By Linda O. Johnson

Hey, our blog is still here, and I couldn’t be more delighted. I was pondering what to write about now, and came up with what I hope is a fun topic: my thoughts about the most fun thing about writing.

Do I know yet? No! But I’ve gotten a lot of ideas. And I’ve been writing for a long time.

My thoughts? First, even if I set a story somewhere real, near me, the fun thing about it is figuring out what can be different, and what my protagonist can learn about it—and tell me! For one thing, since most of what I write are mysteries and romantic suspense, people can get hurt or even killed in those environments I find fairly safe in real life. So where’s a good place to murder someone where the mystery can be resolved well and quickly enough in a story? A real place? A fictional place?

Even more important is those characters, especially my protagonists. They’re not me, but they contain some of my characteristics. The character closest to me was in my first mystery series, the Kendra Ballantyne, Pet-Sitter Mysteries. Kendra was a lawyer who lived in the Hollywood Hills with her Cavalier King Charles Spaniel Lexie. At the time I was writing about her, I was a practicing lawyer, and one of my Cavaliers was named Lexie. And yes, I live in the Hollywood Hills.

Other protagonists aren’t quite as close, but still had characteristics I like and admire. The spinoff series from Kendra was the Pet Rescue Mysteries, which of course contained dogs and other animals—and I was volunteering a lot at local rescue organizations when I wrote it. In my Barkery & Biscuits Mysteries, my protagonist owned a bakery for dog treats—and was owned by a dog named Biscuit. In my Superstition Mysteries, my protagonist owned a dog named Pluckie. And currently, in my Alaska Untamed Mysteries under my first pseudonym, Lark O. Jensen, the protagonist, a naturalist, introduces tourists to all sorts of wonderful Alaskan wildlife, including seals and bears and wolves—and yes, she brings her own dog Sasha along on her tour boats.

And in the Harlequin Romantic Suspense stories in the various series I create, yes, dogs are involved. All my stories do contain suspense, whether they’re mysteries or not, and even those I’m asked to write when I can’t always include dogs. And they contain at least a touch of romance, often more.

So… setting is fun. Characters are fun. Killing people vicariously, and not for real, of course, can be fun. And creating romances can be fun.

Plus, various animals are fun. Dogs are fun.

Hey, for me, maybe the most fun thing about writing involves one of the most fun things in my life: dogs.

So what’s the most fun thing about writing for you?

Photo by Austin Kirk on Unsplash

Guest Post by Patricia Smiley*

Years ago I bought a novel written by a well-known author because it took place in Seattle, a city where I’d lived, went to school, and worked for many years. A few chapters in, I was dismayed that the descriptions of setting were so generic that the story could have taken place anywhere. It was almost as if that the author had never set foot in the city.

Setting matters. The place of your novel includes the broader vistas into which you set the story, such as the culture and customs of the people who live there, history, land, floral and fauna, and even the shape of the clouds. It’s also where each scene takes place, be it the backseat of a Mini Cooper, an English garden, a Federal prison cell, or a home kitchen.

We were given five senses for a reason. Detail specificity enriches your writing. Don’t just say the kitchen was messy; describe the smell of spaghetti sauce oozing down the wall, the feel of that sticky green substance puddled on the floor next to the baby highchair, and the tick tock of the antique grandfather clock in an otherwise silent room. Descriptions should not just be an inventory of the space. Each one must illuminate an element of plot, theme, or character and, in the case of this kitchen, raise a myriad of dramatic questions about what happened there and to whom.

Description as fine sauce. Descriptions need not be long and rambling, but a writer must persuade the reader that the story is real. Even people who’ve never been to a location should feel as though they’re experiencing it firsthand. This also applies to imaginary settings. To prevent long passages of boring prose, take Elmore Leonard’s advice, ”Don’t write the parts people skip.” Instead, distill the essence of a place into a fine sauce. Below is an example of reporter Jeffrey Fleishman’s brilliant and evocative description of Port Said, Egypt, from the Los Angeles Times:

“This shipping city of factory men, with its whispers of colonial-era architecture, was once a crossroads for intellectuals, spies and wanderers who conspired in cafes while the Suez Canal was dug and Egypt’s storied cotton was exported around the globe. Rising on a slender cusp in the Mediterranean Sea, the town exuded cosmopolitan allure amid the slap of fishing nets and the creak of trawlers.”

Don’t trust your memory—verify. Get the specifics right. Nothing takes a reader out of the story faster than getting hung up on inaccurate details. If you can’t visit the location, read travel blogs, talk to friends with knowledge of the area, consult Google Maps, online photos, and YouTube videos.

People like to “travel” when they read. Effective use of description creates atmosphere and mood, and stimulates emotions. Anyone who is familiar with the cold, bleak settings in Scandinavian crime novels or films knows how integral “place” is to every part of those stories. So, give your readers a compelling setting and then wish them a bon voyage.

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Patricia Smiley is the author of four novels featuring amateur sleuth Tucker Sinclair. Her new Pacific Homicide series profiles LAPD homicide detective Davie Richards and is based on her fifteen years as a volunteer and a Specialist Reserve Officer for the Los Angeles Police Department.

The third in that series, The Second Goodbye, is set for release on December 8, 2018.

Patty’s short fiction has appeared in Ellery Queen Mystery Magazine and Two of the Deadliest, an anthology edited by Elizabeth George. She has taught writing at various conferences in the U.S. and Canada and also served as vice president for the Southern California chapter of Mystery Writers of America and as president of Sisters in Crime/Los Angeles.

PatriciaSmiley.com