Friday, November 5, 2010

CRIME ON MY MIND


Reading matters!

Of course, we all know that reading matters. You wouldn't be reading this if that wasn't so. What we read reflects our lifestyle and interests but also can influence what we write.

I know of some mystery writers who won't read a mystery while they're writing their own books. That's to ensure nothing bleeds into their writing, be it the other author's style or information.

While I do agree with that premise, I've found myself reading the latest cosies from Berkley Prime Crime as quickly as they're hitting the shelves (in the Independent bookstores, I might add). Since that's my publisher, I feel I need to stay on top of what they're looking for and where their line is heading. Publishing trends change so quickly and by the time mine is published (2012), I may already be lagging.

Of course, cosies have been around as a sub-genre for a long time and I feel confident in saying, will stay around for some time to come. Witness the number of brand new series put out by Berkley each publishing season. And while some may find it convenient to group them as being all the same, there are sub-sections within the cosy, too. But I'll leave all that for another blog.

Back to reading. Along with these new cosies, I'm also reading Finding Nouf by Zoe Ferraris for my book club. This was my suggestion for this month as I found it to be a fascinating look at cultural practices in the Arab world, along with being a riveting mystery. Also on the book club pile are Loving Frank by Nancy Horan, that's last month's title which I'm, embarrassingly, slow to finish.

Also, in various stages of being read are Brenda Chapman's new adult mystery, In Winter's Grip which will appear as a review on this site, as will Vicki Delany's Negative Image and Barbara Fradkin's Beautiful Lie the Dead.

On the lighter side, and I always like to have something lighter on the go, I'm laughing my way through Nora Ephron's I Remember Nothing, which is eerily striking a chord (if I remember correctly).

I'm not at a loss for books to read, as my TBR pile now spills onto the floor. How these will influence my writing remains to be seen because even though we try to remain a unique voice in the writing world, all things that touch our lives end up influencing what we write.

I think I've made some good choices here and I welcome what they have to show me. Why do you read? And, what are you reading right now?


Linda Wiken/Erika Chase

Wednesday, November 3, 2010

LADIES' KILLING THURSDAYS

When is it over?

On a visit to the breathtaking exhibit at the Royal Ontario Museum, a retrospective of African artist El Anatsui - When I Last Wrote to You about Africa - I was overwhelmed by the perfection of his creations but asked myself how, with the thousands of tiny pieces in his assemblages, he knew when to stop, when he’d completed the piece?

Surely this is an easier question for mystery writers whose detectives, amateur or professional, must solve the puzzles and identify the killer. But maybe not so easy. Recently on Dorothy L there was a protracted discussion about the length of books, whether short or long books were better. This seemed irrelevant to me. Surely every author tells a story and knows when it’s done?

On the other hand, in an earlier blog Sue Pike pointed out that she was revising a short story because she’d gone on too long. Marion Pearson, wife of former Prime Minister Lester Pearson, when her husband asked how a speech had gone reportedly told him that he’d missed many excellent opportunities to stop.

If in doubt is it better to stop too soon, to leave the reader wishing there was more? Or should you work away answering all questions real or implied and give the reader no opportunity to fill in the blanks to her satisfaction?

And in the same vein how much does the reader want to know about the principle characters? Do their choices of breakfast cereal, their love of vodka, their obsession with shoes reveal something about them that makes the story more understandable, makes them more appealing or revolting? How much should we reveal?

These questions challenge writers. While you’re working out the details I suggest that if you’re in Toronto between now and January 2, 2011 make sure to take time to visit the exhibit at the ROM. Not only is it an amazing portrait of a man’s life work but it also may answer the question - how will we know when a work is finished?




Joan Boswell A member of the Ladies Killing Circle Joan co-edited four of their short story anthologies: Fit toDie, Bone Dance, Boomers Go Bad and Going Out With a Bang. Her three mysteries, Cut Off His Tale, Cut to the Quick and Cut and Run were published in 2005, 2007 and 2007. In 2000 she won the $10,000 Toronto Star’s short story contest. Joan lives in Toronto with three flat-coated retrievers.

WICKED WEDNESDAYS


Putting it through again...

When does one call a halt to the editing process? I know it's been discussed before and will continue to be. There's no easy answer. Probably the best one is, at deadline.

So, you've written the book/story -- that SFD -- then you've re-written it; given it to key readers and then gone at it again, taking their comments into account; then once more for good luck or as it happens, better reading. Are you sick & tired of it yet? No? Great ... because you've got a few more weeks to deadline.

I started listening to Anne Lamott's Word by Word on my early morning walks last week. In case you're not familiar with Lamott, she wrote Bird by Bird in the early 90's, a book for writers that's part inspirational, part exercises, part good sound advice. The title came from some advice her author father gave her younger brother about writing an school essay on birds (at the 11th hour), to just do "bird by bird".

It worked for Lamott. She has numerous fiction and non-fiction titles to her credit. And, she's an in-demand speaker. In fact, Word by Word is taken from one such event, where she spoke to an Austin writers' workshop. And it's not available in book form, unfortunately. You can download it from the library as an audio or buy it in that format.

So, what caught my attention last week? Lamott said that when you've finished the editing process, then it's time to 'put it through the typewriter'. More words of wisdom from her Dad. That means, re-type the entire manuscript. Not rewrite it but that in effect is what it turns into. Because once you start re-typing, it plays back differently in your brain. It's totally different from reading it aloud or just reading it on printed out pages.

But it's cumbersome. Data entry usually is. The challenge is to try to avoid typing errors while also avoiding carpal tunnel. If you took typing at some point in your education, then you're ahead of the game but it's still a slow process. I know. I'm doing it and before beginning each day, I wonder about the benefits of doing so. But after I finish a chapter and see all the changes I've made, I keep going. Day by day.

Like most writing tips, it may not work for you or anyone in your writing group. But it seems that not many have heard of this technique, so I'm sharing it, in hopes that it may be just what you've been looking for.

So, when do you stop the editing process? Or, is it deadline by deadline?


Linda Wiken/Erika Chase

Monday, November 1, 2010

TUESDAY BRINGS TROUBLE


Standalones vs. Series

I thought it might be fun to take a step back and have a look at the most basic structure of the mystery novel. Standalone or series. There are, bacically, two types of mystery novels: standalones, in which characters appear once, never to be seen again, and series, in which characters feature in book after book.

As a reader as well as a writer, I am torn as to which I prefer. I believe that in real life a person, unless they’re a secret agent or bodyguard to a crime boss, has only one great adventure in them. Police officers will tell you that the job’s pretty boring most of the time, and crimes, even murders, are mundane things, easily solved.

A standalone novel gives the protagonist that one opportunity to achieve great things; to have that grand adventure; to meet the everlasting love of their life; to conquer evil, once and for all. In a standalone, the characters face their demons and defeat them. Or not.

My first books were standalone novels of suspense. In Scare the Light Away the main character confronts, for one last time, the debris of her traumatic childhood. In Burden of Memory, the protagonist faces down the ghost of a past that is not hers, but is still threatening what she holds dear.

Then I switched to writing a series. And found that series novels present a different problem. The central character, or characters, confronts their demons, but they do not defeat them. Their weaknesses, all their problems, will be back in the next book. In each story the series character stands against, and usually defeats, someone else’s problem or society’s enemy, but she or he moves only one small step towards the resolution of their own issues, if at all.

It can be a challenge to keep the main character interesting and growing and changing but to do it so slowly that the reader’s interest in the character can be maintained over several books and several years.

In the Constable Molly Smith novels (In the Shadow of the Glacier, Winter of Secrets), set in a small town in the mountains of British Columbia, Molly is haunted by the death of her fiancĂ©, Graham. It was a meaningless, preventable, tragic death and, even in her grief, Molly knows that returning to the small town in which she grew up and becoming a cop won’t help her to make sense of Graham’s death. But she does anyway, and as the series unfolds, Molly is able to confront the gulf that Graham’s death has left in her life and, eventually, move on. By the time we get to the fourth book in the series, Negative Image, Molly has put Graham’s death behind her, and said her good-byes. Now that she has a new man in her life, new problems arise.

Here’s a sample:
She threw up her hands and walked out of the kitchen. “Insult me. That’s what it was about, isn’t it. He insulted me. Are you defending my honor? I don’t have any goddamned honor to be defended.” She turned and faced him, her anger boiling up inside her.
He looked like a little boy, a six-foot four, two-hundred and twenty pound little boy, trying to explain why he’d been in a fight in the school yard.
“Do you think I don’t know what Dave Evans thinks of me? Do you think he doesn’t know what I think of him? But we go out on the streets every day, and we do our jobs, and we watch each other’s back. Because we’re cops first and being cops is the only thing that matters. Now you’ve gone and made it personal.”

Negative Image asks the question: What would you do if you believe the person you trust most in the world has betrayed you? What would you do if you discover that the person you trust most in the world believes you capable of betrayal? Because the question involves the series co-protagonist, Sergeant John Winters, and his wife, Eliza, the consequences of their actions in Negative Image will continue to resonate throughout the following books. He sipped at his tea as his heart thudded in his chest. He didn’t know if he could live without her.

Series or standalone? Ultimately it is up to you and me, the readers to decide.
I suspect we’ll vote for both.

Negative Image is being released TODAY, November 2nd, by Poisoned Pen Press. If you’d like to read the first two chapters, please go to: www.vickidelany.com. Vicki will be touring extensively throughout November and December; for dates and locations please go to http://www.booktour.com/author/vicki_delany


Vicki Delany writes everything from standalone novels of psychological suspense to the Constable Molly Smith books, a traditional village/police procedural series set in the B.C. Interior, to a light-hearted historical series, (Gold Digger and Gold Fever), set in the raucous heyday of the Klondike Gold Rush.
Having taken early retirement from her job as a systems analyst in the high-pressure financial world, Vicki is settling down to the rural life in bucolic, Prince Edward County, Ontario where she rarely wears a watch.

Sunday, October 31, 2010

MAYHEM ON MONDAY



DO YOU HAVE MY NOUNS?

So, do you have my nouns? Some days there isn't a single one to be heard in our house. In chat between my husband and me, nada. It's not like the dogs can eat them. They've just disappeared. Take today's morning conversation:

He, looking frazzled. "Where's my um …?"
Me, taking one eye off fascinating newspaper article featuring severed body parts. "What um?"
"You know, the …" Voice trails off again. Cute silver head is scratched. He is wondering what is wrong with his wife that she can't tear herself from the blood and gore story to answer the simplest question. "Things, the things. I need them to start the um."
"Oh right. I think I saw them on the whatzit, next to your … Did you check there?"
"What whatzit?" He is starting to get annoyed, but doesn't want to show it, at least not until he finds the things.
"What things?" I counter. He's not the only one who can get annoyed.
"I had them when I got back yesterday because I used them to open the …"
"Did you look on the whatzit?" I point upwards toward the bedroom, which has several whatzits, one of them with things on it.
Grumbling starts. "Now I'm going to be late meeting what's-his-name at--." Snapping fingers follows grumbles, trying to get a handle on what's-his-name.

A noun is after all person, place or thing. The persons and places can vanish too. Snapping fingers will not bring them back, as we've learned the hard way.

Of course, it doesn't pay for me to get too uppity. It's merely a matter of time before I find myself saying "Have you seen that pile of stuff that was here yesterday? There's a lot of important er … "
"What pile of stuff?"
"You know, the, um. It was this high, over there by the you know."
"Your voice trailed off. What stuff again?"
Of course, he has no choice but to cooperate. After all, didn't I help him find those things on the whatzit just this morning? "Are you certain you didn't move it somewhere?"
"I don't think so."
"Sure you did.. It's right over by the gizmo near the the uh. Oops, watch out for the queerthing on the -- . Are you all right? Did you hurt your …?"

Okay, all this, including missing noun injuries, might be expected if we didn't own six thousand books, including at least eighteen dictionaries. Or if we hadn't both read obsessively as children. I took care of fiction, he was in charge of non-fiction. Even if I wasn't as a friend once described me 'a known talker'. So it's not like we didn't ever have a supply of fancy upscale and occasionally obscure nouns to sprinkle in our sentences, insert into conversations or meaningful questions.

Of course, what good are dictionaries when you have to check everything under S for stuff or T for thing?

I put my lapses down to the brain-frying activity writing two books this year. They each contained mountains of nouns, many of them scary if not dangerous. That must be what's edging them out. But seriously, what's his excuse? Oh well, it's not so bad, really. As long as our verbs don't start to, you know … um.


Mary Jane Maffini is the author of the Charlotte Adams mysteries and two Canadian series: the Ottawa-based Camilla MacPhee books and the Fiona Silk novels set in West Quebec. Her latest book, Law & Disorder, the sixth in the Camilla MacPhee series, is absolutely crawling with nouns. Verbs too.

Friday, October 29, 2010

CRIME ON MY MIND


More new books on the scene.

It's almost impossible to keep up with all the new books by Canadian mystery and crime authors on the shelves in bookstores these days. Partly because the numbers have increased and also because there are many new names from different regions in the country...and it's all good news! What I'll attempt to do is periodically highlight new titles. And I certainly welcome suggestions and info about any I'm missing. If you'd rather not leave this as a comment, then please email me at mysterymaven@rogers.com.

From the West Coast, there's another Inspector Coswell mystery out, #3 in the series by Roy Innes, Murder in the Chilcotin. And set on the East Coast, Hilary MacLeod is garnering a lot of interest with her wonderful title suggestive of some humour mixed in with the menace, Revenge of the Lobster Lover.

In the legal thriller category, Pamela Callow's debut novel is Damaged, introducing lawyer Kate Lange and it's set in Halifax. Two more in the series will soon follow.

Backtracking by a few months, Garry Ryan celebrated his fourth Detective Lane police procedural set in Calgary, Smoked, and we have the Canadian heavyweights with the latest in their series: Gail Bowen and Nesting Dolls, the 12th outing for Joanne Kilbourn; while John Cardinal appears in Crime Machine, #5 for Giles Blunt; and, Peter Robinson's Bad Boy is book #19 in the Alan Banks series -- can you believe it!

So, lots to choose from and of course, a lot more to come. Be sure to look for them on the shelves of your local Independent bookstore!


Linda Wiken/Erika Chase

Thursday, October 28, 2010

LADIES' KILLING THURSDAYS

When truth is more compelling than fiction

Like many Canadians I watched the Fifth Estate last Friday night. It was an hour-long deconstruction of the interrogation and confession of Russell Williams, senior military officer and sadistic killer. And it was a terrific show.

What made this documentary so gripping? Well, for one thing, it wasn't so much about the killer as it was about the strategy that went into orchestrating his confession. OPP Det. Sgt Jim Smyth and his team had enough circumstantial information to make them believe this was their man but their only actual evidence was a couple of tire tracks picked up near the home of one of the victims and matched to William's SUV.

Once they had the colonel in their sights, Jim Smyth and his team took four days to plan the interrogation. What then? Did a SWAT team scream over to the Williams' house in a blaze of flashing lights? Did they drag the suspect out in handcuffs? Not at all. They telephoned Williams at home and asked if he'd mind coming in to give them a hand in the investigation. At three o'clock that afternoon, Williams drove himself to the station. He walked in full of confidence and ten hours later he was still there having confessed to murder, rape and innumerable break-ins.

So what happened at the police station? Did they toss him into the interrogation room, play good cop/bad cop, slam him against the wall? No again.

Jim Smyth, looking rumpled and a little careworn, thanked Williams for coming in, chatted a bit about the investigation and then wondered, very nicely, if he'd mind letting them have a wee sample of his DNA and a peek at the boots he was wearing. Smyth, it turns out, knows the value of a polite manner and long silences. At no point in the parts of the interview we saw did he raise his voice or react in any way when the murderer finally began to confess.

We're told this program will be a major learning tool in every police academy across the English-speaking world. It will change the way police interview suspects. But will it change the way TV portrays the police? And will it change the way we, as crime writers describe the interrogation process?



Sue Pike has published nineteen stories and won several awards including an Arthur Ellis Award for Best Short Crime Story. Her latest, Where the Snow Lay Dinted will appear in the January issue of Ellery Queen's Mystery Magazine.

Sue and her husband and an opinionated Australian Shepherd named Cooper spend the winter months in Ottawa and the rest of the time at a mysterious cottage on the Rideau Lakes.