The Writers in Residence

A NOVEMBER TO REMEMBER…

By Rosemary Lord

“Remember, remember the 5^th of November,

With gunpowder treason and plot.

I see no reason why gunpowder treason,

Should ever be forgot.”

So begins the English children’s rhyme. Back in 1605, when Frenchman Guy de Fawkes tried to blow up the Houses of Parliament, his plot was discovered, and he was stopped. And each November since, the Brits celebrate their victory with ‘Guy Fawkes Night’ or ‘Bonfire Night.’ The children make a ‘guy’ – a dressed-up scarecrow figure that looks like Guy Fawkes. They take their effigies around the streets (usually in a cart or pram) asking for “A penny for the guy!” collecting money to buy fireworks.

The evening festivities include huge bonfires, in your own garden or in community squares, with informal fireworks displays, chestnuts and potatoes roasted on the fires and hot cocoa to drink. A fun winter evening for all ages.

November is a busy month.

The Hindu celebration, Diwali: The Festival of Lights, is November 12^th this year. It is a Hindu new year celebration to say goodbye to the negative and welcome the positive for the year to come. It is a five-day celebration of the triumph of light over darkness, where candles and lights abound, children with sparklers, music and dance (Bollywood style) delicious food and henna tattoos.

A more somber but very heartfelt event is Remembrance Day in England on November 11^th.

It commemorates the Armistice of 1918, signaling the end of the First World War. In England, Australia, and Canada – the Commonwealth countries – people wear a red poppy in respect. At 11 am – the eleventh hour of the eleventh day of the eleventh month, at the Cenotaph in London, the guns fire a salute, broadcast throughout the countries, followed by two minutes silence. The buses, trains and traffic stop. The River Thames and various spots like Trafalgar Square are covered in red poppies in the tribute to the men and women who served in military and civilian service in World War I, World War II and later conflicts. The poppies are a reminder of the red poppies that grew in Flanders Field where so many perished and are buried.

In America, November 11^th is Veteran’s Day: a time to thank and pay tribute to all the men and women who have served or are serving in the military. A grateful nation decorates their homes and gardens with the American flags, and as they pay homage to the veterans, they celebrate with barbeques and patriotic concerts. Coffee shops, restaurants, shops, pay homage to the veterans with welcome signs in the windows and gifts and special discounts. Flags are proudly displayed everywhere. It is a National Holiday.

So, with all this pageantry and celebration going on you might ask, what has this to do with writing? Well – for me, it’s the inspiration. As a historian and writer, I just love to write about these amazing points in history. I think the human angle to these great events gives us rich sources of personal encounters, heroic actions, missed opportunities for mayhem and miracles. Finding a personal account of someone who was there, an eyewitness. I like the idea of using actual historic events and traditions as a backdrop. And when we delve into the real-life stories, we uncover real people; from the big heroes to the ordinary folk just trying to survive the challenges of everyday life. We discover fascinating tidbits of human nature that raise our stories to make something very special.

And November ushers in the winter months, when we turn our clocks back, the days are desperately shortened, with darker mornings and a chill spreads around us. (Unless you’re living in Australia, of course). We dig out that cozy, thick wool sweater, heavyweight sweatpants, fuzzy slippers and we’re ready to sit at our computers with a mug of something hot. The empty page beckons and away we go: off to write another best-seller!

Every November I promise myself that in these ensuing long, dark evenings I will get a lot more writing completed.

And the winter season presents even more back-drops for our mysteries, romances, horror stories or science fiction. Holiday themed novels are always popular. Christmas stories are especially fun to write and popular – except you’re not allowed to call them Christmas stories anymore. So, that’s a fun writer-challenge: how to write about Christmas without using the word Christmas! But I digress…

Another really good challenge for some of us during the winter months is… decluttering the computer files. I didn’t say it was fun challenge, did I? But it is surprisingly therapeutic.

I discovered this need, after spending almost an hour trying to find a file I had just been working on. You see, I couldn’t remember exactly what I had labelled it. If you add a ‘the’ or start with a date, you have to know where to search. (Sometimes, learning Greek seems easier than mastering computers!)

In this quest I discovered dozens of files in a foolishly labelled folder “Assorted writing.” Lesson #1: NEVER file anything under “Assorted” or “Miscellaneous”.

That was another file: “Miscellaneous” with ‘2022’ added for supposed clarity! Didn’t help. I learned the hard way.

Despite the fact that my hunt for my file was lengthy and tedious, I discovered a few gems of old, forgotten, partially written tales and story ideas. Hmmm.

And so I resolved to declutter (there’s that word again!) my files and create a comprehensive labeling and filing system. One that I could remember! A Herculean task, I realize. But one that I can work on during the long, dark, winter evenings.

It’s either that – or I’m diving back under the duvet –and reading my kindle in the dark, where no one can find me!

What’s your plan for the winter months ahead?

Making Your Words Count

I went to a gathering of local writers from Devon and Cornwall last week. Although I have been living back in the UK for five years, I have been a bit of a recluse. A lot had to do with Covid and the self-enforced isolation that seemed not only to curb my freedom, but my confidence too. It’s only now that I am slowly putting out feelers and making new writer friends.

Anyway, about twenty of us met in a lovely restaurant in Exeter and I found I was sitting next to a writer who epitomizes the word “prolific.” I won’t list the number of books of all genres (from Sci-Fi to Romance and non-fiction to ghost writing), that she churns out annually but what stopped me in my tracks (actually, I almost choked on my Halloumi fries) was her goal to write HALF A MILLION WORDS a year. And she casually said she usually comes close.

My first thought was that she had to be a robot. My second, maybe she uses ChatGPT, or maybe she’s a “first line writer.” I use that phrase because my former husband wrote for a TV show and was once accused of being a “first line writer” which upset him greatly. For those unfamiliar with the term, it’s an insult literally saying, “writing the first thing that comes to mind.” I did ask my new writer friend (who was also very nice which made it hard to dislike her) her process. Was she a Pantzer? Did rewriting, editing, and proofreading count towards the magic 500,000 words but nope, I was assured her words were all brand new.

So what’s wrong with me? If I’m lucky, on a good day, I could write nine hundred new words. I’ll probably go back and rewrite them a few times. My books under contract ask for 70,000 to 75,000 words (relatively small if you are used to 80,000 and above). Once, I wrote two books in one year so that topped at 140,000. I never used to be obsessed with my word count until that lunch.

To make myself feel better, I did a bit of research. In my defence, I still have a full-time job, a sick mother, two demanding dogs and – fanfare of trumpets – I’ve just become a grandmother for the first time … so I’m a little busy.

Even so – here are a few famous authors and their daily word counts.

Tom Wolfe: 135 words. As you can imagine, each book takes a very long time to write.
Ernest Hemingway: 500.
Graham Greene: 500. He said that when he has written his 500 words, he stops – even if it’s in the middle of a scene.
Ian McEwan: 600.
W. Somerset Maugham: 1,000. Maugham said there was no set formula on writing. “There are three rules for writing a novel,” he said. “Unfortunately, no one knows what they are.”
Peter James: 1,000. Once you start writing a book, make time to write every single day. Find a comfortable number of words for you to write each day and stick to that number. I am comfortable with 1000 words.
Margaret Attwood: 1,000-2,000.
Mark Twain: 1,400 to 1,800. Twain believed that location was important to his word count. I write very well on transatlantic flights, so I think he has a point.
Lee Child: 1,800. He says it takes him about six months from the first blank screen until the end.
Stephen King: 2,000. As a side note, if you haven’t read his book On Writing: A Memoir of the Craft, or you haven’t read it for a while, it’s worth revisiting. Stephen says that following this would add up to about 180,000 words in three months … well on track for the annual 500,000 goal but what about rewriting? Speaking of Ernest Hemingway, he famously said that “All writing is rewriting.”
Nicholas Sparks: 2,000. He says his is a daily goal which takes him about five or six hours to write.
Anne Rice: 3,000.
Arthur Conan Doyle: 3,000.
Michael Crichton: 10,000. Okay, this one got my attention. He’s up there with my new writer friend.

POSTSCRIPT: Okay … yesterday I was part of an event at the Torquay Museum called Crime at the Coast – sitting next to me was another prolific author who writes four, 70,000-word cozies a year, screenplays for her TV job and a standalone. I didn’t have the courage to ask her if she topped half a million words a year but one thing is certain, I’m just desperately slow.

So … what about you? Do you write to a daily word count?

SHADOWS OF THE PAST

by Miko Johnston

My first book, A Petal in the Wind, begins a family saga that encompasses a half century. As each subsequent entry in the series carries a subtitle, my fifth and last book, which I’m writing now, will be called Shadows of the Past.

That phrase took on new meaning recently when my husband Allan and I traveled to Europe.

Our trip began in Prague, where much of my series takes place. I spent a day walking in the footsteps of my characters, visiting their homes, businesses and the landmarks mentioned throughout the pages. I’d selected most of the locations on Google Maps, so seeing them for real was, shall we say, enlightening. It took an hour to find U Seminaire, the location of the bachelor pad I’d used for the man who eventually marries my protagonist, Lala. I’d chosen it because it seemed like a quick walk from the Charles Bridge. In actuality it sits underneath the bridge, entangled in a labyrinth of short blocks and alleys. Somehow the building’s image got reversed on Maps – it’s on the opposite side of the street. Ouch. The little greenbelt across from Lala’s mother’s apartment, where ladies sat on benches underneath the shade trees and gossiped, actually sits below street level, though trees do line the sidewalk and there are benches. And the “gentle slope” of the street where Lala’s family lived for twenty years turned out to be a heart-pounding climb on a good day, and treacherous during inclement weather. Sigh. Still, as I stood in front of the building, seeing it for real, I felt thrilled.

In my fourth book, Lala launches her design career by converting a series of buildings into a world-class hotel. Ironically, the palace (the Czech term for a fine home), which I’d chosen for the location is now an actual hotel, and we decided to book it for our visit. It turned out the be the finest hotel I’ve ever stayed in, and although I have no right to take pride in that, I can’t help but feel delighted. On a slow afternoon I cornered the hotel staff and peppered them with questions about the building’s history, particularly during the Second World War. What began as a brief history lesson turned out to be a wild series of stories and gossip, which will inevitably solve some plot issues.

Three days later Allan and I bid ahoj to Prague and boarded a train bound for Poland. After an overnight stop in Katowice, the largest city in the region known as Upper Silesia, we took a cab to the nearby city of Bytom, the hometown of my father and his entire family. Back then Upper Silesia was part of Germany, the city known as Beuthen. As I walked along the streets, I tried to picture what his life must have been like. I gazed at the people who passed, wondering if I’d see any signs of familiarity in their faces.

The picturesque parts of the town – with some remarkable architecture and a delightful town square, partially rebuilt after being bombed in WWII – surprised me, but other areas wore the hard reality of over a half-century of decline. I saw it in the run-down buildings left to rot and the pervasive trash, especially cigarette butts, in the street. I also saw it in the faces and the body language of so many, but most strikingly in the older folks, who’d lived through Nazi occupation, followed by decades of Soviet rule, only to be largely ignored by the European Union. They bore a sense of quiet despair, of resignation to the bleakness in their existence. The only signs of joy were in little children interacting with pigeons in the town square, swarming with them, chasing them or karate-kicking them away. I saw no faces that resembled mine, nor any signs of my past in the city. It had been wiped clean.

Our next stop in Poland was Krakow, a city Allan has always wanted to visit. Rich in history, it has a beautiful castle on a hill overlooking the Vistula River, and the largest town square in Europe. I went for a different reason. On our second day there we boarded a bus to tour the two largest and most infamous Nazi-era concentration camps, Auschwitz and Birkenau.

Entering into the first camp, with its ARBEIT MACHT FREI (“Work sets you free”) sign over the entrance gate, I wondered how I would react, or feel. I’m still not sure, to be honest, other than the eerie familiarity of what I heard and saw – from decades of studying photographs accompanied by written accounts, of documentaries and movies filmed on location, and stories I’d heard from survivors, including my father. For many, the trip was a history lesson. For me, it was akin to visiting the cemetery; I lost an estimated ninety members of my family there.

After a brief break, the tour continued to nearby Birkenau. Unlike Auschwitz, which to me felt small and claustrophobic, Birkenau is huge. You’ve seen it in many movies: a long low building with railroad tracks leading to a central tower, open at the bottom to allow trains to enter with their human cargo, like a gaping maw ready to devour all who arrive. Alongside and beyond the entrance, what seems like miles and miles of barbed wire fencing surrounds a huge open area interspersed with low barracks and guard towers. In the distance I could see different tour groups traversing the grounds, and for one brief moment I pictured them in the striped uniforms and hats of prisoners.

Prior to abandoning the camp in January 1945, days ahead of the advancing Russian forces, the Nazis burned the meticulous records they’d kept of all who were brought to the camps and blew up the gas chambers. Only piles of rubble remain. Many, many piles. They left behind the prisoners too weak to continue; the rest (including my father) went on a forced march from one concentration camp to the next, always trying to stay ahead of the Russians, whom they rightfully feared more than the other Allies. It took several more months until my father was liberated, but at least the Americans freed him. Had he stayed behind in Auschwitz, he would have lived the rest of his life under the thumb of the Soviets. After what I saw in Bytom, I’m grateful he had the strength to wait.

The entire tour took seven hours and, although it allowed for a few bathroom breaks, it did not include a meal. The irony was not lost on me.

We left Poland and continued our travels, with France the next destination. There I stumbled upon traces of history that will influence my writing, and my life, but I’ll save that for a future post.

I can’t say these experiences will enrich the final chapter in my saga, but I can say I truly feel as though I’ve walked in the shadows of the past, both my characters’, and mine.

Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction series, “A Petal in the Wind”, as well as a contributor to several anthologies including the about-t0-be-released “Whidbey Island: An Insider’s Guide”. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Teaching Seniors to Write A Memoir

by Jill Amadio

Invited to give as class on How to Write Your Memoir at the Westport, CT senior center, I agreed, somewhat reluctantly. It would be six 1-hour sessions and limited to 10 people. I almost wrote ‘students’ which, I suppose, they are, but somehow the idea of a group of elderlies didn’t seem to fit.

Having written what I now regard as a rather staggering number of biographies and autobiographies when I pulled all 18 of them from my bookshelves to show the class and let them know I felt confident to consider myself qualified to a certain extent, I realized that no matter how young or old such students would be, I had over the years accumulated the knowledge and experience to write and be published. Thus I would share my insights as an instructor. Of course, six hours is a laughably insufficient time to teach someone how to write their life story but I decided that covering the basics could start them on their journey.

All but six of my books were ghostwritten. The remainder were authored by me or co-authored – often a surprise as my contracts specifically identified me as the ghostwriter and thus hidden and forbidden to reveal who actually wrote the story. I am usually mentioned at the end of the ‘author’s’ Acknowledgements page, with a simple ‘Thank you to Jill Amadio.’ I am still waiting for a client to add – ‘for writing my book for me.’

One traditional publisher insister I be listed as co-author, much to the chagrin of the client’s boyfriend, and a UK publisher graced another book with my name as co-author without asking my permission. Quibble? Ha! It was a delightful surprise which earned me author talks at area locations including to a large group of auto racing drivers and vintage car collectors.

However, this first teaching gig to seniors gave me a few pre-class jitters. Would I have to speak very loudly if they were hard of hearing? Would they be able to read the handouts, meaning I’d probably have to print them in 18-point font? Would they find me boring and self-serving by passing around my hoard of books to establish my credentials?

I need not have worried. The first class was a group of extremely enthusiastic six women and two gentlemen who sat at our conference table with pens and pads ready to jot down my golden advice. I’d created a syllabus, and explained the subject matter each of the six sessions would cover. I also told everyone that they could interrupt me at any time with questions. I thought that if they held their questions until afterwards they might forget them.

All went well and I was bombarded with queries about all aspects of writing, not just memoirs. By the way, I had decided to lump the telling of life stories under the term ‘memoir’ because these days it appears to include biographies and autobiographies, and to my mind has a more important ring to it. Time was when ‘memoir’ meant a telling of a slice of one’s life, a particular incident, but these days many media outlets, for example, have called Prince Harry’s whiny-fest book, ‘Spare,’ by that description (whiny-fest is my own opinion)

My only admonition to the class was that they should not give in to temptation and use their book as a bludgeon against relatives, friends, employers, or others who have, perhaps, wronged the writer at one time or another. I hope they will remember this advice from Omar Khayyam’s poem, “The moving finger writes, and having writ, moves on. Nor all your piety nor wit shall lure it back to cancel half a line, nor all your tears wash out a word of it.”

As I prepare for my second class, next week, I will explain that bringing in several elements of mystery writing can lift a life story by adding tension and suspense, to name a few. Settings and characters can be enhanced with the addition of the writer’s detailed emotions, feelings, and personal point of view. I had told the class about the rhythm of writing and the very next day there was Tammy Walker’s excellent post on our site!

While researching my subject I came across a marvelous list of more than a hundred descriptive verbs. Using them is a great way to bring a scene alive – as we do in our mystery and thriller writing.

Interestingly, as a final note, there was a general consensus from the class when I announced there would be no prompts to be written. Many writing classes include a prompt at each class, whereby students are given a subject, a phrase, or a sentence, and must write a page around it. To my mind, this is a waste of time that can be better employed writing your book. Everyone agreed with me! However, I do encourage journaling as one way to loosen up that creative s spirit.

Do any of my fellow Writers in Residence have any relevant tips?

A few of Jill Amadio’s ghostwritten biographies.

Listening for the Rhythm of What Your Characters Say: Applying Poetry Writing Techniques to Writing Dialogue

by Guest Blogger, Tammy D. Walker

Writing dialogue can be difficult. First, there’s the content of what the characters say. And then, there’s the subtext, or what the characters are trying to communicate to each other without saying something that might be too awkward or imperiling for them to say directly. And, also, there are the actual words that need to go between those harrowing quote marks.

As readers, we want what characters say to sound realistic, even though, as writers, we understand that the best-sounding dialogue in the context of a story might strike us as odd if we heard it in real life.

So how do we balance all these moving parts to make them work as solid dialogue?

One solution I’d like to offer is to use techniques from crafting poetry.

Before I started writing mysteries, I’d had a couple collections of poetry published, and I studied the form in grad school. And while I find writing poems and novels to be quite different in most ways, I did find that the “ear training” required for writing poems has helped me fine tune my dialogue writing process.

Though most of the poems we encounter are in print, poetry is still a very auditory art, meant, for the most part, to be read aloud. So when I’m thinking about how to construct dialogue, I apply the same sound-related techniques in writing poems as I do while writing dialogue. Though dialogue in fiction, like poems, isn’t generally read aloud, we should still consider its sound and how that sound serves the story.

Writing poetry requires the poet to not only think about individual words but also their arrangement in syntactic units, in lines, and in juxtaposed groupings. As fiction writers, we can apply these ideas to writing dialogue to give our characters words that make them more compelling to our readers.

Countering Some Possible Objections

Let’s just get something out of the way, first: Poetry has a reputation among the general public for being obscure, enigmatic, and perhaps also stodgy. Which, I think, is unfair. The poems most of us encountered in high school are throw-backs to previous centuries, when flowery language twisted harder than barbed wire to fit the perimeter of some rigid form might well have kept all but the most diligent reader out of the green pastures of meaning.

Okay, maybe I took that metaphor too far. But I think you’ll get my meaning.

Contemporary poetry, and that leading up to it in the last century, relies on plainer language. Sure, there’s metaphor, simile, and all the other techniques we learned about in freshman English class, but there’s also a directness and freshness to language used now. Victorian poems were written for Victorian audiences; poems written in the 2020s were meant to be read by, well, you and me. In general, the language is accessible by your average reader.

So, for the most part, the language in this poetry-techniques-in-dialogue should be what your character would use in day-to-day life.

Unless you don’t want them to, of course.

What the Characters Say

So, that out of the way, let’s get to content.

Before I write either a poem or a scene, I first think about what the content of the poem or the scene and outline what needs to take place. For a scene, of course, that means thinking about what the characters want and how they’ll either achieve that or how I can thwart them. For a poem (and yes, I outline my poems before I begin drafting) I think about the arc of the poem, or what argument the speaker of the poem will make.

(A note on terms: even though many poems are autobiographical–or even confessional–many aren’t, including almost all of mine. The “I” of the poem is the speaker, who may or may not be the poet, so it’s useful in this context to think about the poem as spoken by a character, even if that character functions more as a narrator than a in-the-scene actor.)

Since most of my fiction these days is cozy mystery, I’ll use examples from that genre. Let’s say we have two characters, Curtis, an art collector and one of the suspects in my novel Venus Rising, and Amy, a librarian intent on solving the mystery of a painting at the center of the book’s mystery.

Amy joins Curtis for dinner in his suite. She wants to know more about his art collection, but, of course, being a good amateur detective, she can’t ask her pointed questions directly. But she’s there to gather information. Curtis, on the other hand, just wants to impress Amy. So this gives me both Amy’s content–she wants information–and Curtis’s–he just wants Amy.

How the Characters Say It

So now we know what the characters want to say. But Amy can’t tip her hand about her suspicions just yet, and Curtis can’t come on too strong. Let’s go back to a few ideas from poetry about wording, rhythm, line length, and syntactic units.

Curtis wants to woo Amy, and his language is more song-like. The rhythm of the words is more lilting. He calls Amy “A vision in aquamarine,” and later asks “Champagne for my lovely companion?”

To which Amy replies, “I don’t drink.” Her words here are clipped and emphatic. (She’s caught on to Curtis’s intentions by this point, and she has no interest in him.)

The rhythm of the words in this short example show how differently the characters are approaching each other. The words themselves are also worth noting, as Curtis uses Latinate language (“vision,” “aquamarine,” and “companion”) to inflate is dialogue, whereas Amy’s more Germanic retort punches back.

Line length is also key to establishing rhythm and the perceived speed at which the dialogue is spoken by characters. While dialogue isn’t split by line or stanza breaks in the way poems are, it can be split by tags (“she said,” for instance) or by the end of a sentence.

Longer lines tend to quicken a reader’s pace. Shorter lines, conversely, slow it. Poems such as H. D.’s “We Two” cause us to stop more often at the ends of short lines: “We two are left: / I with small grace reveal / distaste and bitterness[.]” Poems with longer lines draw us forward at a quicker pace. W. B. Yeats’s “The Lake Isle of Innisfree” does just this: “And I shall have some peace there, for peace comes dropping slow, / Dropping from the veils of the morning to where the cricket sings[.]”

So as I’m writing dialogue, I think about whether I want the character to speak quickly, perhaps revealing their anxiety, or slowly, to reveal their uncertainty. And then, from there, I’ll decide whether to use longer or shorter words in longer or shorter phrases, and how I’ll either break them (or not) with tags, interruptions, or actions.

In this example, I wanted to show Amy’s distaste for Curtis, even though she can’t reveal the fact that she does not like him just yet, since she needs to know more about his art collection. She backtracks a bit and later says, “Sparkling water would be lovely, thank you.” I wanted to move her more toward Curtis’s rhythm and longer lines, so that she doesn’t reveal her suspicions too soon.

Concluding Remarks Using the Best Words

One of the concerns of poets in the early 20th century was that the language of poems had been, too often, contorted to fit forms, and that the resulting work sounded contrived and unnatural. This carries forward through contemporary poetry, and poets do strive to make the sounds of the words, lines, and syntactic units fit with, complicate, and enrich the arguments of their poems.

This concern with the naturalness of language is also useful to fiction writers crafting dialogue. We want the content of what our characters say to sound natural. Considering the content in light of poetic sound craft can give the characters compelling things to say in a way that enriches the characters themselves and their movements through the story.

Which is an aim that, I hope you’ll agree, sounds good.

Bio: Tammy D. Walker writes mysteries, poetry, and science fiction. Her debut cozy mystery, Venus Rising, was published by The Wild Rose Press in 2023. As T.D. Walker, she’s the author of three poetry collections, most recently Doubt & Circuitry (Southern Arizona Press, 2023). When she’s not writing, she’s probably reading, trying to find far-away stations on her shortwave radios, or enjoying tea and scones with her family. Find out more at her website: https://www.tammydwalker.com

Tammy D. Walker’s article is posted by member, Jackie Houchin (Don’t you want to run out and buy her cozy mystery to see how she does this? Wow!)

Roadblocks

In responding to a wonderful post a couple weeks back by Gayle Bartos-Pool, I said I write what I like to read. Not a new statement or thought from me. But then, as I finally started working on my latest, I said to myself, you’re not writing what you like to read (or even writing similar stuff to dramatizations of what you like to read). At a minimum, what I was flippantly saying/repeating was “off-handed;” and at a maximum, I was deluding myself, and probably to my writing detriment.

I’ve also commented in my own blog posts more than once in the past, about what I like to read, what authors I admire, and characters I like. Then Maggie King so thoughtfully talked about short stories and I remembered Hector Hoggs my first ever protagonist, and then Jackie Houchin talked about character names—and Eureka! The essence of this post came together.

Also, as an aside, I sometimes believe in channeling from the past—i.e. channeling Agatha Christie in particular. I would have loved to know her. Indeed, her writing is what I like to read…smart, quirky, protagonists who pull the murderer “out of the bag of all the clues that have trickily/sneakily been presented.” Hercule Poirot and Miss Marple are my prime examples. When I look back, these are not the protagonists I attempt to write. Truth is of course, there’s no way I can approach Queen Agatha. But the process of trying to is the motivator. (wonder where she got the name Hercule! And where/why/how come I chose the name Hector Hoggs(good grief))

Well, this last weekend I finally came up with major character names! I even have a name—there’s a third person narrator who is also a character who speaks to you at beginning and end. In my mind, that’s me calling myself Margo. My hubby picked my alter-ego name. (better than Lucretia his other choice!)

My intent in this post is to once again highlight a side trip on the trickily winding writing-road. Nonetheless, I can’t imagine life these days without writing. And consequently all this thinking stuff—starting with a negative revelation has led me to a new enthusiasm for writing. Writer, or “want to be writer”—the winding road I’m always jabbering about is tricky, but well worth it. And for me, writing what I like to read is definitely going to be an uphill challenge! Though so glad to have actually started my latest.

I would love to hear what you think. Is writing a true love? Stumbling blocks? What would you do instead (I’d love to have been a tv star(famous of course) but don’t have the stamina or the “put myself out there part to my personality,” nor the Talent! Another problem, I can only work with what I’ve got!

Happy writing trails!

How Do You Name Your Characters?

by Jackie Houchin

NAMES in stories are important in that they have to “fit” the characters, the era, the country, and even class in which they live. You wouldn’t name a society woman, Buster. (Well, unless there was a right good reason for it.) Also, a native seamstress of New Delhi probably wouldn’t be called Manuela. So how do you find those perfectly fitting monikers?

It used to be you could use telephone books, but who even has seen one of those in the last 15 years?? There are websites that offer names for babies and their meanings. Some even suggest names that were popular in different years. (See below) Maybe you will name your heroine or villain after someone you love, or love to hate.

SUGGESTION One – A couple years ago I came up with an idea for a short story in a contest. I liked the name Autumn (the story had to be set in the fall). She would be a painter. I know how I wanted her to look – long, wavy auburn hair, green eyes. And she would be the quiet type.

Boy, did I get a shock when I asked my friends on Facebook what a character with the name Autumn Gold would look like and what she might do for a living. Nearly all of them said she would be a sexy night club dancer or even a street walker. Yikes! I changed her name to Audrey Gould. But I titled the story, and named the fantastical woodland painting her boyfriend made with her hidden image in the colors, “Autumn Gold.”

I got honorable mention out of 400 entries. Asking around might be a way to check out that clever name you’ve chosen.

SUGGESTION Two – I also wrote a middle grade mystery titled “The Bible Thief” set in a church much like the one we attend. For some weird reason 4 or 5 people (including myself) lost their Bibles at some church event. Some were found, others not.

Hmm. I pondered, and immediately thought of a clever gang of kids who would “investigate” and discover the remarkable solution to this mystery. Because I wanted to share the story with the kids in the 4^th-6^th grade class I was teaching, I minimally disguised their own names as the gang, their parents, and a few other easily recognizable people (by description) in the congregation.

That was easy! And maybe YOU have used names of people you know but changing Sheryl to Sherry, or Garrett to Darren.

SUGGESTION Three – And lastly, I also wrote a series of related short stories for the same age children, set in Africa. There were seven kids (one set of twins, and one who passed away at a week old), and they all had names that coordinated in some way with the month they were born in.

The youngest boy, born near Christmas (and since his father was a mission pastor) got named Deacon. “Deek” for short.

There was a girl, April (yeah, I know, too easy) and the twin girls were named Melody May and Charity June. (Know why twins have two months?)

A younger boy was named August, nicknamed “Gus.” The oldest boy was Marshall (can you guess his month?).

A sensitive girl born in July I named Julie Joy. And the little guy that didn’t make it very long was Freddie, born just after Valentine’s Day.

So, that is how I sometimes choose character names. How do YOU come up with yours?

Baby names from Social Security lists by popularity, the top 5 by year, by decade, state, and US Territory – https://www.ssa.gov/oact/babynames/

2023 Baby name finder and the meaning/origin – https://emma.ca/baby-names

70,000 Baby names by gender, alphabet, origin, meaning, and religion – https://www.momjunction.com/baby-names/

Short Stories: The Writer

by Maggie King

In my July post, I discussed short stories from the point of view of readers. You can read it here. But what about the writers? Why do they write short stories? Why do some not write them?

If you exclusively write short stories, or want to, there are several good reasons why you’re making a good choice:

There’s a tremendous satisfaction in completing a story in days, a few weeks at the most.
Short stories can be sold over and over, as long as the market accepts reprints. Reprints don’t pay as much as an original story (I can attest to that!)—still, it’s another publishing credit, and the work’s already done. I understand that reprints often pay well if included in an annual best-of anthology.
Writing short stories trains you to write with tightness and economy of words. This is great preparation for other kinds of writing, fiction and nonfiction alike.
For short stories, you don’t need an agent.
That muddy (aka sagging) middle of a story, so challenging to novelists, may still challenge short story writers–but the middles are, well, short.

But be aware of the pitfalls. John Floyd, author of over a thousand short stories, has this to say: “Now, what’s the downside of writing only short stories? I can think of only one: as a short-story writer you will probably not become famous or make a zillion bucks from your writing. But here’s another newsflash: neither will most novelists.”

Another pitfall short story writers may encounter is the Rodney Dangerfield syndrome: “I don’t get no respect.” There are any number of short story writers who are respected for their work: the aforementioned John Floyd, Barb Goffman, Art Taylor, Eve Fisher, and Michael Bracken are just a few. But short story writing in general is frequently discounted. Anything from “So when’s she going to write a novel?” to “I don’t read short stories” are comments authors often hear. I know a gifted writer of short stories who won’t create a website until she publishes a novel.

Art Taylor, winner of many awards for his short stories, says, “I’ve had people hear me say I’m a short story writer and then tell me straight out that oh, they don’t read those. (I try not to be insulted.)”

My former agent scowled when I mentioned writing short stories. “Write the real stuff,” he advised.

If you primarily write novels, writing short stories can offer a different experience:

After struggling with your novel, writing short can give you a feeling of accomplishment.
It helps you to hone your writing skills.
Writing short is a challenge like any good writing (you need to develop a compelling plot and characters); but as you’re dealing with a minimum of scenes and characters, the process is simpler.
It gives you fresh material to promote while you’re working on your novel, keeping your readers engaged.
In a short piece, you can resurrect scenes and characters that were edited out of your novel.
You can further develop a minor character from your novel in a short piece.
You can experiment with new genres.
And you will have respect!

I’m a big fan of writing short stories. To date, I’ve published seven and have several others in various stages of completion. This fall I’m writing two for anthology submissions.

You may be a pro at writing short stories, or you may be getting started (or at least thinking about it), but we can always learn about craft. Read and study the works of the greats, like Agatha Christie, Arthur Conan Doyle, Edgar Allan Poe, Ruth Rendell, and many others. Note that these are crime writers, but the basic principles apply to all genres.

On a final note, consider this advice from the late, great Ray Bradbury: “The best hygiene for beginning writers or intermediate writers is to write a hell of a lot of short stories. If you can write one short story a week—it doesn’t matter what the quality is to start, but at least you’re practicing, and at the end of the year you have 52 short stories, and I defy you to write 52 bad ones. Can’t be done. At the end of 30 weeks or 40 weeks or at the end of the year, all of a sudden a story will come that’s just wonderful.”

For more information on writing short stories, check these resources:

What is a Mystery Short Story? And How Do You Write One? by John Floyd

Kurt Vonnegut’s 8 Tips on How to Write a Great Story. Some fascinating and surprising insights here

Short Mystery Fiction Society(SMFS). Join and maybe you’ll win a Derringer!

Our own Gayle Bartos-Pool wrote an excellent guide, THE ANATOMY OF A SHORT STORY WORKBOOK

Do you write short stories? If so, tell us about your experience.

Time Traveling

by Gayle Bartos-Pool

We’ve all done it… Time Travel, in a book. Or maybe in a flight of fancy or even in a dream. But it’s that journey we get from a novel that interests me as a writer. I wouldn’t have thought about it had I not been reading a book by a favorite author. It was published in 1992. The title of the book and the author aren’t necessary to mention because I like him too much and obviously the publisher and booksellers and fans at the time weren’t thinking about how the book would be received in the future more than thirty years later. But I’m thinking about it now after I had finished some eight chapters of the best seller.

On almost every page there was a reference to a political figure of the time, a current joke going around, or a character in a popular television show or movie. I knew what the author was talking about, but I can bet quite a few of the people in the generation right behind mine wouldn’t understand half of the comments and people in Gens X, Y, Z or whatever young people are calling their particular era now wouldn’t have a clue to what was being said.

I personally can testify that 90% of the current actors, movies, on-line places one would go to be “entertained” or God forbid, enlightened, don’t mean anything to me today. I haven’t read a book written by the younger generations, at least those in their 30s or 40s, if they have ever written a book. Since many high school and even college graduates aren’t exactly proficient in writing our language or maybe even their contemporary slang, maybe there is nothing to read from their generation anyway.

Am I cynical? Yes. Should I be? Yes… and No. I have to be cynical when I see news stories that show some areas of the country have entire school systems with zero kids graduating who can read or do math. And No, it’s not cynical to want the country to do a better job educating our kids so they can write a book, much less read one and to know that 2 and 2 equals four, not five. (There’s a reference there if you care to look it up.)

But there have been books written by older contemporary authors who do a great job writing about bygone eras. How do they do it? They give the reader a nice history lesson along with the story. Their research lets us see what Jolly Old England looked like over two hundred years ago or other places in history. If they do a good job, the reader can “figuratively” walk down a street in London during Sherlock Holmes’ time or Berlin during World War II and see how people lived back then. The scenes are as much of the story as the plot and the characters and the reader gets to learn a little something along the way. Even in science fiction novels we can see the “future” through the writer’s eyes. That’s always fun.

But in a contemporary novel, what if every humorous or “ripped from the headlines” comment mentioned is so obscure the reader thirty-forty years hence won’t understand any of it? When I wrote my three spy novels covering the time from the Second World War up until the early Nineties, I understood the eras, but I had seen a lot of movies made during the war, read quite a few history books on the topics I was covering, and lived through the fifty-plus years after the war. I have to hope they still show some of those great movies made during that time period so future readers have a chance of understanding parts of that history in my books.

But what does a writer do now? Continue dropping current events into their stories just for current readers? How did Arthur Conan Doyle manage to write a story that has lasted through the ages? Even if you never saw the dozens of movies and television series based on his Sherlock Holmes character, the stories are still totally understandable. One thing I can say, he didn’t drop tons of humorous quips into the mix.

When I write a story told in the First Person, the character, if it’s a male, doesn’t have the opportunity to wax eloquently about the surroundings other than a casual mention. Perhaps a woman would comment about the furniture or wallpaper in a room or the fabric in a dress someone wore, but guys usually don’t do that if the story is in First Person. The book I was reading by that famous author wrote in Third Person and did drop in lots of references about everything: clothes, gadgets, politics, movie stars and other current events. My characters, whether it’s a guy or a gal, will often drop a clever remark about something reminding them of a television show or movie, but after reading the book that opened this article, I might not do it as much unless I give a few more details about the show I’m referencing.

I have actually watched reruns of a few television shows done maybe ten years earlier from this current time, but ones I had not watched when they were new, and even in those shows there were one or two references that I didn’t understand. Maybe that’s because I stopped watching television about twenty years ago and haven’t been to a movie in about thirty years. I can’t say it’s my loss, because when I have tried watching a few TV series that I missed when they were new, but was watching them in reruns, they weren’t very good and I stopped watching. To be honest, there have been a few movies and TV series I have watched on television done over these past 20-30 years that weren’t bad. Mostly science fiction or adventure: Galaxy Quest, Star Wars, The Mummy.

But if I want my books readable for a younger audience even when they get into their forties, what do I need to do? Watch contemporary stuff and try to mimic it? I don’t think that’s going to happen. But I will cut down the clever references to favorite television shows and old movies because a whole lot of those particular shows might never be shown again. The future’s loss. Or, perhaps, I will try to explain the reference to the show so even a space alien would understand it. That might work.

As often happens when I’m writing an article or even a book, I will have watched a movie that is pertinent. In this case it was Demolition Man starring Sylvester Stallone and Wesley Snipes. The movie was made in 1993, but the opening scene is supposed to be in 1996, when two guys, a rogue cop and a psychopath, lock horns, cause chaos, and as punishment are frozen for over thirty years for their deeds, but when Snipes is thawed out in 2032, he escapes and starts causing mayhem, but since the “new world” is supposedly crime free, they need to thaw out Stallone so he can catch the bad guy since nobody in this “future” knows how to deal with a criminal.

It’s a fun plot. But in the future, 2032, which is only ten years from the time of this writing, 2023, things are different from the world back in 1993 when the movie was made. But even though the writers of this movie were making up what the future would look like, they hit a few nails on the head. Nobody used cash anymore. Everything was credit card so your every move was watched by “Big Brother.” Another thing that hit me was a word one of the characters used: TikTok. That app didn’t raise its head until 2021. The new society around Los Angeles where the movie takes place had been devastated by an earthquake and this new, non-violent society, emerged where they banned everything and controlled everybody except for the underground rebels who try to get the world back to reality.

Even though the plot was eerily reminiscent of books like 1984 and Brave New World and Fahrenheit 451, most all of the references were familiar to me, but I wonder if younger folks will get the joke about the Arnold Schwarzenegger Presidential Library or even the underlying theme of Big Brother.

So what words or themes or references do writers use that will make it into the future? Should we care? As for caring, of course we should care. Books are what people use to learn things and understand what happened in the past. Movies are those same words in picture form. Are you familiar with the phrase: A picture is worth a thousand words?

But maybe when we write those words we should make sure we don’t overdo it. The book I read by that very famous author had way too many references to current events of his time and they got to be problematic after a while because I was wondering if folks in the future would understand any of them. But since we do have the Internet that allows readers to look up a name or TV show from the past or a fun quote from somewhere in history, maybe the readers in the future will look up a few of them if they want to be enlightened. Maybe they won’t call it the Internet in the future, but if there is a way to learn things, writers might use a few fun facts. Now we just have to make sure people in the future can read…

WRITE ON!

(This article and several others from The Writers-in-Residence blog written by G.B. Pool are in her latest book, Words, Words, Words – The Art of Writing, available on Amazon.)

Writers and Conferences

by Linda O. Johnston

As you read this, I’ll be at Bouchercon, a mystery writers’ conference that’s in San Diego this year. I attended Bouchercon in Minneapolis last year. And it’s my second writers’ conference in 2023. I was at the Romance Writers of America conference in July in Anaheim.

Yes, the conferences I’m attending are close to me this year. But I didn’t attend some others that were also close, such as California Crime Writers, which was in Culver City, and Left Coast Crime, in Tucson, Arizona.

Then there was a conference on the east coast that I used to go to every year: Malice Domestic, in Bethesda, Maryland.

Have I attended all of them before? Yes, and many in the same year. Of course things closed down because of COVID but they’re ramping up again. So’s my attendance, a bit. Will I ever return to the same level as before? Maybe, but I don’t know yet.

So why should writers go to conferences? Why do I go to conferences? Well, they’re a great place to connect with other writers, learn what they’re up to, see old friends and meet new ones. Editors, too. Depending on the conference, the traditional publishing houses also send some of their people to meet up with their authors and perhaps find new ones.

The conferences also help writers learn more about their craft, since there are usually a lot of panels to see where other writers reveal their writing secrets. Maybe. But at least they talk on specified subjects that might be of interest to an attending writer.

And speaking of those panels, if you’re a published author you’re often assigned to be a speaker on one or more. At Bouchercon, my panel this year is: Mysterious Creatures: Wild Animals and Pets. I’m really looking forward to it. And yes, in case you’re not aware of it, I write a lot about creatures and pets in my stories, primarily dogs.

How about you? Do you attend writing conferences? How do you decide which ones to attend? What do you hope to get out of them?

Oh, and by the way, I’d love for you to comment on this but I can’t promise when I’ll be able to respond–although I’ll try while I’m still at the conference.