG, with lines that zigzag up and down. When tension and stakes increase, the line climbs upward. You never want a flat line; in matters of the heart and story, it indicates death.

In my last post we reviewed the three basic ways to begin a story as well as some techniques to get those opening pages written. What if you’ve gotten that far but haven’t moved forward?

Many writers get stuck after writing the opening chapter. A common problem is trying to perfect that opening. As a bone fide Brooklynite, I can say fuhgeddaboudit.

Nothing will hang you up more than trying to go over and over that first chapter, endlessly fine-tuning it before moving on. You can’t. You shouldn’t. Put it aside and keep going. Finish your first draft. Once you know how the story unfolds, go back and figure out how to fix the beginning.

Do you have a beginning and an end in mind? Then build your story like a bridge – set down firm spans on both ends and connect them in the middle. I wrote my first novel that way, working the plot backward from the final chapters and forward from the earlier chapters. Mysteries often fall into this category; you know the crime (beginning) and whodunnit (the reveal at the end). Work your clues in both directions until they meet in the middle.

What if you don’t know where the story is going? Many writers prefer to wait for the muse to whisper in their ear rather than draft an outline. In that case, why not choose a path and follow it to its logical conclusion? Think of it like those maze puzzles – a path may lead to a dead end, but then you’ll know it’s a dead end and try another path, eventually finding the one that leads you in the right direction. Everything you write will help guide you to The End. Two caveats, though:

-If you have a beginning and only a vague idea of the end, you’ll want to have enough to get you well into the middle before you tackle a novel, otherwise you may never reach your destination. My second book took over four years to write; I meandered through two plots I ultimately discarded, then conceived a third one worth pursuing.

Some writers feel as soon as it’s on the page, it’s permanent. Not so. In my second novel I found a way to solve a plot problem with a birthday surprise for my heroine, but I’d already given her a different birth date in my first novel. How could I get away with that? It took a week to realize an easy solution: neither book had been published yet, so I could change the date in book one to fit my new development.

***************

Are you stuck in the middle?  Writing your middle chapters, but unsatisfied with them? Fortunately, sit-ups and planks aren’t required.

Ways to improve a weak middle:

1 – Always keep your genre and theme in mind.

Your genre can shape how your story unfolds. A humorous cozy should be light and fun. Noir should be steeped in atmosphere. Use your theme or log line as the foundation on which you build your plot, and a guide to move it along.

2 – Take advantage of the multiple uses of dialogue

It can move the story forward, briefly slow the pace, draw our focus to a plot point or clue like a camera close-up, inform us of character, or foreshadow a later development.  Dialogue tags like Jon said identify the speaker, but by using a bit of action – Jon tossed his keys on the table – you also add movement. Finally, consider how your characters speak and what they don’t say.

3 – Keep the plot, and your character, active.

Not enough action will bog down the pace, but action means more than shooting and fighting, or running after suspects. Action can be physical or mental. Action is your character DOING whatever it takes to reach her goal.

4 – Have at least one mid-point crisis.

A good story always launches with a crisis and climaxes with a bigger one. Crises generate tension, which keep the middle from sagging. Introduce sources of conflict, whether leads in the investigation that fall through, the death of a material witness or ally, or a setback in the hero’s goal. Just make sure the crisis fits the story’s momentum and doesn’t exceed your climax scene.

5 – Avoid dumping in too much backstory.

Whether you’re trying to bring your character to life or writing a sequel, you need some backstory, just not too much. What are you trying to accomplish with the information? Insight into the character’s past that would explain why she does what she does? A reminder in a sequel of an event in a previous book? Ask yourself three questions:

            Is this information necessary for this story?

            Does it help to define the character or support the plot?

            Does it move the story forward?

If no, leave it out. If yes, then keep it brief. I read a few series and find the best of them will remind readers of characters and events with a line rather than a paragraph.

6 – Watch out for repetition.

We all know best-selling authors of series who, after a dozen or more books, begin padding their sequels with repetition. Just like unnecessary detail will bog down your story, so will repeating events or dialogue over and over and over and….. If you’ve just written a scene where an action occurs, your character doesn’t have to repeat this information to another character in the following scene. She told him what happened or words to that effect will suffice. If we need a reminder of what transpired later in the story, keep it brief.

7 – Reward and surprise us.

What’s worse, a story that’s totally depressing or totally predictable? Trick question; it’s a tie. Even the most dystopic stories must have moments of lightness. Whatever your character’s goal is – trying to solve the murder, find true love, succeed in business or win the battle – mete out some successes along with the setbacks. Lace in enough twists and surprises to hint how the story might end without giving the ending away.

This is particularly true in mysteries. Setting up a good red herring can be tricky since readers expect them. They’re delicious when they surprise us, but like all fish, if they’re mishandled they stink. As much as I enjoyed Girl On A Train, it was obvious who the murderer was a hundred pages before the book’s conclusion. Nothing’s more disappointing than knowing without a doubt exactly how the book will end. You presume the detective will solve the murder, but still want the pleasure of discovering HOW it happens, especially if the manner is unexpected. Just make sure that the reward or surprise is rooted in the story. Don’t plop something in for convenience. Weave a subtle thread back to earlier chapters to set up the surprise properly, or base the reward on something she wants or needs, even if she doesn’t know it.

8 – Keep the dialogue and prose in proportion.

Do you have enough dialogue? Too much? What about sensory detail, setting, character descriptions? There’s no magic formula but we don’t always consider the balancing act. Rereading your story, looking for something you don’t always consider, gets you looking at your pages in a different way. You may catch something that’s not working, even trigger an idea or solution. 

9 – Keep the middle in proportion.

I am not partial to using formulas for writing books (and have the luxury of not having to rely on them). However, if you’ve written several chapters and are unsure how the story is progressing, consider the percentage of pages dedicated to the middle versus the beginning and end. Although not a precise measurement, the opening, from Once upon a time to the inciting incident that launches your story, should comprise about a quarter of the total number of pages. So should the final act, from the climax scene to The End. That means the middle should be roughly half of the story. If your opening chapters comprise sixty pages and you’re up to page 300 but nowhere near the climax, your middle is probably bloated. If your middle is proportionally light, flesh it out or shorten the rest.

*          *          *

Still stuck? If you’re a visual person, try charting out your story, or as much of it as you know, on some kind of diagram. I’ve used line graphs, with peaks for crisis points and valleys for slower parts. I’ve used box charts, where I divide a sheet of paper into sixteen boxes – four for the beginning, eight for the middle and four for the end. In each box I briefly describe what’s happening at that point of the story. This shows me how the plot is developing as well as the balance between the acts. Since I write historical fiction, I also parallel historical events with my characters’ lives. If you write mysteries or thrillers, especially the cat and mouse variety, you can chart your hero’s progress against your villain’s actions.

If you’ve conceived some scenes but not an entire chapter, write it in chunks and assemble it later. If you prefer working with a hard copy, write the individual scenes, conversations or actions, leaving ample white space between them. Print them, cut them into sections and assemble them as you think works best. Move everything around until you have the order you want, and insert blank paper between the sections that need connecting. Pencil in notes about what you need to connect the passages. Use this to guide you through completing the chapter, or flesh out other chapters. It moves you forward. If you don’t like the direction, at least you’ll know another dead end to avoid. This can be done on the computer if you prefer working that way.   

Another technique that has proven helpful is to change ‘jobs’; instead of writing prose, think of yourself as a movie director. Can you visualize the scene you’re trying to create? How would you direct your characters? If there’s something missing in the scene, get input from the set dresser or wardrobe coordinator. As authors we tend to see our work from on high. Peering at it from a different angle gives us another perspective. Even closing your eyes and envisioning the words you’ve written (or listening to them being read) will make them pop and come alive, or hint at why they don’t.

Consider writing free-form dialogue, which I’ve described in this earlier post. This gives your characters an opportunity to speak for themselves. Sort of like the director asking the actors to ad lib their lines. If that doesn’t work, you may not know your characters well enough to ‘speak’ for them. In that case:

-Play the “who would I cast as…?” game – think of people, either famous or those you’ve known, and match them with your characters. Consider why you chose that person to help you flesh the character out.

-Try to describe your key characters in a word or brief phrase, then look for signs of commonality and discord between them.

-Define them with an image. For example, think of type fonts as a logo. If you were to assign a different font for each of your characters, which would represent them best?  

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Once you’ve written an attention-grabbing beginning and a turn-the-page middle, you need to reward the reader with a satisfying ending. In the final installment, we’ll explore what that means and how to achieve it.

                                                                        #

Miko Johnston, a founding member of The Writers In Residence, is the author of three novels in the historical saga A Petal In The Wind, as well as several short stories. She is currently completing the fourth book in the series. Miko lives on Whidbey Island in Washington (the big one). Contact her at mikojohnstonauthor@gmail.com

Leftovers

This writing trail of thought started the other night when hubby and I watched the movie, How to Steal a Million, with Peter O’Toole and Audrey Hepburn. We settled on this particular movie because I like looking at Peter, and hubby likes looking at Audrey. That being a point of enjoyment, I nonetheless snarkily(sp) commented several times during the movie that it was a stupid plot and the story moved far too slowly. Hubby didn’t complain at all—Audrey was quite striking, indeed!

Well, the next morning I woke up with a film-cut-like  picture of Peter and Audrey, contorted together in the broom closet(a classic scene in movie history I think). And I wondered why I had that picture in my mind, given I’d complained about the movie?

Some background information about me is, for some of the best novels I’ve ever read, or movies I’ve seen, an actual photo-type image remains with me that I can call up into my mind’s eye. And often they popup when waking up. It’s more than scenery, or location, or character features, or clothes…but a real photography type snap. There have, of course, been many novels I’ve read, enjoyed, even loved, that did not have mental pictures associated with them. Some examples of ones that did are:

  • Murder on the Orient Express, book and movie(s) dénouement scenes in the dining car, and/or out in the snow. For me, these are classic pictures left behind—and my all time favorite one is of David Suchet.[i]
  • Several real-person pictures of Boo Radley—from the book and the movie To Kill a Mocking Bird. (of course, in the movie, the fantastic actor Robert Duvall may have had something to do with the leftover picture(smile))
  • And a great and fun-filled–even though there’s a murder–picture I can still see is Friendly Farm itself, in Murder at Friendly Farm by Jacqueline Vick, and then another picture from Friendly Farm of Santa in the corn maze ,
  • Miss Marple sitting in her drawing room,
  • The Penguin Pool Murder by Stuart Palmer— a picture inside the New York Aquarium with Hildegarde Withers standing there remains quite vividly with me. (Even though I’ve forgotten “who” actually did the murder and I’ve never been to that aquarium…but what a vivid picture I still have)

These are all wonderful fiction novels and movies, so why after my snarkiness during How to Steal a Million, did I retain such a vivid picture? So I’m thinking there must be some storytelling reason(not just just eye-candy), why that picture from How to Steal a Million remains with me, but I haven’t figured it out yet.

But a more pertinent question remains with me—in my own writing, do I want a real snapshot like picture left behind as one of my goals? Or does that just happen given the nature of the story? Or, or? And all the time? Can you even make leftovers happen?

Despite my advanced age(smile), I am still Pollyannaish[ii] at heart, especially in my reading and movie watching inclinations. As a kid, I hated fairytales with bad endings(which were many it seemed)—and after seeing Bambi at the movie theater as a child, never knowingly watched a children’s Disney film again. Further, if it seems like a dog is going to get killed–won’t read, watch, or finish a book or movie if started. Indeed, hope, happiness, the world goes on unharmed, and bad guys get it in the end (even if in an ironic way) are my cup of tea.

So, after writing all these thoughts out—my answer is YES—I want to leave endearing leftovers. Not just thoughts or emotions, but real snaps that bring a smile to the reader’s face. [iii] Hmmm.

Definitely interested in your thoughts…

Happy Writing Trails!

[i] Just downloaded latest Hercule Poirot by Sophie Hannah, and looking forward to visiting the picture of Hercule(probably David Suchet) in my mind’s eye. FYI from Ecosia search—The Killings at Kingfisher Hill the latest Hercule by Sophie Hannah https://en.wikipedia.org/wiki/Sophie_Hannah She’s written 4 so far https://sophiehannah.com/

[ii] Pollyanna is a 1913 novel by American author Eleanor H. Porter, considered a classic of children’s literature. (again, per my search engine Ecosia)

[iii] Back to another review of Never Forgotten to see if maybe there are some leftovers!

What to Write When the (Ink) Well is Dry.

That is where I am right now.

Oh, sure, I’m writing every day: checks to pay bills, answers to emails and texts, posts on Facebook and Instagram, birthday cards to put in the mail that day, a grocery list, a “to do” list, a note to Hubby about an errand I need to do and when I’ll be back.

But creative writing? Um, no. Unless you count a quick book review I pound out in fifteen minutes, knowing that unless I do it today, it will be late, and then I’ll feel awful. Too bad I only skimmed the last two chapters… but you don’t mention how books end anyway, do you? And then I still felt awful, because I’ve always determined to finish a book – every word – before writing a review. Boo-hoo.

Oh, I do write curriculum for my third (used to be fourth) to sixth grade class* at church every week. That can be fun. The delivery can be somewhat creative, but not the text of course. It’s the Bible, after all.

In one point in last week’s lesson I was teaching how that precious Word of God is called “the sword of the Spirit” in the Bible. “Sharper than any two-edged sword, able to discern the thoughts and intents of the heart.” I’d been teaching them the first sermon preached by Peter, the fisherman-turned-apostle, when I came to its conclusion. (It’s a doozy!) I pictured a duel between forces of good and evil, raised my imaginary sword and did a bit of fencing (pantomime, of course), ending up with my opponent on the floor, my sword tip on his chest. The phrase “coup de grace” came to my mind, and still holding my imaginary position with opponent pinned down, explained the French phrase. “The final blow,” I said, looking at the fifteen kids slowly. “The thrust that pierces the heart,” I said. And then I jabbed my sword right to the floor… holding for a few seconds before looking up. Then I jerked it free, held it high, then slipped it into my imaginary sheath at my left hip.

There was quietness for a few seconds, then I had the kids read verse 37 of Acts chapter 2, which was the response of the crowd to the strong finish of Peter’s sermon. It reads, “Now when they heard this, they were cut to the heart, and said to Peter and the rest, ‘Brothers, what shall we do?'” Peter’s inspired use of Scripture had brought instant conviction.

But that was “creative” thinking and teaching, not writing. So what do you do when your ink well is dry?

  1. Read in the genre you want to write. Read for pleasure (maybe even some old favorites). Read those authors who inspire you. Read, read, read.
  2. Go online to the sites that list daily (a month at a time) story prompts or story ideas. Here’s one I sometimes use. (Click farther on the site for other ideas.) https://mailchi.mp/writerswrite/daily-writing-links-29-september-2020?e=befa474c79
  3. Start (or start up again) a daily or weekly journal. I have to admit that when we returned from our (fantastic) cruise and a week later faced the monster that became Covid-19, I quit journaling. (Crazy huh? What a “ripe” season of lockdowns, scary bar graphs, no one working, everything closed, ghost freeways, that I could have used in stories. Sigh!) Well, it’s not too late. Maybe begin with a “to do” list, and comment on your doings and feelings during that day. Or… you choose.
  4. Study books by writers that give instruction. A few weeks ago we had Sara Rosett as a guest blogger. She wrote about she used lots of things for Research in her historical mysteries. But she also mentioned a couple “How To ” books she has written. “How To Outline A Cozy Mystery” and “How to Write a Series.” Both are easily found on Amazon. (I recently bought them both and am eager to dig in, for at least a chapter a day.) Look for books on short story writing by our own The Writers In Residence, G. B. Pool.
  5. Take note of those weird dreams. Hey, maybe your creative muse is locked down inside your head, and wants to safely, with some social distancing via dreams, give your mind some help.
  6. Look at a calendar. Upcoming holidays are always good for getting the juices or muses working. Think back to fond memories. Think forward with some Sci-Fi or Fantasy weirdness. Let the seasons inspire.

Do whatever it takes, even acting out some scenes from your favorite book in front of your spouse, dog or cat, or the mirror. The movements, actions, even words may lead to some nice black… or maybe purple… INK in your writing well.

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*I used to teach a class of 4th to 6th graders, but now that all must wear a face covering in class, I have inherited the 3rd graders as well. (They used to be together with 1st and 2nd grade.) According to the “order,” all students in 3rd grade and up must wear masks etc. Second grade and below do not have to. The Children’s Ministry leader felt it would be hard on some in a class that have to wear them while others didn’t. But, on the fun side, I’ve discovered that those third graders are pretty sharp too and I only need a little tweaking of the lesson that I prepare for the older kids. (PS: I wear a face shield, so the kids can see me better.)

How Much of YOU is in Your Writing?

by Gayle Bartos-Pool

 

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Okay, let’s get down to the basics… If you happen to be writing a memoir, use as much of yourself as you want. But if you’re writing fiction you might want to rethink how much of YOU you put in your story.

I don’t mean your sense of humor or sarcasm or even little bits of happiness or sadness that has been part of your life, but you can take your PLOT or your CHARACTERS on the wrong path if you aren’t careful. Not that you aren’t the most interesting person in the world… but maybe, just maybe, your beliefs, passions, or politics might be the things that take your great story off the tracks. And remember, in ten years things may change, trends, ideas, even your beliefs. When that happens your story will look dated. But some things never change.

Let me explain.

I have been a huge fan of E. Phillips Oppenheim, Mary Roberts Rinehart, and Anna Katharine Green. They wrote a hundred years ago. That’s 1918! Their stories are still readable. Sometimes you’d swear they were written last week. It’s the STORY that withstands the test of time. Stick with it. Don’t head down a road that half your audience might not want to go down with you.

I have watched some of my writer friends on Facebook mention that they will use the recent unpleasantness (AKA: the pandemic, the corona virus, the China virus, the Wuhan virus… whatever you call it) in their work.

Okay. It’s your call.

Writer Lady 2People used World War II, the Vietnam War, the Depression, -insert disaster here-, in their work. The memorable stories didn’t dwell on the event itself per se. They used it as a backdrop and then showed how their characters’ personalities dealt with the event.

Not that your characters might not do what you would do, but sometimes the story “sounds” like preaching instead of a fascinating character study or a unique story.

I once wrote a scene featuring one of my main characters when she recalled losing one of her beloved dogs. I wrote a rather long sub-story featuring everything I felt at the time of that loss. Funny thing was my character was driving home while thinking of this event. During an edit I came to that scene and realized that particular detour took my character off in another direction – a dead end. It had nothing to do with the main story and it didn’t necessarily enhance her character even though it might have been touching. It showed how hard it was losing that wonderful dog, but it really didn’t fit the spy novel I was writing. I cut it.

I do use people I know as characters, at least a slice here and there. Often I change their name. I do that mostly because I don’t want to embarrass them or anger them – lawsuits, you know. But I never make fools of them… period. And I never use someone I don’t like in a book. Why waste the ink?

I have used all our pets as minor characters in different stories. My wonderful husband, Richard, is definitely the basis of Fred Caulfield in my Gin Caulfield mysteries. I enjoyed using his strong personality so much, he will become a partner in her detective firm in upcoming books. But that is the extent of the similarity. I want Fred to be his own person.

Pencil 2As for myself showing up in the books I write, a little of me is here, a little is there, but I actually like to have my characters be themselves. I might like them because we are compatible, but not identical twins. And I definitely don’t want us to be Siamese twins joined forever, never having a life of our own. That wouldn’t be fair to my characters, after all, they are like one’s own children in a way. You might want to instill some values in them, but you really have to let them be themselves. Think of your friends, you like them because you have something in common, but if you try to change them, I bet you won’t have them as friends anymore.

So I let my characters be themselves, and as almost every writer I know has said: These people take on a personality of their own. If you as a writer just sit back and let them talk, you might just find they have a terrific voice. So shut up and let them do the talking for a while. We’ll get who you are by the story you tell. Trust me. Write on!

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How I Use Nonfiction and Fiction for Research and Inspiration

By Guest Author,  Sara Rosett

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.

Nonfiction

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.

Fiction

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.

 

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Sara Rosett Author Photo 2016 Headshot 1500 copyUSA 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.

Social Media Links:

 

 

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This article was posted for Sara Rosett by Jackie Houchin (Photojaq)

Getting together

By Linda O. Johnston

 I’ve mentioned here before that I used to attend a lot of writers’ meetings and conferences, including monthly lunches with my wonderful Writers in Residence friends. 

Well, we still get together monthly for a “lunch” – one that’s online on Facebook. It’s definitely enjoyable.  And that’s kind of how all my get-togethers with writer friends are going these days.

 I miss seeing them in person! 

Yes, writing is a solitary existence.  We generally sit in front of our computers and let whatever’s on our mind spill out onto the keyboard so we can read it on our screen.  And edit it.  And add to it.  

And it’s not like we can no longer run ideas by our writer friends.  Thank heavens for the internet and text messages and, yes, phones. 

Still, it’s different these days. 

But hey, thanks to my wonderful husband, who added a camera and microphone to my new computer, I can now attend Zoom meetings and be seen and heard. Not that I always want the others in a meeting to be able to see all my expressions, and I have to use a false background to prevent the windows in my actual home background from letting light in to blind anyone who looks at my frame.  But I can always pick up one of my dogs and let whoever I’m talking with see them, too! And I’ve also been interviewed on Zoom for an upcoming YouTube program, where I’ll be talking about cozy mysteries. 

I’ve always recognized that people are versatile–and these days we have to be especially versatile. And wise, hopefully. I don’t appreciate people who get together in large groups now, particularly without facemasks and not staying a decent distance apart. That can be dangerous not only for them, but for others, too.

 But I appreciate how resourcefully we’ve come up with ways to communicate with others, including other writers.  I look forward to when we can do it safely in person again.  Meanwhile, a virtual hi to all of you out there. Stay safe!

This article is posted for Linda O. Johnston by Jackie Houchin.

PERFICK!

By ROSEMARY LORD

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I’m trying not to be – perfect.

Or ‘perfick’ – as H.E. Bates had Pop saying in The Darling Buds of May. For Pop, each day and everything around him was – ‘perfick.’

And that’s what I have always aimed for.

I’m very much a ‘Pollyanna,’ and always seek the best in every circumstance and find positive outcomes for the most dire situation. When someone tells me ‘No, you can’t do that. It’s not possible…” My reaction is always: “I’ll find a way!”

I have also been my harshest critic. Until a friend recently said, “Rosemary, you don’t have to be perfect. You are too hard on yourself. And you expect everyone around you to have those same high standards. They don’t. So don’t beat yourself up about it.”

Hmm. Food for thought.

Life has been a challenge for everyone in the last few months.

At first, I found the lock-down a sort of blessing. An opportunity for us all to take a collective breath and count our many blessings, reassess our lives, and think about what is really important for each of us. Find what it is we really want to do with our lives.

heartofhwd-wch-sketch-6_orig   It certainly gave me time to sort out a lot of Woman’s Club files, paperwork and organization. That makes it easier for me to delegate and hand over the reigns, so I can focus full-time on my writing once more.

And, working on the WCH from home, I was able to squeeze in writing time. I found more and more new writing ideas and goals and decided it was time to put my own life first. To make writing my full time work again. Sooner, rather than later. That’s the plan – and I’m getting closer!

As the Brazilian author of The Alchemist, Paulo Coelho, said, “There are moments when troubles enter our lives and we can do nothing to avoid them. But they are there for a reason. Only when we have overcome them, will we understand why they were there.” Paulo’s parents committed him to a Mental Institution when he was seventeen, after he told them he wanted to become a writer! “Not to punish me, but to save me from that life,” he later said. They failed. Today he is a highly successful author.

Mercy! Makes us appreciate our own parents, doesn’t it? Thank you, Mum and Dad, for being you!

file3171299616544         But after weeks of world-wide shut-downs and no travel permitted, I also saw how small some of our lives had become. Often out of fear. When we do something out of fear – we cease to think rationally, boldly. Our courage leaves us. Some never get it back, especially as we get older.

We did as we were told and stayed home, closed down businesses, gave up jobs we liked, cancelled vacations and celebrations. We stopped going to the gym, too. And having our hair cut. (Well, that’s my excuse for my temporary extra pounds and my ‘mop’ of hair!)

 

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But all was not lost, as many people became very resourceful and creative. They shone through this adversity. They found new ways to keep small businesses going, create sideline businesses, found new ways to communicate, and celebrate. Not worrying about being perfect, they just got the job done. People offered help to their neighbors and strangers, and acknowledged gratitude to those who continued daily schedules in the community as ‘essential workers.’ So, the Covid shut-downs had also brought out the best in some people.

But life had been put on hold.

Meanwhile, I have spent long hours at my computer, at home, on Woman’s Club matters. I’ve accomplished much in working through these months, including resolving a complicated, year-long IRS Audit. But I wished I could be speedier with that very work. I wished I could work faster and do shorter days. I wished I were more technology-minded and that I could work more quickly in these areas. I wished I could do more for the club with online events. But I don’t know how – and felt a failure in those areas. I chastised myself for not doing better.

Remember school reports? “Rosemary could do better. She could try harder.”

So that stuck with me. I could never do well enough for me. And that’s where my friend pointed out my frustrating perfectionism. I had created my own fear – of having to do everything to perfection. Are there any other perfectionists out there? It’s a disease, I tell you!

So, I have taken a deep breath and let go of some of it. Or I’m trying to… They say old habits die hard. And it’s really tough, sometimes!

Lady Typing 2   In my former writer-life I spent many solitary hours writing. I was oblivious of the world around me. I forgot to eat. Not good when you had a husband hoping for dinner, after returning from a long day’s work! But Rick was very patient and sometimes cooked for us, and a plate of food would appear in front of me, on top of my typed pages. “You haven’t eaten in hours. You’ve GOT to eat…” he would grin and return to listening to his music through headphones, so as not to disturb me. But I loved what I was doing. He knew that, so he was happy.

And I’d lost that joy since he’s been gone.

So, after losing Rick, I took on the responsibility of saving the Woman’s Club, as a way of  escaping or forgetting, I guess. But it was such a different challenge. So much administrative work I’d never dealt with before. But I made myself learn. How hard could it be. Ugh! But I felt I must do a perfect job – in order to succeed.

I changed, I later realized. I rather lost my sense of humor. I was NOT amused by the battle I had to fight. The corruption. The thievery! I gritted my teeth and battled on through horrendous episodes. I had taken on a responsibility and I was not going to give up.

But I lost my writing along the way. And that wasn’t all. I’d lost spending time with good friends; friendships neglected. Life was whizzing by neglected and unlived.

These months working alone again at home I realized that, yes, I was a perfectionist where the WCH was concerned. Although no-one else seemed to notice. After my friend pointed this out, I realized I was being too tough on myself. I wasn’t having any fun – and I’d lost my sparkle. A girl has to have some sparkle. And I don’t know where I’d left mine.

So, I began to turn my attention to life around me again. Little by little. Now, new people have appeared to take some of the responsibility of the Club from my shoulders. And if they are not doing it as perfectly as I would like, that’s okay. It’s good enough. Gets the job done. They’re champing at the bit to get back out there. Back to work. Organize fun, interesting events. Escape from the Zoom Room. They are energized, brimming with ideas. And they think it’s fun!! What a relief.

06694-rosemaryatburbanklibraryjpg So I am becoming a happy writer, once more. I’ll be even happier once we’re allowed to travel, too. Even if I’m not going anywhere, at least I like to know that I could if I wanted to. I’m a dreamer, too.

So, my less-than-perfect writing schedule is coming along. With my less-than-perfect editing in my less-than-perfect office space – also known as a messy desk. And my definitely less-than-perfect filing system works just fine.

I’m remembering to eat, most of the time. Sometimes it’s a late-night dark- chocolate bar. And so my girlish figure is less-than- perfect. But that’s okay too. I still occasionally mutter, “I promise to do better.” But now that makes me giggle, instead.

I LOVE what I’m writing, and can’t wait to sit in front of my computer and create – or grab my pad and scribble notes.

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Mark Twain once said “Twenty years from now you will be more disappointed by the things you didn’t do than by the ones you did do. So throw off the bow-lines. Sail away from the safe harbor. Catch the trade winds. Explore. Dream. Discover.”

Sounds wonderful to me…

Just perfick!