writing – Page 2 – The Writers in Residence

Here’s a Novel Idea: Read a Book

By Gayle Bartos-Pool

The first person whoever wrote a book didn’t have libraries and bookstores full of previously penned tomes to read and enjoy and from which to get inspiration to perhaps write their own story. They had a story to tell and wrote it. We, centuries later, don’t have any excuses. We not only have books, but plays, movies, and television shows overflowing with plots, characters, scenery, and dialogue to stir our imagination. Not that writers can’t get ideas from life around them, but sometimes actually reading something from another writer lets us know it can be done. Even a lousy book can inspire a would-be writer to say: “Hey. I can do better than that.” And they do just that every day. But first we have to pick up a book.

You might have friends or family members who recommend a particular favorite. You can always go to a bookstore, if there are any left, and ask the bookseller to point out a few books in a particular genre. Long ago I worked at a Waldonbooks in the Glendale Galleria in California. People were always asking where a particular section was. Mysteries, romance, kid’s books, self-help, religion. At times I would point out a favorite of mine. The store would set out best-selling books on tables in the front of the store complete with advertising paraphernalia from the publisher. We didn’t have to do that with the romance novels. They sold like hotcakes and we would sell down to the wall by month’s end. Unfortunately, the book chain decided they didn’t want to carry lots of books in all kinds of genres, only the top selling books. Obviously they didn’t know avid readers liked to pick out a ton of books of their choosing, old titles, newer ones, or try something different. Oh well. Management must have been more interested in their bottom line than their customers. I love capitalism, but I also love books.

But what can a writer or would-be writer do to get inspiration? They need to ask the one person who will have the most influence on their work what they prefer reading? And who is this veritable font of information? Themselves. Writers usually write what they like to read. But they need to read other writers in their chosen genre to see what’s out there. This means the good, the bad, and the: “Oh, God! That’s the best thing I ever read.” kind of book.

Now I might have loved mystery books and mystery shows on TV, but the first book I wrote, though it took a while to get published, was a disaster novel, CAVERNS. Then I spent ten years writing a spy trilogy, but that wasn’t finding a publisher, either. Then my wonderful husband, Richard, said these immortal words: “You used to be a private detective. Why don’t you write a mystery novel?” Ah!

But what did I know about writing a mystery? My spy novels were based on History and a bit about my dad’s life in the Air Force. I added a ton of facts and made up the rest. But a mystery. I needed to know more about the genre since mystery writing wasn’t like a stand-alone novel where the writer defined the parameters. What did I do? First, I joined Sisters-in-Crime in Los Angeles and Mystery Writers of America so I could hear what other mystery writers did. Those two groups had many famous speakers at their meetings who talked about their writing. I read their books and the books of some of the members of both groups. I was learning.

Since a writer needs a place in which to set a story, a few came up. First, I got called to jury duty. Then Richard got called. He went to downtown Los Angeles the same day the O.J. Simpson jurors were called. He came home and told me about the media circus down there with news cameras, helicopters, and microphones. My first Gin Caulfield book was called Media Justice about a high-profile case, the media’s influence, and Gin gets called to jury duty.

Next, Richard and I got free tickets to the Santa Anita Race Track. That became the opening of the second mystery in the Gin Caulfield Mystery Series, Hedge Bet. But then something else happened. I read another book.

This book was Eighteen by Jan Burke. Jan was a member of Sisters-in-Crime and I picked up her book of short stories. I loved the book and the idea of writing a short story. So I wrote one about an ex-mobster turned private detective. Then I wrote another one about the same guy. Then Sisters-in-Crime announced their latest anthology and asked for submissions. The theme of the anthology was landmarks in Los Angeles. I had to write another story, but it just so happened Richard invited me downtown for lunch one day and we went to the Bonaventure Hotel. That landmark ended up being the one I used in my story and the story got in the anthology. I thanked Jan for her inspiration.

Now I had three stories with the same character. The reviews for my story in the anthology were good, so I wanted to write more with him as the lead. So I wrote a couple more, but can you do a book of short stories all about the same guy?

Then I met another writer. I had read a lot of his books as a teenager and read even more after I met him. His name: Ray Bradbury. Jackie Houchin, a fellow Writers-in-Residence member and good friend, and I went to the opening of his play Fahrenheit 451 since Jackie reviewed plays for a local newspaper as well as an on-line paper. She got to bring a guest, me, but I thought I should review the play, too, since we got in free. On Opening Night Mr. Bradbury mentioned the time he had a batch of short stories he wanted to have published so he asked his publisher what he should do with them. The publisher told Ray to link the stories together which he did and The Martian Chronicles was published. So I had my answer from a writer who got the job done. I linked the Johnny Casino short stories together like a TV series.

I have three books in the Johnny Casino Casebook Series out there now thanks to inspiration from my husband, a book by Jan Burke, some advice from one of the best writers in history, Ray Bradbury, a chance to review Ray’s play because of a friend, and the fact I liked mysteries and wanted to write them.

Ninety present of the books I read are mysteries. I have learned a lot from each one: What to do and what not to do. And also what I can do better. But reading sure made a difference in my writing. If you are a writer: Read On!

Designing A Book Cover

by Miko Johnston

Gayle, Madeline and guest blogger Elaine Orr have all recently posted about the importance of research in writing. It reminded me that the subject has been a constant theme on our website. Not surprisingly, I’d been preparing one on the same subject.

My entire Petal In The Wind saga is about to be reissued under a new imprint, in addition to the publication of my fourth book in the series. When my publisher ceased operations, I regained the rights to the three earlier novels, but not the cover art. New covers had to be designed. I knew an excellent source for that which resulted in two sets of designs from which to choose; I’ve put a sample of each for the newest book below. The good news: they were both fantastic. The bad news: they were both fantastic. I couldn’t choose.

I asked others for their opinion, which were divided. Part of me thought I couldn’t go wrong with either, but another part thought, “nah, too easy.” I researched the subject online and found some good information, but I still couldn’t decide which set I wanted.

I needed expert advice. Then it dawned on me who could give it.

In the town where I live, there’s a small independent bookstore, one of the perks of living in a tourist town (another is having many quaint shops, over a dozen restaurants, and two wine bars despite a local population of 2,000). While bookstores are not unique, many visitors stop in to ours to seek out local authors, a great way to discover new writers.

Despite its small size, Kingfisher Bookstore holds a remarkable array of books, everything from popular fiction to DIY hobby and craft books, history and historical fiction, books for kids of all ages and their grownups. When customers ask for local authors, Meg, the owner and book buyer, takes them to a table she’s dedicated to their works of fiction, memoir and poetry, and “hand-sells” them based on the customer’s interest.

I brought my computer to the store and asked Meg if she’d give me her opinion. She looked at both cover sets and asked me, “Is your book historical fiction or romance?” I told her the former. Then I got a valuable lesson in cover design.

Apparently, you can judge a book by its cover. Everything, from color to images to font, sends signals to a potential reader as to what the book is about. Meg guided me through the many subtleties of cover design, which helped me decide which to choose for my series.

For the record, I chose the set represented by the left image, above, but with a Serif font. Here’s why. The novel begins in the last year of World War I and takes the characters through the mid-twenties, with fascism on the rise. Darker images indicate the gravitas of the times. The “ripped paper” cover with the woman implies a love story more than historical fiction, which would be misleading to a reader looking for romance. Sans serif fonts fit better with modern writing. The Didot font I’ll use has a very 20^th Century feel that’s neither too modern or too old-fashioned.

Will all this fuss over the cover guarantee sales? Probably not, but at least readers who purchase my book might have a better sense of what they’re getting.

Have you ever considered asking someone who owns or runs an independent bookstore for advice on any aspect of marketing, from what’s selling to what your cover should look like? I would strongly recommend it. And while you’re there, thank them for supporting writers. Where would we be without them?

The fourth book in her series is scheduled to be published later this year. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

What Makes a Good Mystery Series for the Author and the Reader?

While Jackie Houchin is on vacation (in Spain or France now) we have another Guest Author. (Thank-you, Elaine!) Jackie hopes to return with her next scheduled post of June 8, 2022.

by Elaine L. Orr

Like most writers, I put words on paper because if they don’t get out that way I risk screaming on a street corner. I get those words into print because I think others would enjoy them.

When readers like the characters, they may clamor for more. Even if they don’t initially, we think they will. I consider several things when I start a new mystery series.

Is the setting or main topic interesting enough to keep exploring? My first series (the now twelve-book Jolie Gentil series) is set at the Jersey shore because I love small, east coast beach towns.
Can I connect to the characters enough that readers can too? This doesn’t mean does an author like the characters. Some of the most relatable ones are the evil ones.
Is the life of the main character part of a profession or hobby that makes discovering a lot of big problems (or bodies) realistic? Jolie is a real estate appraiser and runs a food pantry, both things that bring her into contact with many people in varied settings.
Is there a plan to have the characters evolve over time? If lead characters have the same strength and foibles in every book, they become predictable. That sameness can lead to reader (and writer) boredom.
Is the plan to write a certain number of books, culminating in a big event or life transition? Or can stories continue as long as the author has ideas?

I’ve used the Jolie Gentil Series as the example, so I’ll do it one more time. I envisioned three books, with the third being called Justice for Scoobie, a childhood friend she reconnects with as an adult. Wrong. He’s the favorite character. Couldn’t bump him off and have Jolie solve that crime!

My primary hobby is researching family history, a natural one seeing that I like U.S. history and finding my families’ links to it. Why did I never make that an important focus of a series? Beats me. It is now.

The Family History Mystery Series has the fourth book underway. And that tells me something. My other two series (River’s Edge and Logland) have three books each. I may start fourth books, but why not jump into them immediately after the third?

Did I not think through the first four questions above? I did, and I have more ideas. What was missing? Passion. Hard to define, but it’s another key component of writing. You have to REALLY want those characters’ lives to continue if they appear in a series.

Have you noticed I didn’t use the word plot once in this piece? All good stories need more than a beginning, middle and end. They need a compelling story and conflict, which doesn’t necessarily mean action. In mysteries, there are a myriad of criteria. For example, if the villain pops up at the end with very little role or foreshadowing, reviews may not be kind.

As in all books, plot matters in a series. But the characters (and their evolution) matter most. Main and even ancillary characters need to contribute to the story and have a clear purpose.

Reader reactions matter, but they can’t determine how your characters develop. They can, however, inform what you do after book one. Take them seriously, but don’t make them your guide.

Finally, enjoy writing the series. If you don’t, the series could meet an untimely demise.

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Elaine L. Orr writes four mystery series, blogs, keeps in touch with lots of family and friends, and tromps cemeteries looking for long-dead ancestors.

To learn more, visit https://www.elaineorr.com.

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WHAT ARE WE MISSING?

by Rosemary Lord

Well, we wanted this year to be different, didn’t we? Or, did we yearn for The Good Old Days of yore: that is pre-Covid? The truth is somewhere in the middle…

For two years, we did as we were told. Because lives were at stake, and livelihoods, businesses, careers. We shut our lives down, following the Covid-19 restrictions and guidelines. We did the best we could.

But now, not a moment too soon, our world is supposed to be opening up again. How’s that working for you? What are you looking forward to doing, as we get out and about, and happily smile, bare-faced, at each other again?

I don’t know about you – but, as a writer, I really missed all the Writers’ Conferences and workshops. It was a chance to get together with other creative folk from all over the world – writers, publishers, readers, agents – and swap ideas, hear news and get inspired and encouraged once more. Whether we attended in person, participated via Zoom or read about them online. They always made me feel part of a wonderful, chattering, writers’ world.

I loved reading about the conferences far, far away. Especially those sublime Writers’ Retreats in Tuscany, Greece or exotic Eastern islands. I mean, who could afford them? Even the fare to get there? Who had the time? But it was lovely to dream about the ‘one day’ when I had several best-selling novels under my belt and knew I could write the expenses off from my high taxes of my super-successful writing career.

I also learned a lot reading the descriptions of the workshops offered. Some were business oriented, about how the super-successful J. K. Rowlings and her compadres ran their writing careers or businesses. Or had someone else do it for them. Details of the foreign retreats that focused on creativity had descriptions to drool over: the leisurely, dreamy days gazing out on azure seas, after early-morning yoga, while tutors encouraged one to write something totally different from your usual style. To explore hidden corners of our creative brains. A morning of writing would be followed by exquisitely prepared meals of fresh, local produce served ‘en-plein-air’ – in the shade of exotic trees. To be followed by an afternoon saunter to the local farmers’ markets – or perhaps a wine tasting at the local vineyard. Then return to your room for more writing time. That is, if you could stay awake after the food and wine! Those Writers’ Retreats are VERY expensive. But one can dream…

In reality, most of us attend the more practical conferences packed with workshops on different styles and genres, on research, on editing our tomes, and how to wrap them up with an eye-catching pitch. There are always plenty of opportunities to attend agent-lead workshops, meet publishers and editors and hear lectures by our successful counterparts. I used to love listening to the late (and dearly missed) Sue Grafton. She always made us feel that if she had achieved success, then we could surely do the same. Charlaine Harris, Ann Perry, Lee Child, Ann Cleeves, Michael Connelly – I could go on – but they all spoke at these numerous events, sharing advice and encouragement for their fellow writers.

These conferences are held all over the country. The annual Bouchercon was to have been in New Orleans last year but was cancelled due to Covid. I was looking forward to that! This year it’s in Minneapolis in September. The last Left Coast Crime Writers Conference I attended was in Vancouver in 2019. The 2020 one in San Diego was cancelled. This next one is in Albuquerque in April. (I’m moderating a panel of screenwriters and guesting on a panel about Twentieth Century Mysteries.) Malice Domestic Conference will be in Bethesda late April. The International Thriller Writers Conference is June 4^th in New York.

There are several more venues for writers to hone their craft and network, including the California Crime Writers, which has gone online due to Covid precautions. There’s something for every writer: romance writers, mystery writers, screen writers, short-story writers. Something for every genre, for beginners and experienced career writers, traditionally published, self-published and ‘pre-published.’ In that long conference weekend, we get to talk about writing, meet new writers and readers, new agents and publishers, learn the latest forensic discoveries, the new publishing trends – and often, we plot how to commit murders that we can get away with! For our literary characters that is, of course! Although that discussion might well happen at the Romance Writers Conference occasionally, too!

Many conferences were in California, so I would drive to them. But other times I would fly to another state. Apart from the fun adventure of travelling to these events, I’ve missed seeing my writer friends from all over the globe. We laugh a lot, catch up on each other’s lives, eat a lot – and the bars are always open. It’s a lovely escape – before we return home to our usually isolated writing life. There, we scribble in our endless notebooks, then tap away on our computers – until we have something completed that we can discuss at the next writers’ conference.

So, we’re back to normal – sort of.

Almost.

Yay!

What part of your writers’ life did you miss most these past couple of years?

A Final Pass

by Miko Johnston

By the time you read this, the manuscript for my fourth A Petal In the Wind novel will be back from the editor and ready for its final draft before publication. Prior to sending it out, I made several passes through it, each time searching for ways to fix or improve the work.

In my first pass I searched for everything from formatting issues to misspelled words. In light of recent events I found parts of the story, which I’d begun writing in 2017, had become dated. I couldn’t gloss over a worldwide pandemic and the social rifts that emerged from political discord. Several new characters who were introduced in chapters written years before the book’s conclusion sounded too generic; I’d gotten to know them better as the story progressed and that needed to be reflected in their earlier dialog and mannerisms.

Other passes looked for repetition, excess verbiage, more precise word choices, missed misspellings, lapses in logic, and incorrect information. With that complete, I sent out my manuscript, anticipating a few more changes would be needed once I heard back from my editor. I took advantage of the wait time to put together all the additional material needed – logline, book blurb and synopsis.

Whenever I have to write marketing stuff, I cringe. It’s not what like to do, or do well. I view it as a necessary evil, and many authors I know feel the same way. However it must be done, and the good news: I’ve found an advantage to it beyond promoting the book.

When you have to encapsulate your x-hundred page novel into a one page summary, then a teaser for the back cover, and finally a one-sentence logline, it forces you to look at your theme in a different way. Gone are the long passages of prose, the snappy dialogue, the transitional scenes and flashbacks. You must have a laser focus on what your story is about – what you’re trying to get across to the reader in terms of theme, character, and plot. By doing so you sometimes will see aspects of the story that are important but may not have been shown in a compelling or complete way. So beyond my editor’s input, I saw that I wasn’t done with my revising.

I came to that conclusion when I encapsulated a 106,500 book into a few paragraphs with just a hint of where the story will eventually wind up. I had my external conflict and internal struggle, and pointed that out in my blurb. Then I wrote my logline:

Amidst the social and political upheaval in the aftermath of WWI, a woman who identifies as an artist marries the love of her life, but chafes at being relegated to wife and mother.

We can understand the difficulties a woman would face in giving up her career to marry and have children, especially at a time when such notions weren’t as accepted as they are today. But had I adequately shown how she feels in the book? Could I have made it not only clearer, but on a much deeper level?

The logline hints at the deeper issue. What she rails against is not being married to the man she loves, or even the challenges of motherhood. It’s losing her identity, having to see herself as only a reflection of her husband and children. When Jane marries John Doe, she becomes Mrs. John Doe. Her baby’s mama. She’d wonder—what happened to Jane?

My character Lala is a woman who’s accomplished a great deal despite her youth. She not survived the trauma and hardships of WWI and kept her family alive, but her home town as well. It’s described as a factory town north of Prague throughout the series. In America we’d call it a company town, where a single business – in this case a furniture factory – provides the economic base of the area. Circumstances force her to take charge of the factory and oversee its conversion to wartime production. If it had closed, which it nearly did, the town would have been devastated. How can someone like this ignore all she achieved, the skills she developed, the talent that resides within her?

When the manuscript returns from the editor, I will review the comments and make some changes, including a few of my own – adding more layers of my character’s internal dilemma to the story. Then I’ll probably rework my promotional material. A writer’s work is never done…that is, until it goes to the publisher.

Miko Johnston, a founding member of The Writers In Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies, including “LAst Exit to Murder” and the soon-to-be-released “Whidbey Landmarks”. The fourth book in her series is scheduled to be published later this year. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Mystery People, Jessica Speart

by Jill Amadio

Few mystery writers pour their personal passion into their fiction to get their message across as successfully and as brilliantly as multi-book author Jessica Speart. Published traditionally by such as Severn House, William Morrow, and others as one of the most addictive thriller series, the acclaimed American author’s plots are based on true, wildlife issues.

Elephants slaughtered for their tusks, sharks for their fins, rhinos for their horns, and other species for their rarity, many endangered, form the focus of Rachel Porter’s action-packed sleuthing. An agent for the U.S. Fish and Wildlife Service, (USFWS), the fictional character is a composite based on real agents who investigate smuggling, murders, and criminals who break the laws that cover illegal species trading.

Casting a worldwide net, Speart sets her mysteries in several American states, and peoples them with characters in Mexico, Russia and other countries where illegal hunting is at its most prevalent such as Hawaii for its rare reptiles and exotic birds in Florida, but what stands out the most is the remarkably meticulous and detailed research that Speart brings to her books. The reader learns a wealth of fascinating facts told in an often-humorous style while at the same time learning how poachers work, the tools needed to trap tortoises, and the clever ruses criminals use that include the rich and famous with their collecting obsessions.

“Doing research is essential to my writing,” she said. ”The idea is not to just make things up [but] to provide facts in a compelling way.”

An investigative freelance journalist for several years after studying theater at the Boston University College of Fine Arts, and stints as an actress off-Broadway, in commercials, and soap operas, Speart switched from acting to writing.

“I needed to get away for a while and ended up going to Africa. It was there that I witnessed the poaching of elephants for their ivory and rhino for their horns. I came home determined to do something to try and help.”

Speart took a direct approach and began her magazine career writing stories about the USFWS special agents and their investigations. She became fascinated with their work. Many of her articles involved wildlife and drug-trafficking crimes and were published in the New York Times, Mother Jones, and many other outlets.

But the subject matter, she discovered, wasn’t high on the list of law enforcement agencies. An animal lover, she decided to take justice into her own hands by starting a crime series, knowing the popularity of mysteries and thrillers could give her topic a voice.

“My first ten books are the fictional Rachel Porter mystery series,” she said, “which sprang from my magazine work. I became frustrated with the outcome of many wildlife cases. The illegal trade in endangered species is worth between $15-20 billion a year and yet the fines and punishment remain low.”

In the process Speart became an expert in demand at endangered species conferences, a keynote speaker at a wide range of distinguished forums including the American Museum of Natural History, John Jay College of Criminal Justice, chapters of the Audubon Society, and others, and a frequent guest on television shows and documentaries..

“The transition from non-fiction journalism to fiction wasn’t difficult, given the reality of the issues,” she said, having covered cases from initial suspicious behavior to arrest and conviction.

The fast-paced Rachel Porter series begins with what could be considered fragments of the author’s own life. Titled GATOR AIDE, it takes place in the steamy bayous of Louisiana and the New Orleans French Quarter, featuring an alligator chained to a bathtub with a dead stripper nearby. The book’s characters include cops, killers, drag queens, and corrupt politicians.

Speart’s second book, TORTOISE SOUP, crosses the country to a new assignment in Nevada where endangered tortoises have disappeared, while book 3, BIRD BRAINED, sends the USFWS agent back to the southeast coast and Florida, where exotic cockatoos and parrots are smuggled out. The cast includes a wonderfully-rendered sleazy snake dealer, Cuban cigar smugglers, airboat cowboys, and Castro terrorists. The action never stops.

Primates inhabit book 4 and the locale is the Mexican border. Not too surprisingly because they exist in real life, there’s a game ranch stocked with rare antelopes, Indian deer, and African oryx for the rich to hunt down and kill for sport. Rachel Porter unwittingly joins the group on the wrong side of the party.

Caviar, anyone? BLACK DELTA NIGHT explains how Tennessee’s Mississippi River paddlefish becomes a rival to Beluga for the Russian mafia to exploit. This time Rachel goes undercover when murder is on the menu.

While her methods eventually result in catching the criminals, her way of operating tends to irritate her bosses and, once again, she is shipped off to another state. Montana, long known as home to private militias and survivalists, also has more than its share of grizzly bears. But why are they being killed along with several Native Americans? A KILLING SEASON provides a dazzling backdrop to the puzzle.

Books 7, 8 and 9 see Rachel once again shuttled off to other states to get her out of her boss’ hair. This time she is sent to Georgia with its manatees in COASTAL DISTURBANCE, and then to northern California with BLUE TWILIGHT in which a collector is obsessed with a rare butterfly. Again, Speart’s research brings reality to the characters, locales, and plot lines. In RESTLESS WATERS Rachel is back in Hawaii to chase down those who upset the fragile ecological balance.

Book 10 winds up the series with UNSAFE HARBOR involving the importation of illegal Tibetan antelope fur clothing, before Speart turns to non-fiction for her 11^th book, WINGED OBSESSION: The Pursuit of the World’s Most Notorious Butterfly Smuggler.

“It deals with an actual case that is so crazy no one would believe it if I wrote it as fiction,” she said. “A Japanese national began prowling around America’s national parks. One butterfly he chased was the Apache Fritillary, catching 500 of them and shipping them back to Japan to sell.”

Following up on the true case she flew to Japan and went undercover to make friends with the man. Soon, she discovered he was setting her up. A thriller, indeed.

Whether writing non-fiction or fiction Speart spends time outlining her books before giving it its freedom. “I’m a big outliner, especially when it comes to writing a mystery. Otherwise, it’s like driving your car through a tunnel without lights on a dark night. You are bound to have an accident.”

She noted that some authors spend a year-sometimes two or three – nurturing their book. “Then comes the morning when we finally have to let go and the book takes on a life of its own.”

Speart finds that releasing a published book is exciting and frightening both at the same time. “There’s the rush of having the published book hit the stores, there’s the fear that no one will like it. But what about those folks who read your book and become angry?”

After BLUE TWILIGHT went on sale a small group of butterfly collectors felt she had attacked them, and, in turn, began attacking her.

“Apparently, I’d hit a nerve,” she said. “I’m not saying butterfly collecting is a crime but there are those who cross the line between collecting legal butterflies versus collecting protected and endangered butterflies. There are instances where even legal butterflies have been over-collected.”

The author points out that there is a class system when it comes to species being valued, and that if they were chimps, tigers and others public reaction would be one of horror. She continues the argument on her website in one of her blogs. She also discusses the difference between the two styles, saying that narrative non-fiction is fact-based storytelling employing some of the same skills that are used in fiction, setting each scene, presenting fascinating characters, and creating a strong narrative persona.

As for specific dialogue in non-fiction, Speart again brings her research to the forefront. It requires, she says, exhaustive digging which is something she enjoys. She also points out that narrative non-fiction doesn’t have to be told as purely objective journalism. Writers can bring emotion to their characters and create a sense of drama while following the story arc.

A few books that fit into the discussion are some of her favorites including In Cold Blood by Truman Capote; Into Thin Air by Jon Krakauer; The Orchard Thief by Susan Orlean; The Perfect Storm by Sebastian Junger, and Midnight in the Garden of Good and Evil by John Berendt, a book that began Speart’s love affair with the city of Savannah.

Jessica Speart teaches an advanced mystery writers workshop in Connecticut, and reminds students: “You have to believe in your work and not give up. Writing is a rough business and not for the faint of heart.”

A Thank-You Note That Led to Story

by Jackie Houchin

Do you like receiving a thank you note for some little thing you did (or even said)? I recently received “three thank yous” via email (one was from my very well-trained, sweet granddaughter for a gift I sent).

It used to be something we would pound into our kids’s heads when they got birthday or Christmas gifts. “Write Aunt Dottie a thank you!” “Tell grandma you loved her gift!”

One boy at church ALWAYS wrote such sweet notes to me as his Sunday School or AWANA teacher. They were well thought out, and even used “bigger words” than I expected. Many had little drawings of something I might have given him. I would tell his mom that she sure trained him well, but she told me, “Oh, that’s his idea. I don’t say anything.” Sadly he’s graduated out of my class now. I miss his notes and illustrations. (Yes, I’ve saved them.)

I enjoy writing thank you notes as well. I’m always surprised when someone I sent a card to exclaims “Oh, what a wonderful surprise! That was so nice of you!” Sometimes I send an email, and very occassionally a quick text message. But I enjoy writing out my thoughts on real-life cards. And since my granddaughter now has a little business* making greeting cards, I get to use all kinds of them. She’s the artist and designer.

I also write birthday and holiday cards . Dear Kerry! Don’t make so many cute ones I just HAVE to buy and use!!

* * *

Recently there was an article in our newspaper, The Epoch Times, January 26, 2022, titled “The Importance of Thank-You Notes”. I loved the sentiments and agreed with what was written.

This morning, February 25, 2022, there was a response in the form of letter in The Readers’ Turn section. It is a wonderful story of one particular thank you. Here it is (I hope it’s clear enough to read.)

As we here at The Writers In Residence are always encouraging our readers to WRITE, have any of you recently received something in the mail – snail, email, or text – that you could turn into a short story, essay, blog post, or even a poem? Ok, yes, even a utility bill that came. (Have you seen how Natural Gas prices have skyrocketed?? You could write a letter to the editor, or the company!! Haha.)

But I had something else in mind. Something creative. I recently got a snail mail letter from my sister who will be 89 next month. She is super spry physically and mentaly. She is now taking a writing class, and had to write a small piece from each of 30 prompts. She did it, and now she says her local newspaper wants to publish a few of them. Wow! Who knew? MY sister!!!

So… a thank you note that caught your attention, a birthday card, a GALentine’s Day card (yes, my granddaughter makes those!) or perhaps a mailing from a charity with a photo of a needy child, a disaster, or a pet who needs a home might spark a thought. Maybe even a gardening catalogue with seeds from an old variety of flowers that your grandma grew might inspire you to write a mini-memoir.

Go look through your mail. If you’ve got an idea now, let us know below. If it turns out nice, I might consider posting it in one of our GUEST BLOG spots this year. Just go do it! Write!

*PacificPeachDesigns.com

Every Day is Valentine’s Day

by Maggie King

For lovers, every day is Valentine’s Day. But February 14 is the official day when Cupid’s arrow strikes and big business rakes in billions spent on candy, flowers, jewelry, and fine dining.

How did Valentine’s Day get its start? Who was St. Valentine? Good questions, with no easy answers. The history of the saint and the day that honors him is murky, to say the least.

Pope Gelasius I established St. Valentine’s Day in the 5^th century to pay homage to two saints named Valentinus who were martyred on February 14. Some believe there was only one saint. A popular legend has it that Valentine was a temple priest who was arrested after ministering to Christians being victimized by the Roman empire. While in prison, he fell in love with a young woman who may have been the warden’s daughter. Before his execution, he sent her a note and signed it “Your Valentine.”

When Emperor Claudius forbade young soldiers to marry, another legend was born: Valentine was beheaded for performing secret weddings for the soldiers.

And then there’s Lupercalia, a Roman fertility festival celebrated from Feb. 13 to Feb. 15. Some say the festival inspired Valentine’s Day.

There’s a suggestion of romance in these stories, but the link between romantic love and Valentine’s Day is credited to the works of Chaucer and Shakespeare. In the middle ages couples expressed their love with handmade paper cards (valentines). In time, factory-made cards became available; but Hallmark Cards of Kansas City, Mo. came on the scene in 1913 and made the holiday the big business it is today.

How do the characters in my Hazel Rose Book Group Mysteries celebrate Valentine’s Day? I’ve yet to set a story in February, so I can only guess. But my main characters, Hazel Rose and her husband, Vince Castelli, would certainly celebrate the day in style.

In Murder at the Book Group, the series debut, Hazel describes Vince as her on-again, off-again lover. She attributes their sporadic relationship to their inability to get along. She doesn’t offer details as to why they don’t get along but the reader can guess that the real problem is Hazel’s cold feet about committing to a permanent relationship. She’s been married four times and isn’t eager to make a fifth trip to the altar, only for the relationship to sour soon afterwards. Does she love Vince? She doesn’t want to commit to that either, but she definitely has a soft spot for him.

When Carlene Arness dies after drinking poisoned tea at a book group meeting, Vince finds out that Hazel was there. He’s surprised by her determination that Carlene didn’t commit suicide and dismayed that she’s hell bent on finding the killer on her own. Someone needs to protect her and he figures it might as well be him. Hazel doesn’t make that an easy task.

At first, Hazel sees Vince as a liaison with the police (he’s a retired homicide detective), but soon realizes that she needs him for more—much more.

Will solving the mystery of Carlene’s death put Hazel and Vince on the road to happily-ever-after?

If you read #2 in the series, Murder at the Moonshine Inn, you will know the answer is “yes.” They married in beautiful Costa Rica. Hazel becomes a successful romance writer. The very name Hazel Rose conjures romance.

Hazel and Vince are best friends who respect each other and share a great passion. The passion is only suggested. I close the bedroom door on the reader.

Marriage definitely suits this couple. But they do have conflicts, the main one being when Hazel goes off on her own. Vince knows he can’t stop her from investigating, but he has her promise to always have him or another friend with her. But Hazel manages to find spur of the moment sleuthing opportunities that she can’t pass up. She knows she has to mend her ways. Trust is very important to their relationship.

The book group members don’t fare as well as Hazel and Vince in the romance department:

Hazel’s cousin Lucy (the “perfect” one) is having marital issues in Laughing Can Kill You, #3 in the series. She was very happy with her husband Dave until a chance discovery made her question his faithfulness.
In the first two books, Sarah Rubottom was married to a paraplegic Vietnam war veteran who was an outrageous flirt. In Laughing Can Kill You, he has died and Sarah chooses global travel over romance.
Trudy Zimmerman is the ex-wife of the victim in Laughing Can Kill You. She almost remarried aboard a cruise, but her fiancé dumped her (figuratively) for another passenger. Trudy is happy on her own.
Eileen Thompson has no romantic interest and is content without one.
Lorraine Popp’s own mother calls her an “old maid.”

The characters outside the book group are also unlikely to celebrate Valentine’s Day in any big, or even small, way. In the Hazel Rose mysteries, marriages and relationships are plagued with infidelities, addiction, women with bad boys, men with bad girls. There are women with husbands in prison. There’s a woman with a husband who may not even exist!

Then there’s the colorful and free-spirited Kat Berenger. Kat enjoys casual flings with a number of men. Perhaps she and her lover du jour exchange valentines.

Of course, I’m writing murder mysteries. Conflicts, misunderstandings, and unrealized expectations can lead to murder. I can’t have too many happy and romantic couples like Hazel and Vince.

Now my mind is abuzz with ideas for Valentine mysteries. I can see Hazel and Vince finding romance and murder while zip-lining in Costa Rica.

Happy Valentine’s Day+2. Because every day is Valentine’s Day!

Maggie King is the author of the Hazel Rose Book Group mysteries and short stories set in Virginia. Her story, “The Last Laugh,” appears in the recently-released Virginia is for Mysteries III anthology.

Maggie is a member of the Short Mystery Fiction Society, International Thriller Writers, James River Writers, and is a founding member of the Sisters in Crime Central Virginia chapter. Maggie lives in Richmond with her husband, Glen, and cats, Morris and Olive. She enjoys walking, cooking, travel, film, and the theatre. Visit her at MaggieKing.com.

Facebook: https://www.facebook.com/MaggieKingAuthor

Twitter: https://twitter.com/MaggieKingAuthr

Instagram: https://www.instagram.com/authormaggieking

POSTED FOR MAGGIE KING by Jackie Houchin

A Life of Strange Inspirations

by Linda O. Johnston

I wrote last time I was here about how a writer might decide what to write. I’m going to expand upon that a bit today since I’ve been considering some strange inspirations.

There’s one we all have these days: Covid. Should we include the pandemic in stories we’re writing now? What about a series that deals, in a fictional way with a lot of the issues and arguments and other matters relating to the disease, and how people deal with them—or don’t? I’m fascinated with the idea, but doubt I’ll dive into it.

And then there’s what happened on my very nice residential street the other night.

My husband and I were walking our dog Cari around the block. When we got to the fence behind the property next to our home we saw that one of the fronds of the cacti growing behind it near the street had been broken. (We live in LA.) And then my husband saw a large, dangerous-looking knife lying there and we assumed it had been used to cut the cactus. We saw blood on the sidewalk and we then assumed whoever did it had cut him or herself. My husband moved the knife but hid it to show neighbors later. We weren’t thrilled, especially my husband, who’d planted the cactus with the neighbor’s approval.

Cut to an hour or so after we got home. Our doorbell rang, and when I answered a couple of uniformed police officers were there. Turned out someone had been stabbed in the area in the middle of the night. We have security cameras outside but they weren’t connected at the time, unfortunately. The cops had hoped we would have footage of what happened—since someone was apparently stabbed there by another person, which resulted in the fallen cactus.

My husband gave them the knife, of course, and said he hoped they’d make it clear why his fingerprints are on it. We still have no details about what happened or why or if the police are still investigating, but you can imagine that led my mind to start wondering if I could use that in a story.

And then a dear relative, after we related what had happened, made a suggestion about a whole mystery series based on some matters relating to that incident.

My mind is still churning around that. But I don’t know if I’ll follow through. I’m concerned about such things happening nearby, in any event. But as a writer, of course I let it potentially inspire me for a story or more.

And yes, some strange things can become inspirations. When should we include reality in our stories? Whenever it works—with embellishments!

Words on the Page

by Gayle Bartos-Pool

We here at The Writers-in-Residence are writers. Whether it’s a novel, short story, news article, play, movie script, or even a How-To book on writing, words are our life and love and sometimes our nemesis because it can be hard to get those words on the page when life gets in the way. But we have all had our work published and know how hard it is to get that done. Whether it’s more than fifty books in print like our Linda O. Johnston or a few books like some of us or newspaper articles like Jackie Houchin, we have gotten those words out.

I have taught writing classes and have spoken to numerous people in my daily life who wanted to write, but they didn’t know exactly how to go about it. I’m very sure they actually knew how to write. We all learned to do just that in the first grade, at least we learned how to get a few words down on that wide-lined paper way back in the Dark Ages before computers. I would ask these folks who wanted to be writers what had they written so far and over half said nothing. Not a chapter, an opening paragraph, an outline or even a concept. Nothing. They have a long way to go, but perhaps they are more interested in the “idea” of writing rather than have an idea of what to write.

I remember speaking with a nurse in a hospital lunchroom when Richard was ill. I had mentioned that I was a writer and she said she wanted to write. I told her that everybody had a story or two in them whether it was a fiction tale or the story of one’s own life. She started telling me some of her family’s stories. They were fascinating. This gal had a story in her that should be written even if only her family reads it, but the way she told those few tidbits, lots of people would enjoy reading about her life. I wished her well.

But talking doesn’t get those words on paper. Whether writing it in longhand like Ray Bradbury did with every single book he ever wrote including The Martian Chronicles and Fahrenheit 451 which he wrote with a pen, he got those stories written down. Don’t get mesmerized by the “idea” of writing, or the “fame” (that’s only if you sell a million copies the first week your book is in print), or the “money” you’ll make (authors usually get a small percentage of the cover price after the publisher and the distributor and the bookstore get their cut; sorry, that’s the reality unless you have sold that previous million copies). Don’t let that stop you from writing. Write.

Do you have a story you want to tell? After these past two years being basically isolated due to the flu that has kept most of us living in solitary confinement, you just might have something you were tossing around in your head or maybe even you got a chapter or two written or an outline dashed off so you wouldn’t forget the story line. I can tell you from personal experience, if you don’t write it down, you will definitely forget it. Dear Bonnie Schroeder, a fellow scribe, gave me a notepad that hangs up in the shower along with a pencil that allows one to write down that elusive idea that pops into your head while the hot water is calming you and you are free to let those creative juices flow. Write.

You can always run an idea past a friend to see how it sounds. If you belong to a writers’ group, you might toss the idea out during a meeting and see what the group thinks. They might have some suggestions to help you focus your story. If they shred your idea like a head of cabbage, perhaps join another group. I’m serious about this. Some groups aren’t there to help. But then again, you might get a good story out of the fact the group was all wrong because of the hidden agendas of the other members of said group. Hey, ideas are everywhere. Write.

Nevertheless, if you actually have an idea for a story, write that outline. Who are the characters in the story? Don’t have a cast of thousands. Readers won’t be able to follow Who’s on First. Next, where does the story take place? Location, location, location. They do that all the time in the movies. Where do you want your small cast of characters to be situated? You’ll get to describe the place. Don’t make it a travelogue, but make it interesting. Visual. Maybe even astonishing. The moon, a sinking ship, a haunted house. A jail cell. Write.

When your characters speak do they have something to say? Again, I’m serious. Make whatever they say part of the story. If their dialogue doesn’t add anything to the story, cut it. And make a character or two colorful in his or her speech. It adds to the flavor. Write.

Then of course you have to have a plot. Why are those interesting characters in that interesting place saying those interesting things? That is your story. You have had this idea running around in your head; what is it? You will realize (hopefully) that the story you are telling has a point to make. You might think that the story is the point. Ask Aristotle about that. Since he’s busy, let me say this: After someone reads your story and has gotten to know your characters and has visualized that intriguing setting and has listened to the witty dialogue your characters are saying while the story progresses, when the reader gets to the end of your story they need to be able to say, “Ah! That was a story about Man against Nature or Woman against Society or Man Struggling against Himself.” That’s the point of the story, not the plot.

Say you want to tell a story about Man against Himself. Now you have a goal to come up with a story that centers on that Theme. The man keeps setting up roadblocks to stop himself from doing something he really wants to do. You must construct that plot. You will define those roadblocks and his excuses to not do what he needs to do to fulfill himself, to reach his goal. You create the characters that both help and hinder him. You design a setting that either lulls him into complacency or he thinks is above his lot in life. And you write the dialogue that has him expressing his dreams and desires along with those who tell him can or can’t achieve his goal. And Voilà, you have that story. And you might actually realize that the stubborn character you are creating is really you and then get more of those words on the page.

We are finishing up one hell of a year, actually two. Soon a New Year will open up those dreams you have buried because you keep telling yourself you’ll write that story later. It is later. Write it. What do you want to say? Get those words on the page. Write it.

Have a Merry Christmas and a Happy New Year! Write on!