FOR THE LOVE OF (OUR) WORDS

by Miko Johnston

Whenever I read books on my Kindle, I find sentences, paragraphs, and dialogue highlighted by readers, in some cases by a multitude of readers. Lines that speak a certain truth to them, that are beautiful to read, or capture an emotion that hovers near the surface of our consciousness. Lines that express what many of us feel or know to be true, but we can’t articulate because we can’t say it as well, or at all.

Every time I write something, whether it’s a post for this blog, a correspondence, or an entire novel, I always have a line or two that makes me proud. Something I feel not only encapsulates what I want to say, but does so in a way that goes above and beyond what I normally write. Genius may be too strong (not to mention immodest), but the words raise the bar from good to superb, in my opinion. They capture a small moment in life, a bit of character. They illustrate what I mean to express in a unique, visual, and impactful way. At least, in my eyes.

Alas, I rarely hear others who’ve read the words and phrases I most prize and commended them. Don’t they get it? Or am I wrong? It frustrates me sometimes.

I always want readers to enjoy my work, page by page, cover to cover, but I also want them to savor what I consider to be extra-tasty bits. I can point to at least one example, and often more, in each of my novels, but I’ve yet to see them mentioned in reviews, or highlighted, figuratively or literally, throughout the pages. Even when I’ve repeated some examples of these lines and dialogue from an earlier Petal In The Wind novel, using them as flashbacks in a later book. Even when I’ve used a few examples in my posts on this blog to illustrate a point.

Okay, sometimes my writers group members have praised a particular line, but we always have to say something complementary. It might be like wine tasting – after sampling them all, the one you like best may not be great, just better than the rest.

Am I alone in thinking this? Do you ever wonder if readers have the same reaction to the lines you prize most as you? If they remember the passages you believe particularly memorable, repeat the lines you consider most quotable? Does it matter to you?

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

An Interview with Author, Maureen Jennings

By Jill Amadio

It hasn’t yet run as long as Agatha Christie’s “Mousetrap” in the West End, the theater district of London, U.K.,  but Maureen Jennings’ Detective Murdoch television series is well on its way to a record fourteenth year for the mystery author. A “Brummie” from Birmingham in the north of  England who emigrated to Canada as a 17-year-old and now lives in Toronto, she lends her British roots to one of her three series, the World War II DCI Tom Tyler cases, setting the books in the market town of Ludlow, in the Shropshires, U.K.

“I visit Ludlow annually”, she said a few days after being honored at the 2019 Left Coast Crime conference in Vancouver, British Columbia. “I love being in Ludlow. I wanted to write the Tyler series there because of the war years, which affected people so deeply.”

Her first foray into creative writing was three stage plays, all of which were produced, although she says, at very small theaters. She then turned to books.

As one of the top and most popular mystery authors in Canada, the Jennings’ Murdoch Mysteries (titled The Artful Detective in the US) was brought to the viewing public first as three Movies of the Week and then as a television series. Set in Toronto in Victorian days, ‘When people tended to be much more aware of good manners and polite behavior,’ the crime novels number eight so far, although the TV episodes number many more. A team of six writers creates the scripts, with Maureen writing one show a season and acting as creative consultant for the others.

After ensuring that the Murdoch books were pretty well established, but still writing a couple more later, Maureen launched the private investigator Christine Morris series. Although its future as a film is currently in limbo, she notes.

Another project, a drama titled  ‘Bomb Girls,’ was a concept derived from a Tom Tyler mystery and has become a TV series, written by Maureen with a partner. Thus, Maureen successfully mixes stage, screen, and literature. Indeed, she is regarded as a national treasure in Canada and has won so many literary awards in North America and in other countries, that it staggers the mind. The Toronto Star newspaper named her as one of 180 people who have influenced the history of their city through her mysteries.

So who is Maureen Jennings?

Married to photographer Iden Ford, who is also her literary agent, she has a constant reminder (at her feet) of her fictional Toronto detective. A dog called Murdoch. ‘He requires a daily morning walk, and that sets me up beautifully. I come back and can get going. In the evenings, I have less energy and usually use that time to read and do research.

As regards the books, I wanted to commune with ghosts of the past in Toronto, which has largely disappeared, and [back then] it was easier to include forensics, which was not as advanced as it is now.’

All the Brits from the Golden Age were and still are her inspiration, especially Arthur Conan Doyle and John Le Carré.  ‘I have always loved reading mysteries. Fell in love with Sherlock, still am. I like the notion of two-for-one, that is, you get a good story and learn something at the same time. For me, that’s typically history, which I love,’ she said.

Maureen calls getting her first book published a stroke of luck when Ruth Calvin at St Martin’s Press took a look at her manuscript at the urging of a friend, and bought it. Since then, she has mastered just about every writing discipline: books, scripts, short stories, and poetry. Yet this woman who streams so many, many words didn’t start out to be a writer. She studied psychology and philosophy at the University of Windsor and received an M.A. in English Literature at the University of Toronto.

She turned to teaching at Ryerson Polytechnic Institute, then practiced as a psychotherapist. Maureen believes that her expertise in that field has helped her create characters that are believable and their motives credible, although keeping them straight requires making careful notes. Her latest is the PI Charlotte Frayne series, starting with ‘The Heat Wave,’ which launched in March 2019 and brings the character into contact with Murdoch’s police detective son.

Her writing process involves outlining in detail. ‘That might change in small ways as the book grows, but I have found that if I don’t do that, I waste a terrible amount of time. I know some writers say they just start off, but I couldn’t imagine that. It would be like getting in the car and saying I’m going to drive somewhere now, but I don’t know where exactly. I’m not that kind of traveler. I have to have the hotel booked.’

A lover of history and a meticulous researcher, Maureen delves into primary sources, including newspapers and Coroner and Chief Constable reports, bringing her skills in particular to one of her latest mysteries, ‘A Journeyman to Grief,’ a recounting of life in the small black community in 19th century Toronto, much of it unknown to most of the city’s present residents.

Maureen’s biggest challenge?

‘Making sure Tyler didn’t look and sound like Murdoch. As for themes, they sort of come to me unbidden as I am researching. For instance, I was recently reading about Safety in the Workplace and how late that was in being established. That immediately became the focus of my next book, which is set in 1936.’

Any advice for first-time writers?

‘Oh dear. I know how hard it can be and how easy it is to get discouraged. But I absolutely believe that passion plus preparation leads to opportunity. I love horse racing and often think of it as a metaphor. Most of the horses and jockeys are more or less of equal ability, but the ones that win do so because they seize the opportunity when the gap opens up ahead of them and they gallop through. They’re ready. They’ve done their homework.

Also, I don’t think you should ever stop studying the craft, whether it be novels or theatre or film.’

AI as a Beta-Reader?

by Jill Amadio

Many of my writer friends are “gung-ho enthusiasts” of Artificial Intelligence,  or AI. They run their projects through, often chapter by chapter, to test their writing skills.

When the results come through, there is great interest in what the non-human synthetic experts have to say. While AI is a huge help, I suppose, if we need to be assured that our style and other fundamentals of our writing are up to par, does AI also diminish our confidence in our creativity?

Why do we trust an automatic machine to judge our writing rather than a person with a brain, a soul, and emotions, muddled as they may be? Why do writers believe that feelings expressed by AI have more depth and provide more compelling characters than those from human intelligence?

Certainly, we often feel a need for support when we aren’t sure we are on the right path with our plots and settings, but research can frequently send us on fascinating journeys when we use that old-fashioned tool.

Then, too, a friend might shoot down our joy by criticizing work we’ve spent weeks creating, but at least we can open a debate with said friend to challenge their viewpoint.

I read online that writers should not wait until a first draft is completed before checking it through AI. One should pass our writing chapter by chapter or paragraph by paragraph if we want our books to sell well.

However, brainstorming with AI can be a revolving door if we rely solely on it to give us feedback with which we disagree. We already have Spell Check in our Word program, and there are also grammar sites if we are unsure. Yet, do we want that advice?

I recently edited a book for a client from Liverpool, U.K., who writes in the way he speaks, a style that is occasionally ungrammatical but beautifully reflects his upbringing in a poverty-stricken family. He writes honestly and in detail about his criminal activities before reforming and brings the reader into his world in a personal, delightfully unself-conscious and un-generated-by-AI manner. His style takes us into heartfelt statements about his culture, his bitterness growing up, and how he turned his life around.

His book doesn’t flow strategically or logically. Instead, it takes us on a journey most of us could not imagine but feel compelled to follow to its happy ending. Would AI have come up with anything as mind-blowing as this man’s true story? Granted, AI is consulted mostly for its judgment of our writing, even its relevance to a central theme, but it seems to create doubt rather than determination to follow our own path.

All of which leads to the question of who is actually writing AI’s advice and training AI, and who is instructing us with strategic decisions we are told to make. Perhaps the AI originators are best-selling authors. Maybe they are paid a royalty for each bit of AI advice activated.

I read that AI can be biased and can misrepresent your writing style. It can tell you to make changes with which you disagree, but you can’t help believing that AI knows best.

Seems to me that human creativity is one of the most perfect parts of our mind, albeit for good or evil, and that if AI flags it, then we follow patterns and look twice at what we are thinking.

It also appears that AI can figure out if you are falling into the trap of writing patterns that annoy readers or structures that don’t make sense. All of which leads us to wonder if we could be accused of plagiarism if two or three writers receive the same rewriting from AI. Maybe we need to become our own amateur detectives to discover such an activity, and instead of fact-checkers, we need to become text-checkers for artificial intelligence.

I admit that AI is an excellent tool for writers who dither and are unsure of their characters, plots, and settings. It is normal to want an outside opinion, but there can be a nagging worry that AI cannot truly understand where our plot is going, or how characters can change as we write. Taking the guesswork out of our plots, sub-pots, and themes can lose us readers for future books in our series, and perhaps even prompt an admission that we used AI as an assistant to write the book in a Disclaimer or Introduction.

In conclusion, I am honestly pleased that some of my writer friends enjoy a foray into AI. I just ask them to be transparent and honest about it.

Once upon a time…

by Jackie Houchin

Once upon a time, in a WAY long time ago, before I had a smartphone, a computer, an online presence, or even a typewriter, I wrote with a pencil, on lined school paper.  I wrote letters (to pen pals and cousins), stories (mostly tragically romantic vignettes in far-off places), and I wrote in small daily diaries.

You know those little books, about four by five inches, with a strap that wrapped across the pages and fit into a lock on the front, and had a half-inch, flat key to secure it. I mean, even a fork or a good slap could open them! 

The pages were dated, but you had to fill in the year. And you had to write quite small if you had a lot to say, like I did.  Wow, did they hold secrets!  And souvenirs – another good reason for that little strap and key. I wrote about feelings, events, boys, teachers, embarrassments, fights, dreams, disappointments, and things or people who made me mad, jealous, or envious.

One day, I found and opened a thirty-five-year-old diary like that. Oh, my goodness!  I slammed it shut and looked around me. Then I carried it to a small chair in a corner of the bedroom and opened it again.

I wrote THAT?  And that? Oh, my!

I laughed. I cringed. I even cried a little. A couple of times, I gazed off into space, seeing and reliving a sweet incident.  I’d smile and sigh.

How would my life be different if THAT had happened? Or hadn’t happened? Or if I’d said something else? Or acted quickly, nicely, or at least not selfishly? What if….?

What if? 

That’s the way fiction writers often dredge up a story idea or outline. What if such and such happened, or someone said or did THAT?  

I glanced down at the diary and thumbed through the pages, stopping now and then to read a heavily underlined passage.  WHOA!

I eventually put the little book back into the cardboard box with maybe eight others like it.  I’ll read them all, I promised myself.  I’ll write a story or two.  Is there enough for a book, I wondered?  

I stretched the duct tape tightly across the flaps and penciled “diaries” on the front. Tomorrow we will take the last of these attic finds to our new house.  After all the unpacking and settling in, I will dig out these diaries and sit at my computer, and type, “What if….?”

Halfway down the busy freeway to the new house, traveling at 65 mph, our heavily packed pick-up truck hit a pothole. In the passenger side mirror, I saw a small box jump and pitch itself over the truck’s railing. When it landed, the box split apart.  Small square objects flew out and bounced into the bushes growing close along the side.

“OH!” I cried.

“What?” my hubby asked.

“My diaries!  Didn’t you tie the boxes down?”

“I did!”

“But…”

There was no place to pull over. No going around. No going back, either along the freeway… or to that youthful time long ago.

I sat stunned.  Then I laughed, imagining some homeless dude living in the bushes finding and being entertained by my teenage drama and angst. Or maybe a gang of miscreants wearing orange vests and carrying plastic bags would come by to clean up the roadside trash, and find them. 

Hey, my stories could be read in jail! Perhaps even traded among the inmates for snacks or phone calls. Juicy sections could be copied on the backs of old envelopes and reread a hundred times. Pages might be torn out and passed on to new inductees as the old timers were released. My audience would grow! I might become “a best-selling author!”  

Well, maybe not.

Anyway, that’s why I never wrote the “Great American Novel.” 

Did you ever write in diaries?  Do you keep a journal now?  If so, is what you write  “stream-of-consciousness” or does it have a specific purpose?  Have you ever reread your previous ones from a year ago, or many years past?

Free Write Your Way Out of Writer’s Block

By Maggie King

Writer’s block. Many writers suffer from this condition. I used to scoff at the very idea of writer’s block, regarding it as another way for writers to procrastinate. But the creative slowdown I’ve experienced for several months has humbled me.

I’m not blocked for ideas, I have them by the dozen. The problem lies in creating a story, one people would actually want to read. My writing skills have gone on hiatus.

My solution: free writing. According to Matt Ellis in his post in Grammarly.com, “How Freewriting Can Boost Your Creativity,” freewriting is a technique in which the author writes their thoughts quickly and continuously, without worrying about form, style, or even grammar.

Mr. Ellis extols the benefits of this practice: “The benefits of free writing revolve around organization, brainstorming, and inspiration, as well as beating writer’s block and relieving certain anxieties. Just getting anything written, even if it is imperfect, can jump-start creativity.”

Author Natalie Goldberg also encourages free writing, or “first thoughts” in her parlance. In this excerpt from her classic Writing Down the Bones: Freeing the Writer Within she explains how to write first thoughts (#6 is a tough one!):

  1. Keep your hand moving. Don’t pause to read what you’ve just written.
    That’s stalling and trying to get control of what you’re saying.
  2. Don’t cross out. That is editing as you write. Even if you write something
    you didn’t mean to write, leave it.
  3. Don’t worry about spelling, punctuation, grammar. Don’t even care about
    staying in the margins and lines on the page.
  4. Lose control.
  5. Don’t think. Don’t get logical.
  6. Go for the jugular. If something comes up in your writing that is scary or
    naked, dive right into it. It probably has lots of energy.

Sometimes I write from a prompt (maybe not technically free writing, but who’s nitpicking?); at other times I simply write whatever comes forth. I set a timer on my smart watch for thirty minutes and go, without stopping. At first I went for ten minute sprints, but soon found that half an hour worked best. My thoughts and words flow. When the timer goes off, I pause, then go for another thirty minutes. At that point my hand needs a rest!

My free writing is turning into a memoir. Nothing organized or even chronological—whatever occurs to me ends up on the page. What occurs are often experiences from my past: family, people I’ve known, jobs held, schools attended, challenges faced. I’ve devoted pages and pages to my summers spent with relatives in a rural part of upstate New York.

It’s been an enlightening process, especially as I discover how my perspectives have changed over the years. Frankly, there are memories I’d like to keep buried, but I’ve found it liberating to get them down on paper (See #6 of Natalie Goldberg’s list above).

Since I started this process in July, I now look forward to writing each day. I can’t yet report much creative writing activity, but last week I was invited to submit a short story to an anthology. I have a great idea for a story (remember, I have no dearth of ideas) and now feel up to the challenge of actually writing it.

And now, please excuse me … it’s time to free write!

Handmade Software, Inc. Image Alchemy v1.14

Naming Characters

by Gayle Bartos-Pool

Sometimes the name of a character a writer uses just pops into their head. Other times they use the name of a friend or relative. There are also times when the writer changes the name they started with when they realize it doesn’t fit the character anymore. But how is that possible? The writer is just making up the name and the story.

Well, it’s like this…

When a writer is creating a story, they are creating a new world. It will be filled with things everyone will recognize or at least understand if the writer gives good descriptions. A space odyssey might be made-up, but there will be enough things explained so the reader can follow along. Hey, the people who wrote the Star Trek episodes imagined fantasy gadgets that were actually invented many years later by real scientists who used roughly the same concept and style for actual things we use today… “Scotty, beam me up!”

But character names can be tricky.

If one is writing a story that takes place a hundred years ago, names like Tiffany or Jaiden might not work. Watch an old movie and check out the names used. Or maybe read an old book. But something interesting is happening now in the first quarter of the 21st Century. Names from fifty to seventy-five years ago are making a comeback. This will probably mean that you can use any name for a contemporary story. But there still is the problem of fitting the name to the character.

In most cases you wouldn’t want the “heavy” in a cops and robber tale to have a cutesy name like Willy or Felix. They would more likely be the comic relief characters in another story. The same is true with the hero’s name. It would have to be something a bit stronger like Max or Duke. Remember, studio executives and a director changed Marion Morrison’s name to John Wayne to fit the type of characters he would be playing in the movies. And that’s a fact.

Female names have the same concerns. The female lead in a romantic story could be called April or Amber, not Bertha or Myrtle. Wilhemina could definitely be the name of the amateur sleuth in a cozy mystery. She could be a librarian or maybe an older sleuth like a Miss Marple.

Names can do as much to define a character as what he or she does within those pages. If you start off by introducing your main character with his or her name linked to a strong action, it will help the reader understand the part they are playing.  But that is only if you want the reader to know who they really are from the start.

If, for some reason, you wanted to gradually introduce your hero, you could peel away certain aspects of your lead character by letting him show the reader those special qualities a little at a time, but that method is usually meant for the villain who starts off as just one of the boys or maybe some influential person in the plot, but who knew he was actually the bad guy? The hero will finally see the real person under all that finery and expose him.

As for the hero, usually the reader knows who he is from the beginning, but the hero might have to discover that truth about himself by peeling away his own fears and finding his own strength when push comes to shove at the end of the book. The reader will be rooting for him, but he has to do the work.

But establishing the name for that character will still take some planning. Now that we have access to the Internet, you can type in the name that you have cleverly come up with. It fits the parameters of your story. It isn’t too quirky or too cumbersome. But “what if” there is some famous person with the same name out there? Just about every name I have come up with has two or twenty-two people with the same name on the Internet. I have a rule: If it isn’t some current name in the news and I like it, I’ll go with it.

I seldom use the actual name of a friend in my stories. If I only use their first name, I’ll do that, but I have added little changes to their names just for fun. The reason I do this is because I do want my characters to have a life of their own. After all, my friends have their own lives. But it’s fun to use their first name for a character who makes a “special guest appearance.”  I even used a version of my dad’s name in my spy novels. Dad dealt with spy planes and did some rather interesting things that are still classified, so calling my character “Ralph Barton” instead of “Ralph Bartos” worked. And dad got a kick out of it.

I probably do keep the names of my characters fairly simple. If they are all wildly intricate with too many syllables, the reader might get lost in the multi-syllabic confusion. And several odd names might confuse the reader as well. They might think Henrietta is Hildegard and not understand why the wrong one riding in the taxi with the killer.

So, I keep the names a little simpler and do something else. I don’t have three or four characters in the same story with a name that begins with the same letter. This makes it easier for the reader to follow, and it actually makes writing the story easier, too. I don’t want to confuse my characters while I’m writing.

And I do try to fit the name to the character. One of the fun names I picked was for my second private detective series. It came about this way. I always liked the old detective shows on television back in the 50s, 60s, 70s and 80s. And the private eyes from the old black and white movies I watched on the movie channel. I wanted this new character to be a tribute to those guys. Too bad they don’t have good detective shows on TV anymore. Our loss.

I started with Sam Spade. That was the name of the character Humphrey Bogart played in The Maltese Falcon based on the 1930’s novel written by Dashiell Hammett. A classic. I also liked the television series, “Richard Diamond,” starring David Janssen, that ran from 1956 to1960. I was a fan of “Hart to Hart,” starring Robert Wagner that ran from 1979-1984.

So, I liked all these cool detectives. I noticed that their names were like the different suits in a deck of playing cards – Spade, Diamond, Heart. I needed a Club, but that name wouldn’t work. Sounded like a caveman or something.

Then I thought: what’s another word for “club”?

There’s gaming club, gambling club, and a gambling casino!

How about just casino?

And Johnny Casino was born.

The name fit this character who took a chance, changed his name from Cassini to Casino after he worked on a gambling ship near Maimi and had to leave in a hurry. He then took another chance and moved to Los Angeles and after getting his life together, he became a private investigator.

But I worked on getting his name and his life right…Three books later, I guess the “chance” I took paid off.

And you know what?  There was one more chance in this story. Another character was working his way into my head. His name: Chance McCoy. He got a second chance in life himself. There are three books in his detective series.

You see, names do matter. If they fit the character you’re writing, they can lead you to many new places. Write On!

PLOT, PLOT, PLOT

by Linda O. Johnston

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

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

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

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

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

A DILEMMA OF BOOKS… 

by Rosemary Lord

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

But I’m getting ahead of myself.

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

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

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

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

How did it ever come to this?

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

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

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

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

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

And so my library grew.

But my small apartment didn’t.

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

Time for a serious cull.

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

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

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

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

Hmmm. Where?…

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

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

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

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

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

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

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

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

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

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

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

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

Have you ever tried culling your book collections?

…………………….

HOW TO GROW A STORY

by Miko Johnston

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

Know your regional growing zone

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

Plant your seeds at the right time

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

Know when to use seeds and when to use starts

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

Plant them in the right place

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

Nurture your seedlings, then toughen them up

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

Sacrifice the weak for the strongest

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

Know when to harvest

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

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

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

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

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

GROUP QUESTION #3 – Settings & Research, Where & How Much?

By WinR members & guests

  1. Where & when do you set your stories? 
  2.  How much research do you do on that time & place?

MIKO JOHNSTON: I’ve done extensive research for my historical fiction series, set primarily in and around Prague during the first half of the 20th Century, to give it authenticity. That includes using real places, people, events – even moon cycles accurate to the day – alongside my fictional characters. Some information has been unobtainable (at least in English), so when I can’t make it accurate, I aim for plausible. 

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G. B. POOL (Gayle):  The setting I use in my novels or short stories depends on what the story is. So many of my private detective stories are set in Los Angeles because that city is known for its “high crimes and misdemeanors,” as we saw in these old black and white detective movies from the 40s and the great TV detective series from the 60s and 70s. I watched them all. I like having my contemporary private detectives walk that same turf. My spy novels are set in various countries during WWII, the Cold War, and into the later part of the last century. That might sound like a long time ago, but I lived through part of that time, so I know the later era.

As for how I write about those other times before I came on the scene, I watch a lot of old B&W movies and see what places looked like back when they filmed them and how they dressed. It’s a great way to “see” history when you didn’t live through it.

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JACKIE HOUCHIN:  My dozen stories for 4th to 6th grade kids are set in present-day Malawi, Africa. However, many of the people in the surrounding areas still live in very primitive circumstances.  My goal in these stories was to show upper elementary kids in America how a missionary family (with 6 children) would live among and interact with less than modern circumstances, and still have fun. (And get into trouble!)

Most of the research I did was hands-on.  I visited Malawi five times, spending a couple of weeks each. I went into villages, watched kids doing chores, caring for babies and animals, and playing primitive games.  I ate the food and learned a few words. I cringed at the sight of humongous insects and scary witch doctors. I lived with a missionary family each time, seeing how they “made do.” I had lots of fun, asked questions, and took copious notes!  I also never caught malaria, meningitis, typhoid, or HIV. Whew!

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DIANE ASCROFT (Guest): My Century Cottage Cozy Mysteries are set in Fenwater, a fictional small town in Canada, during the 1980s. The place is far from where I now live in Northern Ireland, but I grew up in Toronto, Canada, and often visited the real town of Fergus that Fenwater is inspired by. I loved the place and thought it would be a great setting for my stories.

For my series, I wanted to create a place that beckons readers to step in and stay a while, so a fictional version of Fergus was perfect. Setting my books in Canada during the 1980s is also a nostalgic journey back to my homeland. It was forty years ago when I was a young woman, so it’s a pleasure to spend time writing about the place.

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JILL AMADIO:  I set my contemporary mystery series on Balboa Island, Newport Beach, CA. My amateur sleuth is a British gossip columnist banished for a year at the request of the royal family, tired of her perceptive comments. She is from the fishing village of St. Ives, Cornwall, my own hometown, which allows me to recall its pub built in 1310, my school, the beaches, my father’s pharmacy, my mother’s dance academy, and the pantomimes she produced every Christmas.

My research to jog my memory is a delight as I have several travel books on the British Isles, reminding me, too, of London, where I was a newspaper reporter. I also keep up with the news in Cornwall.

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ROSEMARY LORD:  I have been writing mostly about Hollywood in the 1920s and 1930s.  I’ve always been fascinated with this era, and learned a lot more when researching my non-fiction books, Hollywood Then and Now and Los Angeles Then and Now.

I do a lot of research, which I find fascinating, and sometimes get far too carried away with that!  I love to show how either simple or how difficult life was one hundred years ago,  compared with today’s world.

I must confess that writing mysteries set today, when crimes may be solved using cell phones and today’s technology rather than old-fashioned “gum-shoe” sleuthing, leaves me cold!

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MAGGIE KING:  My stories are set in Virginia in the present day. Most take place in Richmond, the state capital. It’s a city rich in history and culture, and it boasts two major universities. Many of the residents, myself included, moved here from other parts of the country and the world.

Charlottesville and Fredericksburg are also Virginia cities featured in my work. A few months ago, I posted here about a research trip I took to Charlottesville. It’s important to get the details right!

To date, I’ve been content to set my stories in contemporary times. But contemporary times are distressing, so I’m tempted to try my hand at something historical that will involve significant research.

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LINDA JOHNSTON:  These days, I set all my stories in the present, although I used to also write time travel romances. But these days. my romances, romantic suspense, and mystery stories are set today, since I now enjoy the present more than the past. 

I’m currently writing mostly romantic suspense stories, in my own successive miniseries for Harlequin Romantic Suspense. They’re all set primarily in fictional towns, so my characters can get into different kinds of trouble with the law and get out of it without my stepping on real law enforcement toes. My recent mysteries, though, were set in real areas in Alaska, for fun. And of course, I’d visited Alaska.

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Thank you, ladies!