writing – Page 6 – The Writers in Residence

SEPARATING CRITIQUE FROM CRITICISM

by Miko Johnston

Unlike some of you, I never took creative writing classes. Early in my adult life, thanks to dropping out of college, I floundered in various low-level clerical positions to earn my way, but writing was my dream job. By luck I got to meet a writer whom I admired, and told him of my goal. “I want to be a writer,” I said. He responded, “Then why aren’t you?” I realized I’d asked a meaningless question. I should have been more specific – “I want to write professionally”. That’s when I returned to college and eventually became a journalist. I lost that career after a car crash and five year recovery period. Still, the urge to write persisted.

About forty years ago I decided to switch to writing fiction and began working on a series of short stories based on a childhood pet, thinking they might make good children’s books. I showed them to a good friend, who knew me ‘back when’, as well as the critter in question. I thought the stories were cute, funny and clever; as the character grew up, the storylines and maturity of the writing grew with her. My friend’s reaction? “They’re terrible.” Disheartened, I filed the stories away in a drawer. Care to guess how long it took for me to write again?

Eventually I dipped my toe in the writing world once more, this time with the idea of writing a novel. I slowly built my skills by writing, studying authors whom I respected, and reading books on the subject, but mostly by participating in writers groups.

I joined an established critique group about twenty-five years ago, where I met several of my fellow WInRs. I credit the core members with guiding me though the completion and polishing of my manuscript for publication, and like most who stuck around in the group, I eventually did get it published.

I can still recall presenting Chapters 1 – 5 of what is now my first novel, A Petal in the Wind. I’d compressed what eventually became my entire novel into fifty pages. I also recall the group’s unanimous opinion: to put it kindly, not good, but they explained WHY. No character development, hardly any scene setting or sensory details, and worst of all, an unrealistic reaction by my protagonist, thereby committing the worst crime in fiction by presenting a totally unbelievable situation. Their comments were tough to hear, but I listened and took them to heart. The next time I presented pages for critique, I received a very different response.

I see now the group doubted my ability to write well, based on my initial submission, a reasonable assumption. However, the next time I presented pages, which incorporated their suggestions and advice, the revisions not only impressed them, but convinced them I could do this. Frankly, it convinced me as well. The group treated me differently from then on.

Whenever my turn for submitting pages came up, they mixed praise for the good stuff with very useful suggestions for the problematic parts. Some members had a specialty; one focused on the big picture issues, while another (okay, it was Jackie Houchin) scrutinized each word with forensic precision. The group kept me going with positive and constructive feedback until I finished my first draft. When I presented multiple premises for my follow-up book, their comments helped me find the right path forward in continuing my saga.

I also learned how to give critique. In one of my first meetings, I listened to a short story being read aloud by the writer (okay, it was Jackie Houchin), and all I could contribute was a fashionable woman wouldn’t be wearing a white in winter. With the practice that came with reading or hearing pages from other writers, and picking up clues from their critiques, I began to develop sharper skills for evaluating the good and the not-so-good, not only other’s work, but in my own.

This year I celebrate the twentieth anniversary of my first publishing contract. It would never have happened if not for the support and encouragement of my writers group. Nor would it have happened if I’d disregarded their feedback, or became so insulted by it I’d left the group.

I can take some credit for this, but much should go to the core members. They always knew the boundary line between critique and criticism. Others crossed that line, but thankfully they did not remain in the group for very long because they usually could not accept anything beyond praise for their work. Their loss.

I’ve had the opportunity to pay it forward over the years, in critique groups and through my volunteer work with a local high school creative writing class. Occasionally someone who finds out I’m a published author will ask me to evaluate their writing. The lessons I’ve learned through my groups have helped me do that in a positive, yet helpful way.

Learning the difference between criticism and critique is crucial to the process. Critique must be reassuring, especially when you’re calling out the problems in someone’s writing. Criticism is merely negative. Criticism says something isn’t good, while critique may say that but also explain why. Good critique supports the writer, and encourages them by separating the good from the what-could-be-good-if…. It’s uplifting. It pushed you forward, whereas criticism beats you down.

What if I’m asked to critique a piece that may be beyond redemption? That’s when it helps to have a few key phrases, and a list of recommended reading. I find something, anything to praise or comment favorably on, even if it’s a character’s name. I’ll pick one salvageable problem with the writing and suggest a generic solution. Perhaps there’s too much repetition, the dialog’s clunky, or the genre is unclear. I admit some writers shouldn’t be given false hope, but I needn’t be completely discouraging. I might also remind them there’s nothing wrong with writing for one’s own pleasure, or journaling about one’s life (and keeping it private).

I recently found my pet stories and reread them. Granted, many needed work, but unlike the response I got from my friend, they weren’t awful. Sad that it discouraged me for years, delaying me from doing what I always wanted to do. But I’m writing now, and will continue to do so, having learned the difference between criticism and critique.

On another note, I always love to receive and read your comments, but forgive me if I don’t respond immediately. Today’s post coincides with my 25^th wedding anniversary, so hubby and I will be off celebrating. I promise to get back to you soon.

Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction series, “A Petal in the Wind”, as well as a contributor to several anthologies including the about-t0-be-released “Whidbey Island: An Insider’s Guide”. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

This story by Miko Johnston was posted by Jackie Houchin

THE PRESSURE TO PROMPT

By Jill Amadio

Quick, write a sentence containing the word ‘shallow.’ Or ‘camel.’ Maybe your creativity freezes at the first word but gushes forth at the second.

The urge to prompt is overtaking the writing community, both fiction and non-fiction.

What is a prompt? A suggested word, phrase, or sentence on which to build a paragraph or two during a specified time period. Prompt and their answers can include half sentences and are all the rage these days. Indeed, dozens of books and workbooks have been written on the subject of prompts and to the why, where, how, and when to engage in this mental exercise.

Many writers love prompts as a way to get started writing of a sterile morning, to fire up the imagination, and even to provide satisfaction that you are actually working at writing something, anything, although, in fact, it has no relevance to your WIP. However, you could stick the finished prompt into your WIP folder for use somewhere if you feel your words are immortal and need to be recorded for posterity.

Frankly, I am not a fan pf the prompt phenomenon. I believe that if you are going to spend time writing, why not work on your book, article, or blog? Why spend the time fiddling around with a piece of prose you may never use, that has no relation whatsoever to your current project, and that can send you off on a tangent to which you may find it difficult to return?

Ah, say prompt fans, prompting gets you typing. It puts pressure on you to come up with some words to fit the suggestion and actually make sense. The closest I have come to prompts lately is writing a Grocery and a To-Do list. The former is boring, the latter daunting but I have a couple of writer friends who salivate at the prospect of attacking their morning prompt.

One definition of a prompt I found online, posted by Karen Frazier, notes that a writing prompt is a statement usually followed by questions. I also found a very large collection of books on amazon.com devoted to the subject including titles such as Polyvagal Prompts, Writing Prompts Balance, The Writing Prompts for Seasons workbook, Writing Prompts for the Apocalypse, and The Art of Prompt Engineering. Not sure about that last one but it was amidst the others so I assume one needs something of a mechanical mindset to tackle it.

Some prompt books include journaling pages, and vice versa. Another offering is in the form of prompt notecards in a pretty box– a nice gift and not too insulting.

The books are directed at both fiction and non-fiction writers as well as adults, children, and humans (who or what else writes?). Also targeted are genres such as poetry, fantasy, art, drawing, songwriting, and truly interesting: for dinosaur enthusiasts. I haven’t seen a prompt book for AI robots yet but one could be in the works. Or already on sale.

I certainly honor those who need and enjoy a prompt to spark their creativity but as my years advance I need as much time as possible to compete the third book in my “Digging…” mystery series, and beyond.

Could a prompt, if one writes sufficient words, be considered a short story? It could surely lead to one and that is a good thing. How about prompts for birthday and Christmas cards? They can be written in advance and stored on your computer for future use.

So, where does the pressure to prompt com in? We are urged to start writing as fast and as furiously as we can as soon as we clap eyes on the prompt. Now, that is pressure par excellence. No time to consult a thesaurus. Is reviewing and editing allowed afterwards or during? I did try prompting once and sent myself off into daydreaming, my laptop forgotten as I imagined myself back in Bangkok.

I heartily endorse the claim that writing prompts can help create characters and other elements and that, too, is a good thing. Prompts can also build writing skills, craft, and techniques as well as become story starters.

This entire subject of defining prompts has kept me away from working on my WIP. In the past four weeks I have only come up with a new title. However, part of it could be considered a prompt. Here’s a clue: Dangling Participle.

NEW IDEAS, PAST AND PRESENT

by Miko Johnston

We’re barely two months into the new year, but as I contemplate what we’ll write about in the future, and what will inspire us to keep at it, I’ve found some of my answers to those questions in our posts from the previous year.

Hannah wrote about overthinking. How many of us are guilty of getting obsessive about our writing? Characters, plots and background have to be thought out, but we also must keep it all in balance. That has become harder for me to achieve, partly because age has undermined my ability to multitask and partly because my priorities have shifted. I still enjoy writing and am committed to finishing at least two more books, but I’m reminded of Madeline’s piece on Writing Scared, and the idea of switching up the type of writing you do. I’ve done that in the past, so now I’m adding a new avocation – photography.

Years of writing has given me a sense of what works and what doesn’t, and while I still rely on critiques from fellow writers, I often can figure out problems in my manuscript on my own. Not so with my new hobby. I look at a photo and I may like it, but I don’t know why, exactly, nor can I be certain it’s any good. I’ve joined a photography club and have been invited to participate in their biannual exhibit. I’m going to need a lot of critique and advice before I select which pictures I want to use.

Linda’s piece on attending writers conferences reminded me that many more may be held this year as the risk from the recent pandemic fades from our memory, if not from our lives. Will these events be successful, or will the attendance habit, having been interrupted, be broken? Costs, from registration to travel to hotels and meals, will likely be higher than we remember. I can see where some will be very selective about which they’ll attend while others choose not to register for conferences at all.

Gayle’s piece on The Future of the Written Word really resonated with me. I’m often puzzled, even shocked, by how many words have been usurped and had their meanings altered, some with additions, some with subtractions. Regardless, these 2.0 definitions have led to divisions. A lack of clarification, or precision, makes the word’s meaning, well, meaningless. I suspect if any of the worst offenders of this phenomenon were reading this, they would have stopped at usurped (insert my sarcastic smirk here).

And speaking of the written word, Jill contributed a post on a similar, if lighter, topic – the subtle differences between American and British English. With three Brits in our WinR group and many others within our writing circle, it can be a challenge.

Rosemary’s Collecting Memories touched me. While clearing out closets and shelves in anticipation of a thorough spring cleaning, I’ve uncovered a trove of precious mementos – cards, notes and letters from family and friends, some going back to my birth. Programs from bar/bat mitzvas, funerals, and other events. Menus from private supper clubs, conference galas and corporate dinners at restaurants. Each find brought back wonderful memories of the people and places I’ve enjoyed over the years. That included a copy of the dedication that went into the L.A. Library’s copy of Rosemary’s book, “Hollywood Then and Now”, in memory of her beloved husband Rick. Her post reminded me that these keepsakes – all comprised of words – and the memories they invoke, are precious, something Maggie explained so eloquently in her post based on the “a reason, a season, or a lifetime” quote.

Jackie’s interviews with writers as well as all the fabulous guest posts she’d arranged added dimension to our blog, and her piece on naming characters had many solid tips I’ve come to rely on. And I’ll add a special shout-out for all the technical help she’s provided to us, especially a technical “muggle” like me.

There are many more posts from my co-WinRs that have and continue to inspire me. I can only hope I might have had the same effect on them, as well as our readers.

Let Me Entertain You!

by Jackie Houchin

Lots of medical stuff going on with me right now, so I thought I’d simply share a fun aspect of our Alaska cruise last fall. That aspect is called MUSH. No, not yelling at sled-pulling dogs (although we DID do that), but a different kind of Mush.

In Skagway, Alaska, I bought a small toy Husky, a beanie-bag size and shape little guy, with soft gray/white fur, big blue eyes, and the name MUSH printed on the tag. I loved the little guy from the first glimpse and perched him on my pillow in the stateroom when we got back to the ship. Joel, our cabin steward aboard the Oceania Regatta ship, loved Mush too.

When we left for dinner in the evenings the steward would come in to straighten up and turn down our beds. When we returned later, we found the usual chocolate candy on our pillows, AND…..Mush, posed in a series of so cute antics. The first time, he was propped on a pillow with the TV remote, watching a football game on the screen.

Another time he was standing on an open book (that I’d been reading), as if he were reading too.

Once when we came back from an excursion ashore and after we’d had lunch at the buffet, we found him on our small room table with the curtains draw slightly, looking out at sea.

And then, every evening HE started getting chocolate candy too, an additional piece placed between his paws. We were absolutely delighted.

Of course “I” started posing Mush for Joel too when we went out for the day, hiding him where the pitcher of ice water was kept, or behind the desk alarm clock, or sometimes just lying on the bed, his head tucked in and front feet up, waiting for a belly rub.

We had such fun with Mush and our very good and so kind cabin steward. Another sweet memory. And now, Mush resides on my dresser at night, guarding my glasses, and sometimes on my pillow during the daytime. (But he’s on a diet now – no chocolate.)

Maybe I could write a cute kid’s story starring Mush on an ocean cruise. He could meet friends, find a missing object, solve a mystery, or rescue someone in danger. Now that’s an idea!! Mush and I might have to put our heads together and come up with a plan!

Character Flaws

by Gayle Bartos-Pool

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Through the centuries man has written novels and other stories using that plan old Aristotle, born in 384BC, came up with and documented in The Poetics. He said there are 5 Basic Elements used in writing a story: Plot, Character, Dialogue, Setting, and the Meaning of the story. He was so right. As for the people who populate said story, many authors utilize the “Character Flaw” idea to give their main character some quirk that might trip them up while pursuing their goal.

Whether it’s a private detective with a drug problem (Sherlock Holmes), a gal who drinks too much (the woman in The Days of Wine and Roses), or even the kid who can’t tell the truth (The Boy Who Cried Wolf.), when the reader learns the character has this flaw and also learns what the goal is in the story and what the roadblocks are in trying to achieve that goal, there will be anxiety on the part of the reader to see if the hero can overcome his or her problem and succeed.

This method has been used for centuries and works, but there have been other ways to toss a curve to the hero just to see how he or she handles it. A blind main character (in the movie: Wait Until Dark) or a blind detective (the movie and book called exactly that: The Blind Detective) or a hero in a wheelchair (the TV show: Ironside) worked just fine in catching the bad guys.

Rob a Bank

A physical handicap can actually make the hero stronger. I’ve known real people who had severe health problems turn into some of the strongest people I have ever seen in my life. But a drug addict or an alcoholic isn’t exactly wearing a badge of courage. I’ve also known people who had those issues as a part of their character and who had no intention of getting rid of them. I probably wouldn’t turn to them in a crisis. In a story they might be the main character with what is known as a “fatal flaw” who solves the problem or reaches the final goal as he dies on the last page. That’s been done, but it’s a bit of a downer.

But there can be other ways to give the main character something to deal with besides thrusting negative points on him. In fact, some TV characters don’t really have major flaws, but some of their friends do. The main character in the series Magnum, P.I., and Jessica Fletcher in the TV show Murder, She Wrote were basically good people, but some of their acquaintances had problems. Usually those problems were thrust upon them by someone else, otherwise known as the villain, and the hero has to solve the case before the jail cell closes on their friend.

So, are we supposed to make our main characters flawed? I’ve read some best-selling books where the hero had flaws that were rather unpleasant and I only read one of their books. I didn’t find that trait a selling point. I often say that I want my main characters to be people I would invite to my house. They don’t have to be sickeningly sweet or holier-than-thou, but I would like to respect them.

But these heroes might have a friend with a major flaw and part of the story is to get the friend on the right track so they don’t die or end up in prison. You can even have the hero mention that he almost went down that same path until somebody straightened him out. My Johnny Casino character used drugs when he was a kid while he was growing up in the Mob. They were importing and selling those drugs until a local priest challenged him to a boxing match and whooped his little butt. Johnny never touched a drug again. This revelation in one of the stories let Johnny use himself as an example to help somebody else shake their dependency.

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I’ve wrestled with the notion that the main character should have something wrong with him since that theme is prevalent in many books and movies, but I prefer my main character to have either overcome some minor flaw or never really had one in the first place. Most people I know aren’t one step away from the slammer or psycho ward, so I’m not stuffing my character in that camp. He can have doubts and reservations, but in the end his upbringing and persona got him where he is, so I’m not going to let him fall into a pit. And anyway, that’s what heroes are…heroes.

People with problems don’t usually go to people with their own troubles. They go to the guy or gal who made it through the gauntlet and survived. We learn from characters like that, so my heroes fight to keep on an even keel and get us all to shore.

Coast Lighthouse

STARTING OVER….

by Rosemary Lord

Happy New Year!

It’s time to come out from hiding under that duvet!

This winter is turning out to be tough on so many, with the freezing temperatures and endless rain across much of America and Europe. But I’m in California, where it’s still often sunny during winter, even when it feels to us as if it’s freezing. My siblings in England ridicule me with our 66-degree “heatwave.” Hey! We’ve had several days of rain – and the ensuing power-cuts and floods. Los Angeles comes to a halt at the first sign of rain…. Enough already! I’m done with winter!

But I digress: Each January is a fresh start. Time to dust off our goals, our dreams, our great plans for life.

As a teenager I had so many dreams and goals – and many of them I have accomplished. The fourteen-year-old me never questioned that I could not go from a quiet little town in England, far removed from the acting and showbiz worlds, to living in Hollywood, (where I knew no one and was totally ignorant of how things worked), to working as an actress and a writer in Hollywood movies. My dreams, my positive beliefs and my naivete fueled my journey. I’m not saying it wasn’t very tough at times, frustrating and sometimes heartbreaking. It took a lot longer than I thought. But I was driven by my dreams and never gave up.

Then a new chapter of my life opened up. My dreams and my goals changed.

Writing was my new focus. I wrote articles about Old Hollywood and Movie Stars from Hollywood’s Golden Era. I wrote about Hollywood history. But I never thought I would be smart enough or talented enough to be a novelist. I was and am still in awe of so many of the great novelists. How could I ever come close to that?

It was shortly after my first non-fiction book Los Angeles Then and Now was published and I was having lunch with fellow British-born writer Jacqueline Winspear. We’d both been honored by the Southern California Book Sellers Association. Jacqui had launched her first amazing Maisie Dobbs novel and I was chosen for my Los Angeles Then and Now. As we chatted about our current and future writing plans, she convinced me that I, too, could write a novel. Even a mystery novel. She explained how Maisie Dobbs came about and the basic method she used. Wow! She opened up a whole new world for me.

A new pathway. She showed me how to look at writing in a totally different way. I will be forever grateful. I subsequently joined Mystery Writers of America and then Sisters-in-Crime. I found a new family of writers.

But even along this writers’ journey, there comes a time when we have to step off into the unknown to get new results, to shake things up.

“This year will be different,” we often promise ourselves on New Year’s Day. But in order for it to be different, we have to do things differently. Maybe it’s a time to take a fresh approach, take another path. I’ve been toying with the idea for a children’s book – taking a break from intense historical research. Another writer friend is inspired to try her hand at poetry this year, after several successful noir thrillers. Perhaps a crack at a movie script?

New Year’s is a great time to plan a do-over. Change writing habits. Shift the energies around. The year ahead is filled with new opportunities, new hopes and wonderful blank pages for us writers to fill.

Perhaps go back to the simple way of doing things – without all the current programs available to us. I sometimes wonder whether our world of social media, immediate access to ‘google’ or ‘duckduckgo’ information is a blessing or a curse.

In days of yore, writers would be found in dusty libraries, surrounded by research books, furiously taking notes. That’s what the Agatha Christies of her day would have done. Jane Austen too. Mary Roberts Rhinehart didn’t use Instagram to tout her The Circular Staircase success. Edgar Alan Poe didn’t have a Facebook page. Charlotte Bronte didn’t Tweet. Raymond Chandler did okay without all that. Hmmm.

But today we have a choice to avail ourselves of those services. And we have Sisters-in-Crime, The Authors Guild and Mystery Writers of America to turn to. We have options.

Writers are storytellers. We’re the ‘wandering minstrels ‘of our time. Minstrels would wander from village to village, singing about the news around the countryside. Today we fictionize the local village stories and don’t have to travel from village to village to share them. We have a flourishing publishing world, movies, television, internet, podcasts and multi-media resources to spread the word. Or we can choose to keep it simple with a yellow pad, pencil and our imagination.

I love the excitement of the New Year options. A chance to start over.

What about you?

When A Series SPINS OFF: the Maisie Frobisher Mysteries

A Guest Post by Liz Hedgecock

I didn’t so much decide to write the Maisie Frobisher books. It was more that Maisie Frobisher decided she ought to have her own series!

Let me explain.

The Maisie Frobisher books are actually a spinoff series: the series they sprang from is the Caster and Fleet Mysteries. I co-wrote Caster and Fleet with another writer who is now a good friend, Paula Harmon.

When we began writing the books, Paula and I hadn’t actually met in real life – only via a Facebook writing group. We were already online friends, we liked each other’s writing styles, and we both wrote historical mystery (among other things). We’re not sure who first suggested writing a book together, but we’re very glad they did!

Maisie is a very minor character in the Caster and Fleet world until she has more of a starring role in book 4, The Case of the Masquerade Mob, which is a romp involving masked balls and all sorts of skulduggery. At the end of the book, poor Maisie, who has had rather a rough time, decides to travel the world and forget about men for a while. That was my jumping-off point, because I’d grown to like Maisie very much and I didn’t want to let her go.

My friend Paula also has a spinoff series of her own, set in the run-up to World War I, which follows the younger sister of one of our protagonists, Margaret Demeray.

I had many reasons to set the Maisie series abroad. Firstly, at the end of Masquerade Mob Maisie was going travelling, and I couldn’t go back on that! Secondly, in the 1890s, when the series is set, the world was opening up. Bigger and more luxurious cruise ships, faster journeys, and more capacity to travel for pleasure. I chose India because it was a well-known destination, the route was interesting, and also because of the opportunity to look at the British in India in the time of the Raj.

I try not to get too bogged down in historical research, though there are all sorts of opportunities to get lost down research rabbit holes! One advantage is that I have a Master’s degree in Victorian literature, so I’m fairly well grounded in some aspects. While I want to make the stories accurate, I don’t want to spoil a story for the sake of including every historical fact I’ve discovered. Probably a tenth of the things I’ve read about make it into the final book.

I didn’t choose the late Victorian period just because I knew a bit about it, though. It’s also fascinating because of what was going on at the time. Women were fighting for their rights, the ‘New Woman’ had arrived, and inventions like the safety bicycle meant that women’s mobility could increase.

The Maisie books are also special to me because they mark a change in the way I write. Up to that point, I had always written at my computer. With Maisie, I had the urge to try something different. In the first book in the series, All at Sea, Maisie is on a ship which is always moving, and she must solve the mystery before the ship reaches port. With that sense of urgency in mind, I tried an experiment. I took my phone for a walk and dictated the book’s opening: a letter from Maisie to her mother, followed by a rather different diary entry on the same subject. The words seemed to flow. Ever since then, I’ve dictated my fiction rather than writing it. The result needs correction and editing, of course, but it’s a really good way to get into the flow, get that first draft down, and spend time walking rather than sitting.

If you do try the first Maisie book, All at Sea, or indeed, the first in the Caster and Fleet series, The Case of the Black Tulips, I hope you enjoy them!

Liz Hedgecock grew up in London, England, did an English degree, and then took forever to start writing. Now Liz travels between the nineteenth and twenty-first centuries, murdering people. To be fair, she does usually clean up after herself.

Liz lives in Cheshire with her husband and two sons, and when she’s not writing you can usually find her reading, on a walk, messing about on social media or cooing over stuff in museums and art galleries. That’s her story, anyway, and she’s sticking to it.

Website: http://lizhedgecock.wordpress.com

Facebook: http://www.facebook.com/LizHedgecockWrites

Twitter: http://twitter.com/lizhedgecock

Amazon author page (global link): http://author.to/LizH

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Note from Jackie Houchin: I began the Maisie Frobisher series – All at Sea – while on a cruise. (I could so identify with Maisie!) But I got so attached to her sense of adventure and fearless deeds of daring, that I bought the second one (Off The Map). Of course I had to buy that third book with the magnificent Leopard on the cover (Gone to Ground). I’m now reading the fourth one and Maisie is back in London, but still involved in mystery and intrigue. (In Plain Sight)

A character from the Maisie books appears in one of the four Christmas short stories in Liz Hedgecock’s Christmas Presence, Four Festive Stories. It’s a perfect way to sample Liz’s work and to gift for the Holidays!

This article was posted by member, Jackie Houchin

SHADOWS OF THE PAST

by Miko Johnston

My first book, A Petal in the Wind, begins a family saga that encompasses a half century. As each subsequent entry in the series carries a subtitle, my fifth and last book, which I’m writing now, will be called Shadows of the Past.

That phrase took on new meaning recently when my husband Allan and I traveled to Europe.

Our trip began in Prague, where much of my series takes place. I spent a day walking in the footsteps of my characters, visiting their homes, businesses and the landmarks mentioned throughout the pages. I’d selected most of the locations on Google Maps, so seeing them for real was, shall we say, enlightening. It took an hour to find U Seminaire, the location of the bachelor pad I’d used for the man who eventually marries my protagonist, Lala. I’d chosen it because it seemed like a quick walk from the Charles Bridge. In actuality it sits underneath the bridge, entangled in a labyrinth of short blocks and alleys. Somehow the building’s image got reversed on Maps – it’s on the opposite side of the street. Ouch. The little greenbelt across from Lala’s mother’s apartment, where ladies sat on benches underneath the shade trees and gossiped, actually sits below street level, though trees do line the sidewalk and there are benches. And the “gentle slope” of the street where Lala’s family lived for twenty years turned out to be a heart-pounding climb on a good day, and treacherous during inclement weather. Sigh. Still, as I stood in front of the building, seeing it for real, I felt thrilled.

In my fourth book, Lala launches her design career by converting a series of buildings into a world-class hotel. Ironically, the palace (the Czech term for a fine home), which I’d chosen for the location is now an actual hotel, and we decided to book it for our visit. It turned out the be the finest hotel I’ve ever stayed in, and although I have no right to take pride in that, I can’t help but feel delighted. On a slow afternoon I cornered the hotel staff and peppered them with questions about the building’s history, particularly during the Second World War. What began as a brief history lesson turned out to be a wild series of stories and gossip, which will inevitably solve some plot issues.

Three days later Allan and I bid ahoj to Prague and boarded a train bound for Poland. After an overnight stop in Katowice, the largest city in the region known as Upper Silesia, we took a cab to the nearby city of Bytom, the hometown of my father and his entire family. Back then Upper Silesia was part of Germany, the city known as Beuthen. As I walked along the streets, I tried to picture what his life must have been like. I gazed at the people who passed, wondering if I’d see any signs of familiarity in their faces.

The picturesque parts of the town – with some remarkable architecture and a delightful town square, partially rebuilt after being bombed in WWII – surprised me, but other areas wore the hard reality of over a half-century of decline. I saw it in the run-down buildings left to rot and the pervasive trash, especially cigarette butts, in the street. I also saw it in the faces and the body language of so many, but most strikingly in the older folks, who’d lived through Nazi occupation, followed by decades of Soviet rule, only to be largely ignored by the European Union. They bore a sense of quiet despair, of resignation to the bleakness in their existence. The only signs of joy were in little children interacting with pigeons in the town square, swarming with them, chasing them or karate-kicking them away. I saw no faces that resembled mine, nor any signs of my past in the city. It had been wiped clean.

Our next stop in Poland was Krakow, a city Allan has always wanted to visit. Rich in history, it has a beautiful castle on a hill overlooking the Vistula River, and the largest town square in Europe. I went for a different reason. On our second day there we boarded a bus to tour the two largest and most infamous Nazi-era concentration camps, Auschwitz and Birkenau.

Entering into the first camp, with its ARBEIT MACHT FREI (“Work sets you free”) sign over the entrance gate, I wondered how I would react, or feel. I’m still not sure, to be honest, other than the eerie familiarity of what I heard and saw – from decades of studying photographs accompanied by written accounts, of documentaries and movies filmed on location, and stories I’d heard from survivors, including my father. For many, the trip was a history lesson. For me, it was akin to visiting the cemetery; I lost an estimated ninety members of my family there.

After a brief break, the tour continued to nearby Birkenau. Unlike Auschwitz, which to me felt small and claustrophobic, Birkenau is huge. You’ve seen it in many movies: a long low building with railroad tracks leading to a central tower, open at the bottom to allow trains to enter with their human cargo, like a gaping maw ready to devour all who arrive. Alongside and beyond the entrance, what seems like miles and miles of barbed wire fencing surrounds a huge open area interspersed with low barracks and guard towers. In the distance I could see different tour groups traversing the grounds, and for one brief moment I pictured them in the striped uniforms and hats of prisoners.

Prior to abandoning the camp in January 1945, days ahead of the advancing Russian forces, the Nazis burned the meticulous records they’d kept of all who were brought to the camps and blew up the gas chambers. Only piles of rubble remain. Many, many piles. They left behind the prisoners too weak to continue; the rest (including my father) went on a forced march from one concentration camp to the next, always trying to stay ahead of the Russians, whom they rightfully feared more than the other Allies. It took several more months until my father was liberated, but at least the Americans freed him. Had he stayed behind in Auschwitz, he would have lived the rest of his life under the thumb of the Soviets. After what I saw in Bytom, I’m grateful he had the strength to wait.

The entire tour took seven hours and, although it allowed for a few bathroom breaks, it did not include a meal. The irony was not lost on me.

We left Poland and continued our travels, with France the next destination. There I stumbled upon traces of history that will influence my writing, and my life, but I’ll save that for a future post.

I can’t say these experiences will enrich the final chapter in my saga, but I can say I truly feel as though I’ve walked in the shadows of the past, both my characters’, and mine.

How Do You Name Your Characters?

by Jackie Houchin

NAMES in stories are important in that they have to “fit” the characters, the era, the country, and even class in which they live. You wouldn’t name a society woman, Buster. (Well, unless there was a right good reason for it.) Also, a native seamstress of New Delhi probably wouldn’t be called Manuela. So how do you find those perfectly fitting monikers?

It used to be you could use telephone books, but who even has seen one of those in the last 15 years?? There are websites that offer names for babies and their meanings. Some even suggest names that were popular in different years. (See below) Maybe you will name your heroine or villain after someone you love, or love to hate.

SUGGESTION One – A couple years ago I came up with an idea for a short story in a contest. I liked the name Autumn (the story had to be set in the fall). She would be a painter. I know how I wanted her to look – long, wavy auburn hair, green eyes. And she would be the quiet type.

Boy, did I get a shock when I asked my friends on Facebook what a character with the name Autumn Gold would look like and what she might do for a living. Nearly all of them said she would be a sexy night club dancer or even a street walker. Yikes! I changed her name to Audrey Gould. But I titled the story, and named the fantastical woodland painting her boyfriend made with her hidden image in the colors, “Autumn Gold.”

I got honorable mention out of 400 entries. Asking around might be a way to check out that clever name you’ve chosen.

SUGGESTION Two – I also wrote a middle grade mystery titled “The Bible Thief” set in a church much like the one we attend. For some weird reason 4 or 5 people (including myself) lost their Bibles at some church event. Some were found, others not.

Hmm. I pondered, and immediately thought of a clever gang of kids who would “investigate” and discover the remarkable solution to this mystery. Because I wanted to share the story with the kids in the 4^th-6^th grade class I was teaching, I minimally disguised their own names as the gang, their parents, and a few other easily recognizable people (by description) in the congregation.

That was easy! And maybe YOU have used names of people you know but changing Sheryl to Sherry, or Garrett to Darren.

SUGGESTION Three – And lastly, I also wrote a series of related short stories for the same age children, set in Africa. There were seven kids (one set of twins, and one who passed away at a week old), and they all had names that coordinated in some way with the month they were born in.

The youngest boy, born near Christmas (and since his father was a mission pastor) got named Deacon. “Deek” for short.

There was a girl, April (yeah, I know, too easy) and the twin girls were named Melody May and Charity June. (Know why twins have two months?)

A younger boy was named August, nicknamed “Gus.” The oldest boy was Marshall (can you guess his month?).

A sensitive girl born in July I named Julie Joy. And the little guy that didn’t make it very long was Freddie, born just after Valentine’s Day.

So, that is how I sometimes choose character names. How do YOU come up with yours?

Baby names from Social Security lists by popularity, the top 5 by year, by decade, state, and US Territory – https://www.ssa.gov/oact/babynames/

2023 Baby name finder and the meaning/origin – https://emma.ca/baby-names

70,000 Baby names by gender, alphabet, origin, meaning, and religion – https://www.momjunction.com/baby-names/

An Interview with Wendy Walker

by Jill Amadio

Sometimes, as writers, we flounder around seeking ideas, whether from our own lives, others’, and from the daily grind we read about in the media. One author I greatly admire is Wendy Walker. I interviewed her recently, and am sharing her impressive insights here. Her multi-faceted career has included commercial litigation, investment banking, and world business. She lives in Connecticut and writes novels, thrillers, and audio originals.

What is your background? Has it provided material for you?

I’ve worn many hats in my life! Once an aspiring figure skater, I redirected that energy to get a job at Goldman Sachs in mergers and acquisitions just after college. At the time, I never thought about being a writer. From there, I went to law school and worked in corporate litigation, and later family law. I was a stay at home mom for several years, and it was then I started to write. It took seventeen years to make this a sustainable career, and I have been a full time writer ever since! I use all of my experiences in my work – from legal knowledge, to finance, to parenting, and especially the psychology I learned while being a family law attorney.

Any characters based on you, as your alter ego

I think there are parts of me in all my characters. But the one I drew most closely for is Molly from “Don’t Look For Me.” While the character was eventually given some very difficult situations, including the loss off a child, which I do share, the initial spark for her and the book came from a moment I had one afternoon when I felt overwhelmed by life and my responsibilities as a mother. Her love for her children and the heartache that love can bring, are deeply explored in the book.

When did you decide to become a suspense writer, and why?

After publishing two novels that were general fiction I almost gave up on writing. The books didn’t do very well and I was no longer able to juggle writing, being a lawyer, and a single mother with three children. I asked my agent at the time what I could write that would be more marketable and she said, “the next ‘Gone Girl’.” I had heard of the book but didn’t really know what was different about it. When I looked at the genre of psychological suspense, I knew I had found the perfect home for my interest, skills, and knowledge.’’

Where do you get your inspiration?

Book idea comes from everywhere. I think once you know you need to find them, you begin to see them in every aspect of life. From news stories, to things I hear about people, and experience myself, ideas are sparked. My philosophy is this – if something catches my eye ad makes me curious, then it will probably be the same for others. I make a mental note of it and then ask questions about what made me take notice and what could be the story behind it. Not all of these moments lead to as book idea, but many do.

What is your writing process, routine, if any?

I have to write first thing in the morning. Staring at a blank page is very difficult for me. I find that I will do almost anything to avoid it. Even tasks that I normally would not look forward to will pull me away from sitting down to write. I will usually find a place away from my desk that feels less like doing work. I like to put my feet up, I have my laptop on my lap over a blanket, with a cup of coffee and some little treats nearby. That way, I feel like I’m not working, but having a luxurious morning.

How important are minor characters?

All characters in a book are important. I think of them as scaffolding for the main characters and the plot. Through minor characters, I can challenge, explore, and deeply develop the other characters that are more central to the book. Sometimes, the minor characters will become so interesting to me that I will bump them up to major characters and give them more page space.

How do you do your research?

I rely very heavily on the Internet and also specialists in different fields for my research. I will usually start online to get a rough idea of the topic and then find someone who works in the field or has personal knowledge of the aspect of the book that I’m researching. People are remarkably generous with their knowledge and time. I always feel a little bit nervous when I reach out to them and explain my plots. Sometimes they will just laugh, and other times they will come up with plot twists that they have thought of themselves. It’s fascinating!

How did you become editor of some of the Chicken of the Soul books?

After my first two novels were published and I realized that I had not established a financially sustainable career, I began to look for all kinds of work as a writer. At the time I had not practiced law for several years while I was staying home with my kids. I still wanted flexibility to be with them after school, so I was reluctant to go back into that field. As it turned out a local business group had purchased the business of Chicken Soup for the Soul. They asked me to edit a book about being a stay-at-home mom, I ended up doing three books with them and it was a wonderful experience.

Do any suspense authors inspire you? If so, why?

I find inspiration in almost every book that I read in this genre. Whether it’s a particular plot twist that took my breath away or the depth of a character, or a writing style, each book is unique and has something to offer in terms of learning to be a better writer myself. I look at writing as both creative and technical. I need to have idea and character, but I also need a box of tools that I can use to tell the story. It’s wonderful to have so many talented people in the field to draw inspiration from.

Favorite settings?

Most of my books are not dependent on the setting. I like to explore my characters’ minds. For me, that is the setting hat I like to be in when I’m writing. Some of my books do not even give the names of the towns where they take place. Of course, it’s important to have some context for the characters in the world they live in. I make sure to sketch those out, but many books tend to be very light on setting and deep on the emotional lives of my characters.

Are you an outliner or seat-of-pants?

I outline everything. In fact, I have a lot of trouble writing without a very detailed outline for every chapter. This is because my books tend to have complex plots where many pieces that need to fit together. I start with a basic plot sketch, and then I make a list of disclosures that have to be made throughout the story so that the reader will be intrigued and the twists can be developed properly. From there, I create a detailed plot outline where each disclosure is added. This make it much easier for me to dive into the more creative aspects of the process, because I know that the technical pieces have been taken care of.

If your characters ‘talk’ to you, what is the experience like?

I’ve never noticed a particular moment when a character is ‘talking’ to me. But I definitely try to get into the head of my characters when writing their internal thoughts and dialogue. I tend to write in the point of view of the character and I love writing in first person. This allows me to really become the character while I’m writing, and live vicariously through them. From detectives to criminals to mothers and daughters, it’s a lot of fun to be different people every day.

Which is the most difficult part of writing suspense for you?

The hardest part about writing crime suspense is coming up with a plot twist that hasn’t been done, or that a reader won’t see coming. The genre of psychological suspense is known for its twists that are not just the reveal of the good guys and bad guys. They are twists that are more based on assumptions made by the readers about timeline and characters’ intentions. Readers have become very savvy. And coming up with twists is not something that can be forced. All of mine have come when I have been doing other things away from my computer. But when they do come, it’s really extraordinary.

Publishing history?

In 2008 and 2009 I published books that were in general fiction. They were stories about women in the suburbs. I was interested in exploring the dynamics that exist between husbands and wives and also the impact of wealth on communities. When those books did not establish my career, I went back to practicing law. At the time, I found work as a family law attorney. I kept writing and eventually found my way to the genre of psychological suspense. I was going to write one last book before giving up altogether and I wanted to make it as practical as I could from a business standpoint. I got the great advice to write a thriller and it turned out to be the perfect home for me. I wrote “All Is Not Forgotten” in the spring of 2015 and it sold in July at a five-way auction! Since then I have written five more thrillers, plus three audio originals. I am very grateful for this career.

Your marketing plan, or does the publisher handle it all?

More and more authors need to be their own publicist. While the publishing houses do a great job at promoting books, so much is done on social media now. I had a book coming out in June (2023) and I spend most of my time these days organizing my event schedule, creating content for social media, posting to social media, and providing content for blogs and other media outlets. Every author will tell you that this is now a central part of our career.

Which book was the most enjoyable to write?

Every book I’ve written has been enjoyable and in different ways. If I had to choose one, it would be my first thriller, “All Is Not Forgotten”. Because the book was not under contract, and because it was my first time writing a psychological thriller, I had a freedom in writing that was really wonderful. I was able to put on the page whatever I felt was relevant and important to the story. Ad I was also able to create a plot and characters that I felt attached to. There’s a purity to the process that is impossible to re-create when others are weighing in on every aspect of the book from a marketing standpoint. And I am grateful for that because it’s so important to having continuing success in this career. But I will always cherish that experience.

Do you scare yourself with your plots/characters/settings?

That’s a great question! The only time I was scared was after writing a plot for a book that’s coming out in 2024. It involves a serial killer and I wrote one point of view that takes the reader through the attempted murder of a woman in her house. I ended up using the layout of my own house because it was just easier to visualize as I was writing. I wasn’t scared at the time but about a month, after I finished the book, my house alarm went off in the middle of the night. It turned out to be a door that swung open but in that moment my mind was turning to those chapters. It was very embarrassing when the people showed up!

Any tips for first-time crime writers?

My best advice is to gather as many tools as you can. Many people come up with great plot ideas and characters. But being able to put that story onto the page requires a lot of skill that has to be learned. When I wrote my first novel I did not have the skills. It was a legal thriller that was never published and probably never will be. I had a great idea and thought that my writing skill as a lawyer would be sufficient. I read a lot of books in the genre and tried to understand how they were written. It was not until I worked with a writing professor that I realized the specific tools that are utilized in this process. It was a big mistake that I made and I wish I had taken a class or worked with a professional before I sat down to write my novel.

Your current WIP?

I am now writing two pieces of work every year. One is a traditional printed novel of psychological suspense. The second is an audio original that is fully scripted. At the moment I am about to begin drafting another audio play that will likely be out in 2025. I also have the audio play that I just finished coming out in 2024 that is called “Mad Love”. So I am very busy! But I love it.