Madeline (M.M.) Gornell is the author of seven award-winning mystery novels. Her current literary focus is Route 66 as it traverses California’s Mojave Desert in her “Rhodes” series. Madeline is a lifetime lover of mysteries, and besides reading and writing, is also an occasional potter. She lives with her husband and assorted canines in the High Desert. Visit her website and Amazon Author Page.

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Several happenings on several fronts led me to this post. First off, in my books I occasionally go on and on about sunrises and sunsets—especially in my two Rhodes tales. A few evenings ago a particular sunset caught my

fancy—they’re all beautiful to me—but some, depending on weather conditions, are quite spectacular. This was one such sunset, so I found my camera (easier said now than was actually done at the time), and took a few pictures. After some thought and really looking at those pictures, I honestly doubted I could ever express in words the colors, the striations, and the emotional content of those pictures. Not a happy consideration for me.

Secondly, in my current WIP[i]—I realized, “it” just wasn’t right—almost at the point of my tossing the whole thing out. I didn’t feel I was there with the characters, or the story. But before giving up, I did take a few moments to “think.” About my story line, about my characters, about my back stories, even about the underlining premises—and finally I realized what was wrong.

My opening didn’t take me there. And why? I haven’t painted an enticing picture—not taken the reader (in this case me) there. Not that I don’t know the picture I want to open with—but I hadn’t brought that world to my WIP. Sure, I had described the where and what in Billy Belleau’s (opening character) world, but I had not painted the picture.

Easier to do with cameras, or paints if you have artistic talent. For example, while pondering (translate: being lazy) I’m in the middle of a mystery series on DVD called Blood of the Vine. It’s French, with English subtitles, and is set in French wine country. The opening panoramic scenes through the Bordeaux and other wine country regions in each episode are so magnificent, so enticing—as a watcher I’m there immediately. Their plot be darned, script be darned—I want to experience whatever it is that’s about to be revealed.

So bottom line for me, my tale is renewed in my mind, and I have some ideas on what needs to be added to paint my picture to try to take my reader there. And the point of sharing all this? It is to say, sometimes you need to toss. And sometimes you can fix. But in my opinion, if you paint an enticing picture at the very beginning—invite your reader to see what you see, paint a place a reader wants to go—you’re off to a great start.

Not easy, I don’t think, painting with a word-pallet (though the English-language-hues are seemingly endless)—but well worth the effort. Which  leads me to another topic of writing discussions (and potters also banter this same question around)—Art or Craft? I vote both.

Happy word-painting trails!

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[i] Rhodes The Caretakers

In this litigious society, it isn’t worth the time, money, or headache to use a real person when writing fiction, unless the character is used as a colorful extra, or the person has given their permission. I won’t even write a review of a book or play that I don’t like just because I really don’t want the hassle of somebody’s nose getting out of joint. And remember: Silence speaks volumes.

When I worked as a newspaper reporter on the Whitehaven Star in Memphis, I told the truth, the whole truth, and nothing but the truth. Facts backed up what I wrote. I never worried about being sued.

That being said, the bottom line is that I wouldn’t go out of my way to run somebody down in print, no matter how idiotic I think they are. I’ll give them the benefit of the doubt that they know they’re a moron, so why waste the ink. I also won’t shame anybody or point out his or her flaws in public. It doesn’t do anybody any good. If I don’t like them, I ignore them. If I like them and they are a tad odd, I would rather protect them and their quirks.

Of course, if you are talking politics…all bets are off. But I don’t go too far out on that political limb in my stories, either. I use historical fact and let that tell the story. If a reader has a different view of history, that’s their problem.

My name (or a close facsimile) turned up in a book, Tommy Gun Tango, written by a friend, Bruce Cook, who wanted to use my hyphenated name for a character. The girl is wild as they come, not necessarily based on my personality, but hey, maybe Bruce knows something others don’t know. (You can wait for my memoirs.) But seriously, he did ask permission to use a variation of my name. I told him I’d be happy to be a potted plant in one of his books, so go ahead.

Next to never have I started a character based on somebody in a current news story, but if I chanced to take a fraction of somebody’s tale, I would invariably flesh out the character and make him or her into my own creation. My story would take a totally different path, too. After all, we have been inundated with the wall-to-wall coverage of high profile cases in the news for decades, who would want to read yesterday’s news?

Since I wouldn’t be privy to the motives of the people involved in real stories, I would be making it all up anyway. So I prefer to create the entire character on my own. It’s the character’s inner feelings that I want to capture and then craft my own story about who they are and what they do. That makes the character real to me and hopefully to the reader.

Actual people might be a starting place, even if their characteristics are totally off the wall. But I would rather create my own people with motives I think fit the part they are playing in my story. And anyway, when the character takes over the writing, which they do, they can fill in the blanks themselves.

In my Ginger Caulfield novels (Media Justice, Hedge Bet, and Damning Evidence), I definitely use my husband, Richard, as the character Fred; and Gin Caulfield is mostly me, personality-wise. My agent at the time asked if I would deepen Gin’s character. In “agent-speak” that means give her a flaw, something gritty. So, I had to add some backstory to make Ginger a slightly darker character. It does make her more interesting and I have added sub-plots using this flaw, so it works. But the creativity is mine. I’ll take the arrows if it doesn’t fly.

So lawyers and the police and the Feds can move on. Nothing to see here. I write fiction. If I do use a real person, more chances than not they are no longer living and you can’t libel the dead. (There are a lot of lawyers in my family and I know the drill.)

How about you, my fellow writers? Do you use real people – family, friends, or someone in the news in your writing? Do you have a good lawyer?

Guest Post by Janet Elizabeth Lynn and Will Zeilinger*

When we are introduced as a married couple who write together we often get puzzled looks. When we announce we’ve written four mystery novels together, the first question is always, “How exactly does that work?”

It has worked well for us. But many want to know exactly how this is done. Do we alternate chapters? Does one write and the other edit?  Do you write in the same room with one looking over the other person’s shoulder? One person even said, “I don’t see how this could work. Why haven’t you killed each other?”

The answer to those questions are unique to each set of writing partners. For us and others who’ve written solo before teaming up with another writer, the most important thing is to check your ego at the door. Remembering that can help your story in so many ways.  Your goal is to write a good story.

If you keep egos in check with one mind toward the goal, any discussion or editing session will be less dramatic. Since we were both published prior to our partnering this was a must before we even start to develop each character’s back-story or plot our first novel.

Writing is storytelling and the two of you must first agree what story you want to tell. What do you want to say?  Before you sit down to write, first you have to talk. The upside of this is that you’ll be on the same page when you begin.

Writing with a partner is not for everyone.  A problem can arise if your writing styles are different. For instance, Janet is an “outliner” extraordinaire, while Will has always been a “seat of the pants” writer or “pantser.”

When it comes to writing a mystery, the process can be quite complicated. We have to keep track of timelines, alibis, names, character details, red herrings, which character is telling what lie, who said what to whom and details of each characters quirks and relationships.

Both writing partners need to understand that the story has a life of its own and the type of mystery/story can sometimes be determined by the outlook of the characters. This is when the partners have to let go and let the story be what it needs to be.

Amazingly enough, some of that ego checking has filtered into discussions of everyday life. We notice a decrease in misunderstandings and quieter discussions at home. This can be very rewarding.

When editing, the challenge of giving up scenes one of us puts time, energy, sweat and blood into may have to be cut. The standard answer for each partner is: “It’s for the good of the story”, or “We want to write a good story, right?” It’s these reminders that help the partnership move forward rather than having arguments about whether or not one scene out of hundreds should stay in.

Our characters sometime remind us to stay on track and they are often more aware of what will make the story great than we are.

Throughout life people see their glass as half empty or half full, depending on the episode of life they are experiencing. But why see it as negative or positive?  Why not look at the journey of each book as being full of rewards and challenges? This process can make the co-writing journey a successful and enjoyable one.

Website:  Janet  Elizabeth Lynn   www.janetlynnauthor.com

Website:  Will Zeilinger  www.willzeilingerauthor.com

About the Authors  

Published authors Will Zeilinger and Janet Lynn write individually until they got together and created the Skylar Drake Mystery series. These hard-boiled tales are based in old Hollywood of 1955.  Janet has published seven mystery novels and two short stories. Will has published three novels plus three short stories. Their world travels have sparked several ideas for murder and crime stories. This creative couple is married and live in Southern California.

 

SLICK DEAL, The fourth Skylar Drake Mystery in the series was released on  April 16, 2018.   And yes…we are still married!

 

 

 

*This blog article was posted for Janet and Will by Jackie Houchin.

What inspires a writer to write?

 

Money?  Maybe.  But unless you’re a best seller,earnings aren’t necessarily inspirational.

 

 

Fun?  A lot of writers consider what they’re doing to be enjoyable, and who doesn’t like finding a way to amuse oneself?

 

Learning something?  Maybe.  Depending on what you’re writing, it nearly always helps to do some research to ensure that what you say makes sense–or that you find a way of explaining it if it doesn’t.

 

 

 

Teaching something? Sure.  Whatever your subject, you may know a lot more about it than your reader, or at least you know more about your angle on it.  Let readers know what your story and its contents are all about.

 

 

 

 

Then there’s “just because.”  And I think that’s what motivates me.

Just because I enjoy it, letting my mind wander a lot of the time coming up with ideas that maybe someday can be crafted on the computer into a story.

Just because I can.  I used to be a full-time lawyer and a part-time writer who scooped an hour out of every morning before waking husband and kids and eventually heading to work.  Now, I can write full time.

Just because that’s now who I am–a writer. 

So my inspiration is a bit unsolved.  I’m inspired by everything I do, everyone I know, everything I learn, to let my mind figure out what can be used in stories… and then write them.

Thomas Alva Edison is said to have come up with the now renowned quote “Genius is one percent inspiration, ninety-nine percent perspiration.”  So am I a genius? Not literally. Yes, I grab onto inspiration. I admit to not perspiring much at my computer since I have an air conditioner nearby. But figuratively–I do spend a lot of time at it, and that can be considered a kind of perspiration.

Still, I’m no genius, but I am a writer who’s addicted to what she does.

And maybe I’ll even use this blog post to inspire me to start another mystery or romance one of these days…

 

Linda O. Johnston, a former lawyer who is now a full-time writer, writes the Barkery and Biscuits Mysteries for Midnight Ink. She has also written the Superstition Mysteries for Midnight Ink as well as the Pet Rescue Mystery Series, a spin-off from her Kendra Ballantyne, Pet-Sitter mysteries for Berkley Prime Crime.  She additionally currently writes the K-9 Ranch Rescue miniseries for Harlequin Romantic Suspense about a ranch where dogs are trained, as well as the Alpha Force paranormal romance miniseries about shapeshifters for Harlequin Nocturne.  And yes, they all involve dogs. Her most recent release is her 48th published novel, with more to come…soon.

Recent publications:

  

“How come you know all that?” people sometimes ask, after reading my history-based books. I’m not sure. I mean, at school I didn’t find history that interesting: reciting dates of dead kings and assorted battles.  Instead, I’d gazed out of the window as the rain drizzled down, recalling some old Hollywood movie I’d seen on television – trying to figure out how I could possibly ever live in Tinsel Town.

 

 

 

 

So I certainly didn’t catch the history bug in school. Although, once I left school and started travelling, I became fascinated by the history of the old buildings in London that Charles Dickens wrote about, or Paris and Victor Hugo’s world. I’d caught the bug.

And when, after more travelling, I was finally living in Hollywood, California, I became captivated by the history of this movie town, where I found myself working at Warner Brothers, Paramount Studios, and Universal Studios. I drive by Charlie Chaplin’s old studio often and think about his early days there.

 

The Magic of Hollywood had been in my blood all my life. I recall my mum’s stories of when she was little and she would pore over the Hollywood movie magazines. She remembered the adverts for ‘eye black’ and the little round tubs of Bourjois rouge, and other cosmetics that movie stars Clara Bow or Jean Harlow bought – allegedly. I used a lot of this information in my Lottie Topaz novels about Hollywood in the 1920s.

 

Funnily enough, only last year, I met Jean Harlow’s hairdresser. At a Jean Harlow Celebration at the Woman’s Club of Hollywood, I had invited Alfred Pagano to speak to the enthralled audience. Alfred was 100 years old – still charming and dapper.  He had turned the young Jean Harlow’s hair that legendary peroxide blond, helping to create the first Blond Bombshell. He explained that he had experimented and used household bleach mixed with Lux soap flakes to create that color!  So I filed that tidbit, and many other things he shared with me, away for my writing research.

 

I realized that this is how I know all this ‘stuff.’ Not from sitting in a classroom, but by being ‘out-and-about’ and talking with people. Listening to older people’s stories is a great source of inspiration for me. We get clues and ideas from asking family members. The older generations are a font of information and memories for us to mine.  Family storytelling is becoming a lost art that we really must encourage and revive.

Mind you, I have spent hours in various libraries, looking at archive records and especially photos. They tell us so much. A picture really is worth a thousand words when you study the background, what people are wearing, how they were living.

 

I do, of course, “Google” people, places and things. It’s so easy to do. Although I learned that Google tracks and follows every key stroke you make. Then I get those annoying adverts all over the place from prior searches of mine. I feel like I’m being followed. I am. Bing.com is a good alternative – and a newer search engine called DuckDuckGo.com that was started by Gabriel Weinberg in 2008. These two search engines say they value your privacy and  don’t sell you information, so your search gets you the information you’re looking for, not what the top payers want you to see.

 

Old magazines and newspapers are a great source of ideas and research. I look for old magazines in Thrift Shops. It’s amazing what people get rid of. Skimming through articles in 1940s magazines can result in some nugget of information that triggers my imagination for a new story. Then I follow the clues; names of old organizations that have archive libraries, old department stores that have long been razed and replaced by anonymous concrete towers. Going back into their history, one finds odd little stories of people that lived or worked there. Bits of information that most would consider irrelevant, but that spark a story idea.

 

There are so many specialist magazines that have an eclectic assortment of articles or adverts. I never know where I will find something curious or interesting. Family Tree Magazine is a great source of genealogy, with articles on so many professions of yesterday, town histories, and letters from readers trying to trace their great-great grandparents and long-lost relatives.

I sometimes envy writer friends working on contemporary stories. They don’t have to research, unless there is some special skill involved.  It’s much easier to write things set in present day, because we write about our every day life without even thinking about it.

But the journeys I am taken on, once I start researching something, are true adventures. It’s easy to get side-tracked by a notice in the paper or an old advert. Obituaries are wonderful sources for inspiration, when you read of a life encapsulated.  I could spend my entire day doing research, without ever writing a word. It takes discipline not to get led astray and back on that yak-shaving train…….

 

     Madeline (M.M.) Gornell is the author of seven award-winning mystery novels. Her current literary focus is Route 66 as it traverses California’s Mojave Desert in her “Rhodes” series. Madeline is a lifetime lover of mysteries, and besides reading and writing, is also an occasional potter. She lives with her husband and assorted canines in the High Desert. Visit her website and Amazon Author Page.

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Despite my post-title, I’m not a sailboat person. Know little about them—and the several sailing adventures I did have, made me queasy, both when actually sailing, and even when just sitting there on the water barely rocking back and forth. So why the title? I like the word, both its sound and emotional connotation. And for me, it’s more of an accurate description for those times when I’m not in the “mood” to write, than the often used phrase “writer’s block.” Becalmed feels and sounds for more appropriate for what I feel those periods of time.

But why share my current becalmed circumstance and affinity for the word? Because the trail from thinking about the word led me to a possible value in sharing what I actually do to get my “writing-wind” back a-blowing.  Another tool to consider adding to one’s writing toolbox?

I’m pretty sure I’ve listed somewhere in one of my posts the mistresses of crime I love and rely upon for guidance—what I’ve dubbed, my “oldies but goodies.” In particular, Agatha Christie, Ngaio(Nye-oh) Marsh, Margery Allingham, and more recently, P.D. James. And what I do, is go over what in particular I like about their writing, and what I have learned, or want to continue learning from them. My writing-goals in the sky kind of thing. Usually, by the time I’m midway through my list-of-writing loves, I start moving forward again, e.g., new story ideas, or changes to something I’ve already written pop into my mind. I catch a breeze.

So starting with my most recent influence first, Ngaio Marsh(1), and with homage to her:

• I’ve allowed myself to ignore recent conventional knowledge on the importance of short sentences, and using more dialogue. Funny thing is, I love reading novels in that style–but for writing them, I’m stuck. It was hard, but allowing myself to ignore focusing on dialogue and continuous action has been very freeing for me. But the nugget here, is not to argue the point of right or wrong styles, or what’s a better or not approach—but that Ngaio showed me it was “okay” to write in a way I like and in line with stories I want to tell.  She did it, why can’t I? I have permission from one of the greats…
• Also, using long-winded sentences, conveying several layers of meaning and complex thoughts is acceptable. Tedious sometimes, and that’s the trick—long but sustaining interest (and combined with short to the point sentences before and after in a melody to achieve what I’ve in the past called lyricism.)
• Multitudinous characters—like in our real lives—some important, some seemingly not so much, and at different times viewed from different perspectives, but all layering the fabric of our lives–and for me, my stories. I’m very fond of Ngaio’s Inspector Roderick Alleyn(especially when played by Patrick Malahide on video), but often, the other characters take the lead, set the scene, even tell much of the “what happened” part of the story. Not everyone likes that, I know—but I love that in her writing.
• Also, Ngaio Marsh showed me you can write (have as a goal) many complex literary like tomes, not just one “great novel.” Diligence and tenacity.
• And then, when I think about her settings, her scenery descriptions, especially in her New Zealand tales, re-envisioning usually gets me going again. Scenery/location/local color and culture can be integral in bringing a story alive–and to my point here--starting the wind back a-blowing.

Now that I’m at the wrap-up part of this post, my hoped for take-away is–reading well(2) and revisiting what you have read, are not only crucial keys to writing well, but can also get a good wind started when you might need one.

Hoping the writing-wind is at your back right now—and I think I feel a breeze coming my way…

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(1)http://christchurchcitylibraries.com/Heritage/Photos/Topics/People/MarshNgaio/ https://commons.wikimedia.org  

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

(2) P.D. James is quoted as saying “Read widely and with discrimination. Bad writing is contagious.”

by Jill Amadio*

Many authors need a day job until our books earn enough royalties and renown to quit working for someone else. One day job that grew and grew into an almost full-blown career for me began with a ghostwriting stint. It also led to writing my own mystery series.

I first turned into several alternate personae when a magazine editor informed me that a reader was looking for a ghostwriter to churn out a business book.

“A whole book? Impossible,” I said. “Too many words.”

“Imagine each chapter as an article,” she suggested. After she told me the average payment I was hooked.

Since then, I’ve ghostwritten more than a dozen memoirs, autobiographies, and business books that required transforming myself into a U.S. ambassador, a Las Vegas croupier, a Texas oilman, a Las Vegas taxicab fleet owner, a motivational speaker, a triathlete, and sundry others. I also ghosted two true crimes. For two of the books I was promoted to co-author half-way though.

Eventually a friend referred Jonathan to me to ghostwrite a crime novel. It turned out during my initial visit to his Beverly Hills mansion that he had always wanted a book with his name on it to display “right here,” he said, patting an enormous Italian marble coffee table. His dilemma was that he had no idea how to write. Reminded me of the time I was at an airport shop in Indonesia and picked up President Sukarno’s biography, a heavy red leather hardcover akin to a family Bible only to find it full of blank pages (he was still living at the time).

Initially, Jonathan envisioned a family drama about a typical insurance scam of which his father had been a victim. A little tame, I said, and persuaded him we should add a couple of murders to spice up the story. He agreed and said the characters must include his parents, two brothers, six ex-wives, four mistresses, and three daughters. I told him, No, no, far too many. I would take three wives, two mistresses, and two daughters, all the while struggling to explain to him that in the book they’d be fictional and would not resemble the real people. He stopped complaining when I asked which of his family he’d like to be the killer.

Occasionally during the writing my client threw a spanner into the works such as calling from Belize or Paris and asking me to add even more murders to the mix now he’d got into the swing of things. Luckily, he was pleased with the various twists and turns, especially when I included thugs from a Bel Air branch of the Russian Mafia (honestly, it really exists) as part of the plot.  I gave the murderer my great-grandfather’s revered Scottish name for some inexplicable reason, honored Keats by sprinkling quotes throughout, and withheld adding Cornish cuss words although sorely tempted. Instead, I saved them for my mystery series that features a younger Miss Marple from Cornwall.

I enjoyed creating a fictional forensic accountant on someone else’s generous dime and planned to develop the book into a series. I had grown fond of the sleuth but Jonathan owns copyright so my brilliant idea died an early death.

An inveterate traveler on both business and pleasure, Jonathan was absent a lot. In fact, most of the time. He told me to basically just carry on, and he’d read the book after it was finished. As it turned out, he preferred me to read it aloud to him, which I did, leading to another unexpected part-time career in voice-over and narrating audiobooks.

Jonathan pronounced himself satisfied. But then he said his third daughter was going to be very upset that I’d left her out. He insisted on her inclusion. Fearing my final fee in jeopardy I had her join the Peace Corps in Chapter One and whisked her off to Somalia, never to be heard from again.

However, when it came time to querying agents Jonathan refused to spend longer than two weeks on the search and quickly self-published with an expensive hardcover POD press. For which I was grateful, nevertheless. Even though I had to watch him signing my book, my bank balance was healthy,

We soon had a book signing at Dutton’s. Jonathan was having a grand old time chatting to the two hundred or so friends and neighbors he’d invited to congratulate him. As his eyes kept darting to the door to see who was arriving I just knew he was hoping for a Hollywood producer, a director or an actor who’d slap an option offer on the table within the next three days. He’d begun to like this author thing. I decided to phone a film producer friend and invite him over to put Jonathan out of his misery.

“Hi, Brandon, how about coming along to a book signing right now? It’s not far from your place”.

“Who’s the author?”

“Oh, no one you know”.

“So why would I come?”

“Well, I wrote it”.

“Why didn’t you say it’s your book signing?”

“It isn’t”.

He snorted and hung up.

Since then I have continued to ghostwrite books, present how-to workshops, and assist other writers in entering the field. In fact, Kelly James-Enger wrote a book on ghostwriting and spent weeks interviewing me. Happily, she credits me for each quote spread over five pages, and thanked me in the Acknowledgements.

I like helping someone realize their dream of creating a family history so that their descendants can learn of their heritage. The joy on their faces when they hold that published book in their hands almost matches my own.

 

My biography of a World War II pilot, “Gunther Rall: Fighter Ace and NATO General” was a bestseller and is an eBook on Amazon and Smashwords. I have ghostwritten 14 memoirs and other books for clients including a true crime and a thriller.  

I co-authored the Rudy Vallee memoir, “My Vagabond Lover”

 

 

 

About the Author

Like Tosca Trevant, the amateur sleuth in her crime series, DIGGING TOO DEEP and DIGGING UP THE DEAD, Jill Amadio hails from Cornwall, UK. But she is nowhere near as grumpy or unwittingly hilarious as her main character, a younger Miss Marple. Jill wrote two true crimes, and ghostwrote a crime novel. She has written 14 biographies.  She was a reporter in Spain, Thailand, Colombia and the United States.  She wrote for Rolls-Royce Magazine, the London Sunday Dispatch, Conde Nast, the Los Angeles Times, the Westport News, and was a reporter and syndicated columnist for Gannett Newspapers in New York. For 12 years she wrote a column for Entrepreneur magazine. Jill writes a monthly column for the UK-based MysteryPeople ezine, and freelances for My Cornwall magazine.

Visit Jill Amadio at:  jillamadiomysteries.com

Mystery books by Jill Amadio:

   Digging Too Deep

  Digging Up The Dead

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*This article by Jill Amadia was posted by Jackie Houchin.