THE DOG ATE MY . . . [FILL IN THE BLANK]
 
Novelist Bonnie Schroeder shares some of her favorite excuses for not writing. Visit her Author’s Page on Amazon.

 

Meet Thunder, the newest addition to my family. She is a Swiss shepherd, close cousin of the German shepherd. She blasted into my life on November 1, 2014. As it happened, I was working on the final act of my new novel, and I was stuck. I didn’t have a satisfactory, or satisfying, ending.
So I shoved the manuscript aside, having been handed the best excuse in the world: I had a new puppy. Housebreaking. Crate training. Socializing. Bonding. And generally enjoying the fun, excitement and disruption a new baby, human or animal, introduces to one’s life.
The trouble was, three months later I hadn’t picked up the threads of my novel, and by then Thunder had fairly well merged into the household routine. But, somehow, I still “didn’t have time” to work on my novel.
Normally, I am pretty adept at squeezing maximum usage out of my time. I wrote the first few drafts of Mending Dreams while working ten-hour days with an hour-long commute tacked on both ends of the workday.
So what was up? I avoided thinking about it as we started obedience school and I focused on training my puppy. Thunder, however, did some teaching of her own. Among other things, she made me realize I needed to curb my perfectionist tendencies. A six-month-old puppy will not and should not become an obedience champion overnight. She’s a work in progress.
That got me to thinking about my unfinished manuscript, and—duh! I finally figured it out. I did not have the perfect ending for the book. I was stumped. It wasn’t lack of time that kept me from working; it was lack of direction.
Somewhere along the line I’d forgotten a crucial fact about being a writer: you can’t fix what isn’t on the page. I’ve made enough false starts over the years that this lesson should have been permanently engraved in my brain. But it wasn’t.
So I took a deep breath and dived into the chilly waters of revision, crafting a new ending, better than the one that had left me stuck. Well, maybe “better” is an overstatement. It was different.
And something very weird happened, although I should have seen it coming. As I typed up my hand-scribbled draft, ideas began to float around in my brain. Hey, maybe instead of ABC, let’s try XYZ. Yeah, not bad. But maybe MNOPQ would make more sense? Try it. And try again, until you have something that kinda sorta approximates the vision in your head.
That’s how I did it, bit by bit, while Thunder was taking naps. Puppies sleep a lot, so I had many half-hours and hours to do what I thought I “didn’t have time” for.
Another thing Thunder taught me is that imperfections aren’t fatal. My puppy was born with a stubby tail, which some might consider a flaw. But to me she’s unique and special, and that little metronome tail is always wagging. Likewise, no piece of writing is perfect, and often it’s the flaws that give it depth and worth.
Thunder is flunking novice obedience—well, I’m flunking, and I’m taking her with me, but we’re learning a little. Next time around, or the time after that, we’ll do better. But if we didn’t start somewhere. . . Well, you know how it goes.
As I worked through all this angst, I came face to face with some truths about myself: I’m lazy. I like excuses. But underneath all that, writing is in my DNA. I may not be the world’s best dog trainer, but I am nothing if not persistent (some would say “stubborn”.) And, most important, I am a writer, and always will be.
So let me ask: what’s yourfavorite excuse for avoiding stumbling blocks in your writing? And how did you overcome it?

 

The Value of Critique Groups

THE VALUE OF CRITIQUE GROUPS 
by Miko Johnston
Did you know that Writers in Residence began as a critique group? Gayle, Bonnie, Rosemary, the Jackies and I met monthly to discuss one member’s set of pages. Although we all benefited from the peer review, we grew to enjoy each other’s company and finally accepted that work interfered too much with play. From then on we became a social group, meeting monthly for lunch and conversation. We relegate critiquing to a by request as needed basis (to which we always say yes).
As much as I enjoy getting together with my WinR friends, which now includes Kate and Madeline, I must credit their critiques for my success as a published author. Aside from their helpful comments to me, evaluating their work sharpened my ability to judge my own. Critique groups have been invaluable in my personal life as well. Last year I moved from California to Washington, where I knew no one. After spending over a week alone in my house, I researched local writing groups and found one in my new hometown. The members welcomed me and since then we’ve become good friends.  I also belong to two other groups dedicated to critique – one strictly online, one in-person.
Membership in a writers group can provide support, encouragement and networking opportunities for the independent writer. You’re probably aware of the national organizations that champion a popular genre like romance or mystery. However, if you want to join a critique group, here are some things to consider:
There are two basic types – public and private. Public groups tend to be large organizations like the Ventura County Writers Club, Whidbey Island Writers Association, and the recently defunct Alameda Writers Group.  They hold monthly general meetings featuring a guest speaker and offer various special interest groups – SIGs – geared to a specific genre of writing. You pay an annual membership fee, which entitles you to participate in their SIGs. The group I found in Washington, Just Write, is a unique public group anyone can attend. We gather once a week at a coffeehouse with our notepads or computers and just write for two hours. Afterward, we head to a nearby pub to socialize.
Members of public groups who want more autonomy or have different aspirations often form private groups like WinR. Membership is by invitation only and usually requires a probation period, where the newbie participates in a set number of critiquing sessions before presenting his or her own work.  Some private groups meet in person, where members read their work aloud. Others exchange pages online and email their comments to the author.
Which type of group is better? That depends on what you need. I always recommend public groups for beginners – if you’re interested in writing but haven’t done much, if you’re unsure of what genre suits you, if you’re unsure if you truly want to write. Public group SIGs host a variety of skill levels. You can experiment with different genres to find one you like. You’ll learn a lot very quickly, for you’ll get to read some awful stuff. Since membership tends to fluctuate you’ll interact with many more writers and get a broad diversity of opinions in these groups. Best of all, if you find other members with whom you’re simpatico, you can start your own group.
If you’re well on your way to publishing or have published already, then consider a private group. Working with people you know builds trust and you minimize overexposure of your pre-published manuscripts. There is some debate as to whether it’s better to limit a group to a specific genre. I think that makes sense if you’re working outside mainstream fiction, particularly controversial or quirky sub-genres that traditionalists might not ‘get’. Otherwise seek or form a mixed genre group comprised of writers with a comparable skill level.
Writing is such a solitary endeavor we often get lost in our own head. It helps to connect with like-minded people who can spot the glitches in our work that we sense but can’t quite see.  So does sharing a common goal, whether it’s completing that first novel or getting it published.
Do you, or did you ever, belong to a writers critique group? Share your experiences with us.

Finding a Writer’s World by Rosemary Lord

      
Someone recently asked me: “My friend just moved to L.A. and wants to be a science-fiction writer. Where would she meet other science fiction writers?”  Hmmm.
It made me think: we write alone. Writing is such an isolated profession – it can be a lonely world. So how did I end up with such a terrific, diverse group of writer friends? I also have an endless source of answers to my literary questions – and heartfelt encouragement and feedback when I get ‘The Writer Blues.’
I had been a journalist for many years, specializing in Old Hollywood. So my world was the Old Time Movie Stars, their publicists and the movie studios. What did I know about fiction writing?  The heady world of mystery writers, from P.D. James, Agatha Christie, to Michael Connolly and Lee Childs, was something for the privileged, really grown-up writers. How could I ever be part of that circle? Where would I start?
Then I came across a slim volume titled, Making a Literary Life by Carolyn See. I learned it’s not just about the writing, but being part of the writer’s world. Beyond the basic tenet of  writing a certain number of words each day, See suggests seeking out and supporting other writers. If you want to be a novelist, then support other novelists.  Write a charming note to at least one author a week.( Just acknowledge their work. Don’t ask for their help.) Attend at least one writer’s book signing or event each week. This way you meet published writers and can ask them questions. This is how I met all sorts of writers, readers and people in the publishing world. I learned a lot and made new friends and acquaintances in the writing spheres.
I learned about the best writing classes for my needs. I took novel and mystery writing courses at UCLA, where I made more friends. There I learned about different writer’s groups and joined Mystery Writers of America and Sisters-in-Crime-LA. These all have local chapters. If it’s Science Fiction or Romance novels, there’s a group you can find with the same interests. Once I looked beyond my typewriter (this was pre-computers) I found I was now part of a writer’s domain. Heady indeed!
Writers are amazing. They have curious minds. You need that in writing fiction, to create realms different from your own. They are supportive and encouraging to new writers.  We hang out together, drink lots of coffee (or something stronger), complain about our problem areas of our latest writing projects, ask questions or offer advice. I attend lectures, writers’ lunches, conferences, book-signings and launch parties. I have made friends in all areas of the literary and publishing world, and continue to learn from them.
I am now writing mysteries set in the Hollywoodof the 1920s: The Lottie Topaz Hollywood Mysteries. But I can write anywhere, thanks to computers.  And thanks to Skype and Face Book, writers no longer have to feel alone or isolated – unless that’s what they want.   So there is a way in from the outside. I came in from the cold…and into a writer’s world. 

Lunch, Rules, and Personal Preference


Once a month the Writers in Residence authors have lunch at a restaurant in the Pasadena/Arcadia area[i], and since this group of fellow authors now includes me, I try to make the trek into the BIG city whenever I can. The last time I attended, and as always, I not only ate a lot of great food, but also participated in several thoughtful and energizing conversations with some very supportive, smart, and nice authors. This post was inspired by that lunch, and a conversation about writing rules, writing booboos, and things that stop a reader from enjoying a book.
Madeline (M.M.) Gornell
Disclaimer alert! (smile) It is my firm belief every writer is different, but I also think it’s good to listen to a lot of “stuff,” then pick and chose what fits.
So here are some thoughts that started percolating over onion rings… (mixed metaphor?)
Though I’ve heard over and over the word “rules” used when talking about writing, I think more are fads or current conventions. One of those is, Prefaces. Well, I love writing prefaces. The “love” part may sound a little over the top, but for me, a preface really can set the stage for the reader, giving a hint at what is driving an author to write a particular story, and most importantly—pull the reader in. I’m also fond of tying things up in prologue type sections at the end. Prefaces and Prologues, whether in or not right now, can be useful. For me, they’re integral to my writing and thinking.
Another “thing” I really like are semi-colons and colons. Though, I think complex and compound ideas are not that much in favor. Admittedly, I often have to look up which punctuation mark I should be using; but expressing a complex idea, or a list of thoughts (or things) well, is an ability I greatly admire and strive for. Many self-indulgent semi-colons have been struck out of my drafts by my wonderful editors.
Here’s a difficult one—I don’t like describing characters in detail, prefer giving the reader only a vague idea, and letting them draw the picture from their own background of friends, family and acquaintances—think those character-pictures are consequently the most memorable for the reader. (At least until the movie is made!) For example, “Leiv liked the doctor, and was glad he came back into town. In looks, Shiné’s doctor was the epitome of an archetypical country doctor, with savvy old-time wisdom and experience, combined with current day technical expertise.” I think it’s hard to do, but I think I’m getting better at “inferring,” rather than describing because one of my editors who is a stickler for making sure the reader can “see” the character (and early on), didn’t much ding-me this last go-around.
This one I think, is probably a “rule,”—Don’t use footnotes in fiction—haven’t broken this one in my books (though, oh so tempted!), have done in other writings, e.g. this blog.
Don’t use long words. Ha! If I don’t have to go to the dictionary at least once—I feel like something was missing. For sure, that probably comes from reading and admiring P.D. James, who has sent me to the dictionary more than once. Here’s an example from me, concatenation (a word I like and maybe use too often)—a dearly beloved editor, and a book club member, both thought I might do well to find a better word—i.e. a word most readers are familiar with. They’re probably right, but I just keep channeling P.D.—smile. (Did you get the e.g. and i.e. usage rule I slipped in?)
Then there’s “tie up loose ends”… hmm that one is tricky. Satisfy readers—but not a fairy tale type ending. Once again, I loveleaving loose ends—because life is like that, and a book for me is peeking into of your character’s world and experiencing with them a little slice of their lives.
Finally, following up on my earlier disclaimer—someone told me, and I can’t remember who it was, or their exact words, but I do still remember the idea—Take it all in, know the rules, so that when you break them, you know why. So true, I think. An addendum to that thought is, if you tell a good story where the reader is pulled in and doesn’t want to leave—all is forgiven—whether knowledgeably breaking the rules, or just plain screwing-up.

[i]In Southern California LA area.

My Book Reviewing Agony!

Hello. My name is Jackie Houchin and I’m a book review addict.
Yes, I know. There are lots of blog posts and articles on Book Reviewing: How to Do It, How Not to Do It, How to Get Someone Else to Do It (for your book). Here’s my take.
But first a word on “blurbs.” They fall into this “reviewing” category too. You think they are easier to write because, well, hey, they’re only a sentence or two long, or occasionally an ecstatic 5-word blast that lands on the front cover with your name right there beneath the author’s! Granted, much smaller, but nevertheless, there.
But blurbs are not easier. As with book reviews, I read the entire book (not just the first and last chapters with a breeze-flip through the middle) and then I actually write a complete review from which I can extract that blurb. Upside is, I now have a review that I can peddle or post somewhere. 


There are many blogs that would love to have your reviews for free and to give your name a boost. Also, you will be BFF with authors if you spread your love for their books around. (Result: A definite “feel good” if not lucrative, opportunity.)

Back to book reviewing. How about remuneration? Authors don’t like to pay you – and they probably shouldn’t because it might look like bribery or worse – but they do offer you a free book, ARC, or digital file.
Personally, I like hard copies because they are easier on my eyes, and I like to underline and write notes on the pages. I sometimes use the blank space after the chapter ends to write a brief synopsis.
With a digital file I have to print out the pages, using MY paper, MY ink, and MY electricity, which is costly even if I print gray scale (which is also hard on eyes), and use the backside of previously printed paper.
So, how DO you get paid for reviews?One way is to write for a magazine or online newsletter. I have written for Mystery Scene Magazine ($15 per review) and The Strand Magazine ($10), plus a few for Crimespree Magazine when I first started, which pays zero but you get clips.
If you are a prolific reader/writer and the paying magazines like your stuff, you can earn a fairly decent check every quarter…to cover your Starbucks habit. Okay, $60 or $75 doesn’t seem like much, but what have you invested? A couple days of (hopefully) enjoyable reading and some time at your computer. Plus the free book.
By the way, you should never sell ARCs on Amazon, etc. It’s nice to get that extra cash, but it’s not fair to the author, especially if you list them BEFORE the book is launched. No-no-no!
Naively, I used to take on four or five books to review in one issue! Now I’m lucky to manage two, and in most issues only one. True, Mystery Scene Magazine gives me books by well-known authors to review – Michael Connelly, Louise Penny, Susan Wittig Albert – but that adds to my stress level.  But why, you may ask.

Well, for me, book reviewing is a perilous journey, fraught (like that word?) with doubts, delusions, and ulcers. For one thing, I am a self-doubting, paranoid perfectionist. For another, I have a very professional magazine editor. She examines my reviews for clarity, accuracy, and word counts (as she should), then lets me know – gently but firmly – where they need work. Eek!
So, consider my cycle of “Book Reviewing Agony” before accepting YOUR first book for review.

  • Request – “I know you like books by — do you want to review this one?” says my editor. Or sometimes, “Choose a book(s) you’d like from this list.” (I feel magnanimous and agree/choose.)
  • Arrival – I’m excited to get a first look at the ARC. I check page numbers, and divide the amount into the days she gave me to leisurely read the book, allowing 3 days for writing the review.
  • Reading – I love this part best, getting into a good story. I use a pencil as a book mark so I can make notes on the rough newsprint.
  • Winding down – My anxiety mounts as I anticipate finishing and having to actually WRITE a review. Often I slow down my reading here, although the climax is approaching.
  • The PC screen – I’m frozen (yes me, not the screen). That first sentence is murder! I write and rewrite it 50 times, then leave it and skip to the end (author style evaluation) which is easier. Finally disgusted I save the file and go to bed.
  • Reading my review – After a horrible night’s sleep I reluctantly read what I’ve written. OH NO! It’s horrible! I rewrite, massage, delete, cut & paste, edit out, add in. Oh, why did I ever agree to review books? After a day of misery I punch “SEND.”
  • JOY! – I’m done! Relief! Freedom! The euphoria of having completed it makes me dance around the house.
  • Editor email – Down the roller coaster of despondency I plunge. I have to look at this thing again? I pull out the ARC (which fortunately I haven’t tossed in my elation over the previous bullet point). I go over my notes and mini-synopses. I struggle to wrangle those words into submission and try to cut 75 words. At last it’s done (again) and I am exhausted. Weakly I hit “SEND” and make a solemn self-promise. “I will never accept another book to review.”
  • The 60-day wait – The magazine finally arrives. I grab it and flip immediately to the “Reviews” section, and look for my name. I read the review. I WROTE THAT? Seriously? Wow? It’s amazingly good! (Okay, she’s tweaked a couple words, but that’s okay because she made me look great!) I display the magazine prominently on the coffee table with a Post-a-note marking “my” page.
  • Another 60 day wait – The check arrives. I smile smugly, feeling cocky at having earned a couple “Star” bucks. Hey, this reviewing isn’t so bad. I could probably do another one….  
And so, I fall off the wagon again.
Q: Do book authors have a similar cycle of agony?


Character Matters: Your Main Characters Attract Readers, Make Them Memorable

Author G.B. Pool gives us the scoop on writing memorable characters. Visit Gayle’s Author Page on Amazon!

Character Matters: Your Main Characters Attract Readers, Make Them Memorable

Aristotle wrote in The Poetics that stories are made up of 5 Elements in balance: Plot, Character, Setting, Dialogue, and the Meaning of the Piece. He thought plot was the most important element, but I wanted to talk about character in this blog.

As in most crime fiction, there is always a bad guy or gal. Some writers want to give the villain a good point like he loves dogs or his mother. I seldom bother. I paint him bad with no redeeming features unless there are extenuating circumstances and my bad guy isn’t so bad after all. In fact once or twice the bad guy has a soul. But usually in a story like that, he or she is actually the star of the piece.

But when I write a main character, I want him or her to be someone I would invite into my home. After all, I spend a lot of time with these characters while I am reading not only my own books but books by other writers. If I find them repulsive, mean, heartless, I really resent the time spent getting to know them. On more than one occasion the character has been written by a famous author and I frankly think the character stinks. That will also be the last time I read one of their books.

Aristotle mentioned that characters should have some redeeming quality. I do reserve those good qualities for the hero and other important characters. The bad guy can be bad to the bone as far as I am concerned.

Another thing Aristotle mentioned was that all the characters should be appropriate to their station in life. I am sure when he wrote The Poeticsthere was far more of a class system operating. Even in Downton Abbey, the folks living above stairs have a different attitude than the ones living below stairs. Not that this is right or wrong, it was just what society at that time and place was like. I’ll root for the rebel, but I would still be cognizant of the time period in which the story was being told.

There was a movie, The Admirable Crichton, where a shipwreck strands a bunch of aristocrats and their butler on a desert island. The resourceful butler saves everyone with his ingenuity. When the bunch is rescued, he reverts back to the butler and life went on.

But if the writer is true to the inherent abilities of his characters, the story will work. A housewife who miraculously knows everything about solving crime has been watching too much CSI. And a cop will tell you many of the procedures on those police shows are laughingly wrong.

Dick Francis will have his main character who is expert in some interesting thing like wine making or photography, use his skills to solve a crime. That I can believe. If he turns into a latter-day MacGyver and can make a nuclear weapon out of a box of matches and a can of hairspray, sorry, NO SALE.

Just keep your character consistent. If he hates height, make something payoff in the end that uses that fear of heights like Jimmy Stewart’s character in Vertigo. I keep a character chart that lists when each was born, when certain things happened in his life, and even things that happened during that time in history just to know what people were exposed to.
  I started doing this while I was taking an acting class. What a great way to learn about a tight story structure, dialogue, and character. My teacher, Rudy Solari, had us write a mini-biography of our own character so we would know where the character came from and what motivated him or her before he or she set foot on the stage. We could glean some things from the script and make up the rest, but you sure know who you were when the scene started.
This works for writing characters, too. When I was writing my Johnny Casino Casebook series I wrote out a bio for Johnny. Boy did I learn a lot about him. There were even some things that came out in the second book that even Johnny didn’t know. It made him more interesting.

Know your character. Character matters.

Writing Stuff – A Tough Project

Author Kate Thornton shares her thoughts about the process of bringing new life to old projects. Visit her Author’s Page on Amazon!

WRITING STUFF – A TOUGH PROJECT



I finished a Christmas story last week and sent if off to a magazine that has a tracking application online. Of course, I check it daily. Five days in slush and still not read – I may have to volunteer as a slush reader to get it going.


I always write seasonal stories out of season – that way there is really no looming deadline and magazines really like to get their seasonal stuff lined up ahead of time. Writing short stories is not easy – they must be tight, have impact, be satisfying and, well, short.

But the really tough writing project I am working on is a novel I wrote in 1998. Back then, I thought I was a novelist and knocked out 3 or 4 long works – adventure/mysteries – that I thought were really good. Hah! Shows what little I knew! They needed a lot of work. So I shelved them (one was actually agented and had some interest from St. Martin’s Press, only back then I didn’t know enough about revisions to do the necessary rewrites.) The event that triggered this effort was lunch a while back with an old friend, a dear friend, who asked about that particular book and remembered it fondly. Bless my beta readers!

So I am re-reading it first (I have a copy printed on my old laser printer) then doing a page-by-page rewrite into my computer. I used to have this work on an ancient five-inch floppy disc, but who knows what happened to that and what I could use to extract the info anyway. Also, I think it was in one of the very first iterations of Word Perfect. Yes, I am old!

I once heard you must write a million words before you learn how to put them into the right order. I am sure this old effort was part of my first million, and therefore should just be counted as practice, not the real deal. But I want to salvage the basic story, change the main character to one I have been developing, and update the technology (both in the storyline and what I use to write with.)

Maybe it will be a successful project. If so, I have at least three more “Trunk Novels” that could get the same treatment, if they’re worth it.

So, how about you? Do you save your old stuff and use it – or parts of it – later? I like the idea of doing this, but it sure is a lot of work. An author of my acquaintance recommends just ditching it all and writing something new. There is certainly a lot to be said for that approach. But there is also something about an old friend, a character you have created, coming home to the present and being with you again.


So, for now, I want to revisit this person and see if they can get used to the world as it is now. And I think maybe it will help me to accept the world of today as well.

To Outline or Not to Outline…Is That the Question?

“Do you use an outline when you write?”
Every time I’ve gone to a writing seminar I hear this question, which puzzles me because I don’t believe it’s what the asker really wants to know. What is really being asked is if writers should use some system to structure their work, whether it’s an outline, software, poster board with index cards, or any other method.I asked several authors, including my co-WinRs, if and how they organize their writing.
Madeline Gornell doesn’t outline or use any formal system beyond a character list. “I ‘wing it,’ develop, build, and go back to fill in as I go.”
Andrea Hurst, author of The Guestbook, Always With You, and the soon-to-be-released Tea and Comfort(in addition to several works of non-fiction), varies her approach with each novel according to what she feels is needed.  “On my first book I knew the beginning and the end and did deep character and setting work. On my second book I knew only the very beginning and end and it just poured out. On my third and current book, I have outlined in detail the scene points and overall plot ahead of time and it seems to work well.”
Gayle Bartos Pool favors some organizing techniques, but adapts them to each project. “I have used an outline before and it worked fine, but I usually just write as I go. I do maintain a timeline to keep the action straight and it keeps the characters from bumping into each other unless I want them to do that. And I do write biographies for my main characters.”
Bonnie Schroeder works with ‘The Snowflake System’. Although she didn’t purchase the software, she follows the general approach. “You start with the germ of an idea and gradually flesh it out through several iterations, including detailed chapter and character summaries. The most valuable thing I got from this was the ‘Scene Spreadsheet’, which has really helped me see where everything happens and where there’s no conflict, etc.” For more details, go to: www.advancedfictionwriting.com/articles/snowflake-method/
Rowena Williamson juggles two historical fiction series – Castle Caorann and Ryan and the Redhead – and is working on a sequel to her popular YA book, Escape To The Highlands. Despite her substantial workload, Rowena doesn’t use any system. “I can’t really plot without getting feedback from my characters.”
“I outline my stories in my head and I always know where I’m going,” said Audrey Mackaman, author of two YA fiction series, Murder Most Magic and The Dream Cycle.
Jacqueline Vick always uses an outline. “With a mystery, there is too much backtracking to clean up clues etc. without one. And it’s too easy to go off on tangents and get away from the plot.” She begins by taking notes and making up a style sheet – a quick reference tool for things she always needs to look up.  “It helps keep track of names, places, grammar problems that pop up for me personally, hard to spell words, etc.” Although this system has worked for her in the past, she is currently trying out Scrivener software. “I’m going to give that a shot with the next mystery I write. It’s gotten good reviews!”  For more information about Scrivener, go to www.literatureandlatte.com/scrivener.php   
“I think it’s very individual, this writing process,” said Heather Ames, whose publications include the romantic suspense All That Glitters, contemporary romance The Sweetest Song and Indelible, the first in her mystery/suspense series. She tried using an outline to give her writing group an idea of where Swift Justice (the sequel to Indelible) was going, but the story strayed in another direction. “I’ve never used any of the writing programs. I’m a freewheeler.” 
What about me? I began writing my first novel with the idea of seeing if I could do it. I had no plan or outline, just a character, an incident, and a vague sense of the plot. I’m pleased with it now, but it took over a decade to finish. I’ve often thought outlines would speed up the writing process and now begin each book with a synopsis of the story, but I rarely stick to it. I rebel against micromanagement, even self-imposed. My second novel took only four years to complete, so I guess I’m getting faster.
From this small sampling, it appears there is no consensus. Some writers deem systems necessary to keep them on track. Others find them inhibiting; they prefer to let the story flow. Many hybridize the process; they use timelines and biographies to keep the details straight, or work with a beginning and an end, and let their creative instincts fill in the rest. And a few do whatever they find works best for a particular project. Maybe that’s what draws us to writing stories that appeal to us. We prefer having the freedom to follow our muse and only use organizational tools if we need help with our characters or plotting. Or as Rowena Williamson put it, “I couldn’t hold to a book-a-year schedule. My books would go downhill if I did that.”

Do the Details Matter in Series Writing?

I admit I’ve run into this scenario. I used bolero instead of bolo for a tie description. I didn’t catch it. The editor didn’t catch it. Three proofreaders didn’t catch it. But one reader caught it and left a nasty note on Amazon reviews. He said I was “just sloppy”. I immediately changed it and uploaded the revision, but I couldn’t thank the guy who had caught my mistake because he didn’t leave contact information. So, it does happens.

However, I would like put up an argument that, if readers love the books, they aren’t going to stop reading if they catch an inconsistency, and as my example, I’ll use Rex Stout, author of the Nero Wolf/Archie Goodwin novels.

In the course of reading every novel, novella and short he ever wrote, I’ve discovered many contradictions. Archie Goodwin smokes in one novel and says that he doesn’t smoke in another. He also says that he’s never seen  Inspector Cramer actually light his cigar, yet in earlier stories, Cramer puffs away.  The list goes on.

It gives me a giggle to be so immersed in his world that I catch these things. It seems as if Mr. Stout was so involved in the world of his current story that what came before (or might come after) didn’t hit his radar. I don’t consider them sloppy mistakes. They just feel like one more eccentricity of the characters coming down through the author.

One of the reasons that these changing details don’t bother me is that they don’t affect the core of the characters. Archie still complains about Wolf, while at the same time admiring him. He easily falls for females, makes smart-mouthed comments, and loves being the right-hand man of the smartest detective around. Wolf is still an Immovable Object  (Archie’s words, not mine), and he continues to take delight in cuisine and no delight women. (Though he claims to be neutral in the latter.)

I’ve put a disclaimer in the beginning of my Frankie Chandler, pet psychic, novels.  Breeds are not always capitalized, and grammar  aficionados would be quick to jump on how I capitalize all breeds. I do it intentionally out of love and respect for my furry characters.  I wouldn’t recommend that writers ignore the details, but if the world they create and the characters who inhabit that world are intriguing enough, I think that readers will let the occasional slip-up slide.

If your memory is a sieve (it will happen eventually to most of us), you can always keep those details in order by using a chart, or a style sheet. In fact, I recommend that you do. Track locations, names, dates, and anything else that you’ll need to refer to at a later date. If you have the skill of Rex Stout, discrepancies can be charming. For the rest of us, well, we might be considered “just sloppy”!

Men vs. Women Writers–They are Not Always Seeking the Same Audience

If someone said: “Nothing against women writers, but all of my favorite crime fiction authors happen to be men,” how would you respond?
My response would be the same if I heard a woman say she preferred women writers to male ones. Read what you want. Some people like self-help books. Some like science fiction. Some like romance. Some people don’t read at all. My response to the latter would be hand-over-the-mouth screaming to myself: How can you not read? But, let’s face it, some people don’t read.
I can’t visualize a truck driver curled up reading a cozy, but I can see a woman reading a thriller. Women write thrillers. Men have written romance novels. But if someone, let’s say a man, says he won’tread a book – let’s say a thriller – written by a woman, then he has a problem living in the real world. If it’s a literary agent or publisher who says he or she won’t consider a thriller written by a woman then a lot more people have a problem. Many good writers won’t get published and subsequently enjoyed if that is the company policy. But it happens.
In the past twenty-five years women writers have gotten book deals writing cozies and chic-lit novels as well as standard detective novels and thrillers. The over-whelming majority of women writers I know write cozies. The reading public assumes that if you are female you will be writing that type of book just because of the vast number of those types of books on the shelves. Reviewers are going to think the same thing. They have seen years and years of top selling books, written by men, winning prizes. They will gravitate toward what is familiar and accepted when it comes time to reviewing books. Everybody wants to be around the popular kids in school or go see the hot new movie. But if our, meaning the females in the crowd, if our first response is to whine, then pardon me for saying this, but snap out of it, honey. Nobody owes you a review.
But there are things you can try.
Ladies, try sending a review of your book to women’s magazines and see if they will print it. Send them a copy of the book, too. You will have to write your own review. This is basically the Press Release you should already have in your press kit. Not every review in a publication is written by an impartial reviewer. Your review should be a short blurb about your book. It is roughly the synopsis you sent in your query letter minus the conclusion of the book. Include the log line-elevator pitch that you should have for every book you write. It will grab the reader.
I worked in a bookstore for a year and a half many moons ago (1979-1980). Our romance section was just as large as our mainline fiction section. We sold down to the wall in the romance section most months, not so for the fiction section. The mystery section was fairly small at the time. Obviously women were buying women’s books. I don’t remember hearing men whine about only females getting to write romance novels.
What women should try to do is get known in a smaller pond first. And remember, you drop a pebble in a pond and there is a ripple effect. You make enough splash and the folks in the big publishing yachts will take notice. Or even Hollywood.
Some men write Gothic romance novels under a pseudonym. A man’s name on the cover of a throbbing romance novel would probably be bad marketing. The same thing goes for a man’s name on a cozy novel, but occasionally it has been successfully done. Men can be held back just like women, but many of them consider the marketing aspect and use a female pen name.
I use my initials rather than my first name to obscure my sex. My books aren’t cozies nor are they dripping in blood. I thought initials made my pen name recognizable but it didn’t put me in a box. Agents and publishers actually thought a man wrote the Johnny Casino Casebooks. They read the book before they read my biography. That’s what I wanted.
Know the market where you want to sell the most books. If you are a niche mystery writer and write about knitting or cooking while solving a crime, try sending a copy of your book with a small review to a publication that features that hobby or skill. They might publish it. See if a local store will let you do a book signing. A knit shop might let you do an event if you are a local writer.
If you write a more traditional mystery and can’t get any traction, see if your local paper will run a small review or maybe they have a reporter who would like to interview you. Even if you are published by a large publishing house, you might have to do all the publicity yourself.
Let me introduce you to Anna Katharine Green. She started writing very intricate plots with clever details and sleuthing techniques. She wrote stories about a young debutante who solved crimes, a young man who analyzed a crime scene down to the lint in the victim’s pockets, and a spinster lady who helped out the local police in solving crimes. If this sounds a little too much like Nancy Drew or a young Sherlock Holmes or a Miss Marple, Anna Katharine Green was born in 1846. Her books predated these other great writers. She is considered the mother of the detective novel. Women weren’t writing much more than poetry back then and there were very few male writers of fiction, much less mysteries. She had to discover new territories and did it unbelievably well. She did get reviews. In fact, the Pennsylvania Senate debated whether or not a woman could have actually have written her first book, The Leavenworth Case, her first success. 
She wrote it and 39 more stories!

 So write your book. Others did it and overcame some pretty big hurtles. Be creative in seeking out reviewers or venues for your work. And remember, nobody owes you a review, but you owe it to yourself to give it your best effort. And don’t whine. Men don’t.