Author Archives: Carolyn

Missouri Writers Gather to Take the Next Step Nov. 10

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Whether you’ve been published for years or want to expand beyond Twitter, the Columbia Chapter of the Missouri Writers’ Guild’s annual conference offers tips and tactics to help you improve your writing.

The conference, The Write Direction: Taking the Next Step, meets 8:30 a.m. to 4 p.m.  November 10 at the Unity Center, 1600 West Broadway, Columbia.

Award-winning writers will share their special skills and small publishers will tell how and why they select manuscripts. The sessions include

* Novelist Bridget Bufford on creating characters through archetypes,

* Nonfiction children’s author Matthew Murrie on finding your perfect pitch,

* Missouri poet laureate William Trowbridge on humor in serious poetry,

* Short story writer Donna Volkenannt on structuring stories for passion and profit.

Editors from Mozark Press, AKA-Publishing, and High Hill Press will explain their operations and, in a separate session, evaluate the first page of manuscripts submitted anonymously by conference participants.

To read the schedule and session descriptions and to register, visit the Conference page at http://www. ccmwg.org. Warning: Registration fees (members, $40; nonmembers, $45; students, $25) go up November 6.

Full disclosure: I helped organize the conference and will moderate the publishers’ sessions.

Finding Overused Words Helps Us Rewrite

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In a first draft, most of us fall back on tip-of-the-tongue words rather than rummage through our brains or the thesaurus for the best ones.

Those overused words attract our attention when we polish a short piece—a poem, an article, a short story. In a long manuscript, one we write and rewrite for months, our favorite crutches may not stand out.

The computer’s Find can help us check an entire manuscript, but we need to tell it what words to search for. These searches not only guide us in improving our word choice but also show us where we need to make other changes.

Here’s a basic strategy to follow in your discovering your own words to avoid.

Start with to be verbs and their surrogates, particularly seem and feel.   Don’t contort sentences to eliminate an occasional is or were, but rewrite if to be  verbs outnumber active ones on any page.

Check common active verbs. My list includes look, watch, stare, glance, study, walk, run, hurry, turn, smile, grin, glare, and shrug, Any one of these may pop up dozens of time in a first draft. How many glances or shrugs constitute overuse? No one can say. I’d advise against using more than one per fifty pages.

Know thy nouns. If you don’t know what you overuse, skim a couple of chapters focusing on the nouns, particularly common objects, emotions, and actions. My list includes tea, Glock, interrogation, smile, and anger. Frequent use of a noun may indicate problems with plot or setting as well as word choice.

Certain adverbs reveal syntactical problems. If Find turns up numerous whens or wheres or whiles, the manuscript contains excessive complex sentences and, quite possibly, ineffective transitions. Frequent use of then and now also signals poor transitions. If ly adverbs flourish, come up with verbs that don’t need modifying. Strong verbs empower to your sentences.

Repeated use of certain adjectives points to poor descriptions. How many of your men are tall or rugged or muscular? How many of your women are slim or anxious or vivacious? How many of your rooms are elegant or messy or spacious? To make sure unique adjectives distinguish every character or setting, compare your word choices in each introduction.

The more you search for overused words, the less you need to. You come to recognize more and more ineffective words (and their attendant problems) and omit them during your first draft.

 

The Coming, and Going, of Egg-sucking Dogs

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Recently a TV commercial included a line from an old country song about an egg-suckin’ dog. It reminded me of what trouble egg-sucking dogs caused when most farmers, and some town dwellers, had a flock of hens.

Our farmhouse stood an eighth of a mile from a crossroads hidden by a small hill, a choice location for dumping off an unwanted dog. It would show up at our back steps, where we put out scraps for our dog and cats, or down at the barn, where my father poured milk into the cats’ pan after milking each evening.

Over the years a few dogs made it through the probation period and stayed with us. Several turned out to be egg-suckers. They would sneak into the hen house, chase a hen from a nest, and break the eggshell enough to suck out the contents. That may not sound like a problem to people used to buying eggs by the dozen in stories, but farm women counted on eggs for feeding the family and for selling in town.

An egg-suckin’ dog wore out its welcome overnight. Once a dog had the habit, you couldn’t break it. The dog had to go. The tough part was figuring out where. You couldn’t take a dog to the pound in those days, and no one wanted an egg-sucker.

We had several strategies, the preferred one being returning it to whoever had dumped it on us. My father worked as a substitute rural mail carrier and knew the county well. Sometimes he’d seen the dog on a farm. We’d drop the animal off close to home. No one ever had the nerve to bring it back.

Another favorite strategy was to leave the animal at the home of someone we knew dumped animals or trash on our or other farms.

The least favorite alternative was to choose a farm with no chickens so the dog wouldn’t be a costly pest. If no dog ran out to bark at my father when he stopped at the mailbox, that improved the chances people would take in a stray.

Even an egg-suckin’ dog has the right to a decent home.

The Publishing Process Nears the Final Stage

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The Publishing Process Nears the Final Stage

My heart rate jumped last week when I received two boxes of advance readers’ copies, uncorrected page proofs of Show Me the Murder. Nine years after a news story sparked the idea for my protagonist and thirteen months after I submitted the manuscript to the publisher, the final product is only four more months away.

I will read (aloud) one last time for typos and begin sending out copies to local, regional, and special-interest reviewers. The publisher will send out review copies to national publications, correct any typos, and print books for release in late February.

A year and a half is a long time in this age of instant communication, but that’s standard in traditional publishing. Here’s the basic process.

The pitch: I described the book to an editor at Killer Nashville in August 2011. She invited me to submit it. 

Submission: I submitted the manuscript in September 2011. A few weeks later the editor told me she liked it and had sent it up the line.

Acceptance: The publisher offered me a contract in December 2011. The legal department asked for details on what real places, people, and products appeared in the book. My interpretation: The lawyers wanted to be sure I hadn’t libeled anyone.

Contract signed: January 2012.

Developmental editing: This step typically focuses on big-picture issues, but in February 2012 the editor and I spent more time (roughly two weeks) working on style questions. (Most publishers have their own style manual, usually a variation of the Chicago Manual of Style.)

Copyediting: This step focuses on consistency of style, but in May 2012  the editor also caught a couple of content errors (e.g., a person in the wrong room).

Proofing: I read the entire manuscript aloud to catch typos, missing words, and similar errors in July 2012.

Cover: An editor emailed me the image in September 2012.

Final proof/review copies: My copies arrived in October 2012. I hope to find no typos. Why send out uncorrected review copies? Because magazines operate with a three- or four-month lead time.

Release: February 2013.

Ten Reasons for Attending Your High School Reunion

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The older I get, the more important and pleasant I find reunions. Asked to speak (briefly) at my Kirksville, Missouri, High School reunion, I listed our top ten reasons for coming.

10. Because we can.  We’re still walking, even if it’s with a knee or hip replacement.  We’re still social, even if we don’t know to whom we’re talking.  We’re still able to find our way here, once we find our car keys.
9. Because we enjoy talking to people for whom history begins  before WW II rather than before 9/11.  People for whom fast food used to mean a bologna sandwich.  People who don’t say huh when you mention Roy Rogers, Doris Day, Baby Snooks, Ma and Pa Kettle, or Jack Benny.  People who can at least hum “You Ain’t Nothin’ but a Hound Dog” and  “How Much Is That Doggie in the Window.”
8. Because we’re curious.  What do our former classmates look like? Sound like?  What are we doing?  How much have we changed?
7. Because we value old friends.  People we knew during a vulnerable period.  People who don’t ask what our hometown is near.  People who share some of our most vivid memories.
6.  Because old friends value us.  They remember us when we were energetic, smart, athletic.  They remember our first triumphs.  They really want to know what we think.
5. Because they listen to old stories no one else will.  All the guys’ ears perk up when anyone mentions Coach Spainhower.  Remember when Miss Kallenbach raved about the young senator and war hero who wrote Profiles in Courage?  Can you name the two poems Mrs. Bailey assigned you to read aloud for a tape recording? One of mine had a refrain: “Let me live in a house by the side of the road/And be a friend to man.”
4. Because the reunion is the easiest item on our bucket lists.  Less risky than skydiving, exploring the Amazon, or driving to Alaska.  Less annoying than mastering social media.  Less frustrating than finding a job for a boomerang relative.
3. Because we’ll celebrate any occasion with a big number in it.  A wedding anniversary, an offspring’s birthday, an organization’s founding.  Earning a master’s, being drafted, joining the Peace Corps.
2. Because I never get everything on my to-do list done anymore, I skipped 2.
1. Because sharing those days made us part of each other. In high school we explored the adult world and discovered ourselves. Our experiences—those we shared and those we kept secret—bind us together.

How Elizabeth Peters Found Amelia Peabody’s Voice

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A group of mystery writers celebrated Elizabeth Peters by playing the major characters in her beloved Amelia Peabody series during a skit at the 2012 Malice Domestic Convention. Ms. Peters (Egyptologist Barbara Mertz, aka Barbara Michaels) played straight woman but occasionally demonstrated her distinctive wit.

Twenty years ago I interviewed her about how she created the strong-willed Victorian archaeologist and found her distinctive voice. A shortened version of the article follows. It appeared in the January 1992 issue of Writing Concepts.

Mastering the writing style of another era requires care, Mertz says. “When the heroine was speaking, I had to have a certain speech pattern, which was more formal and more melodramatic than the modern pattern.”

While remaining ever aware of being true to the period, she doesn’t check every word. “I was not pedantic enough to look up words in the OED to see if they were in use at that point. Every now and then I get caught, of course.”

She’s particularly conscious of idioms. “If I am in doubt about one, if it strikes oddly on my ear—and I think that comes from having read so much—I’ll either change it or try to verify it. There are an awful lot of slang words and expressions that were in use much earlier than we think.”  Novels of the period proved more useful in researching speech and daily life than books on social history. Her research and leisure reading merged as she sought Amelia’s voice.

The writer set out to create a traditional Victorian lady traveler and speak with her voice.  “I went through every travel book from that period, especially ones written by women, and novels.” She read, among other novelists, Charles Dickens, Rider Haggard, and Arthur Conan Doyle.

“I love doing a very pompous Victorian voice. That is the way these people wrote,” Mertz says. “I love caricaturing it. I think it comes out as being amusing because it is caricature, but Amelia means it very seriously, and most of the things she says, I mean to.”

Mertz strives to be as historically accurate as possible but avoids extraneous historical details. “It’s tempting when you find something that’s awfully interesting to just dump it in to entertain the reader and show how smart you are, but unless it’s usable in the plot, you shouldn’t have it in there.”

She expresses great respect for writing as a craft. She says, “I will never learn everything there is to know about this business. I will never write the book I really want to write, but every time I’m a littler closer and know a little bit more about why I’m doing things.”

 

Between the standing ovations that greeted Elizabeth Peters and bid her farewell at Malice, she revealed that she is now on chapter five of a new manuscript.

An Interview with Elizabeth (the Great) Peters

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Mystery fans are honoring Egyptologist Barbara Mertz, best known to them as Elizabeth Peters, author of the beloved Amelia Peabody mystery series featuring a strong-minded early archaeologist. Fellow authors will interview Barbara April 28 at the annual Malice Domestic Convention.

That reminded me that I interviewed her 20 years ago on how she made the transition from academic to accessible and entertaining nonfiction (look for Red Land, Black Land) and from nonfiction to genre fiction, first Gothics as Barbara Michaels and then mysteries as Elizabeth Peters. At that time (1991) she already had 50 books to her credit.

What she told me still applies, so a shortened version of the first of my two articles follows. It appeared in Writing Concepts, December 1991, under the head “Egyptologist tells how she writes as two novelists.”

 

Today Barbara Mertz is better known as Barbara Michaels and Elizabeth Peters, the authors of bestselling novels noted for strong story lines, well-defined characters, accurate settings and serious themes both masked and emphasized by humor.

Thinking back to the beginning of her writing career and the development of her writing style, Mertz says, “I’m a big reader. I think that’s probably the most important thing for anyone who writes—reading enormously. You end up being imitative at various stages of your life. You imitate the writers you admire.  I think that’s a useful stage, too. It teaches you some of the techniques of syntax and how to get an idea across. And eventually, one hopes, you develop your own style.”

Developing your voice takes time. She found hers in nonfiction much more easily than she did in fiction. Publishers rejected her first novels. She says, “I had not found my voice. It’s a rather pretentious terms, but I think it’s true that there’s a certain kind of thing that each person does well, and you can mess around trying this and trying that.”

You also need to learn what works, and sells, in your preferred genre. Mertz says, “You have this awful crisis between writing for the market and being totally cynical, giving up what you like to do just to sell something. … I think you have to consider the market, but I just don’t think anyone can write his or her best by playing solely to the market.

She broke in with traditional Gothics—“Victorian settings and spirits and haunted castles and that sort of thing.” Once established, she moved to modern settings and wandered from the formula. She found the restraint on humor frustrating.

So she became Elizabeth Peters, a mystery writer noted for her humor. The styles and content produced under the two names differ enough that many readers don’t realize that Michaels and Peters are the same person. Yet Mertz says she doesn’t consciously make her writing style fit the pseudonym.

Michaels and Peter strike different tones. “Peters is a lot sillier,” Mertz says. “I am more sarcastic, and the dialogue is, shall we say, sappier and more sardonic. The whole tone of the books, the commentary, is humorous, but I’m still talking about serious things. Most of the things I’m saying, whether they’re hidden under a guise of humor or not, are serious ideas. Definitely the Michaels books are more serious in tone. Peters makes fun of everything—of pomposity, of staid ideas, of prejudice.”

 

 

An Opportunity to Promote Reading

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The Missouri Center for the Book (MCB) board of directors elected me to a three-year term at the March meeting. Librarians and college professors dominate the 18-member board, so part of my function will be to work with the writing community.

MCB is an affiliate of the National Center for the Book, Library of Congress. In Missouri, the mission is to

  • bring together authors, publishers, librarians, scholars, teachers and readers;
  • promote the state’s literary heritage and community of the book;
  • promote public interest in books, reading and libraries;
  • strengthen and celebrate the role of books in the human endeavor;
  • recognize the contributions of Missourians involved in the literary arts.

As a child, I read any book I could get my hands on and longed for more. Books entertained and educated me and became a crucial part of my life. It’s an honor and an obligation to work to bring such experiences to others. 

New Madrid Earthquakes Remain a Mystery

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New Madrid Earthquakes Remain a Mystery

No one knows what caused a series of major earthquakes centered near New Madrid, Missouri, and felt in much of the eastern United States 200 years ago, according to geologists at the “It’s Your Fault” conference, University of Missouri, February 18, 2012.

I attended to hear whether any new information would affect my Thunder Beneath My Feet manuscript (nothing did) and when to expect the next big ones (no one knows).

Experts can tell big earthquakes occurred in the state’s southeast corner about 1450 and 900 and at similar intervals for 5,000 or so years. They don’t know whether other catastrophic quakes are coming in 300 years, 50 years, or never. Some theorize that the few modest quakes and countless tremors since 1812 are aftershocks that will eventually end.

Professor Eric Sandoval, a member of the Missouri Seismic Safety Commission, called the New Madrid seismic zone one of the most difficult to understand on the planet. Located in the middle of—rather than on the boundary of—a tectonic plate, this zone doesn’t fit the models that apply in most of the world, including California.

New Madrid resembles a seismic zone in northern China, said Professor Mian Liu. Models indicate low hazard, but quakes have killed hundreds of thousands. He emphasized that over a few centuries quakes in such zones may occur in different locations. Why? Nobody knows for sure. Recorded history deals with only a fraction of earthquakes, and much of what happens deep beneath the earth’s surface remains a mystery.

I live about 300 miles from the New Madrid earthquake epicenter, close enough for a 7.+ quake to bring down chimneys and spires. Until geologists find more clues to the mystery, I won’t know whether my quake insurance makes sense.

Show Me the Murder Comes Out in 2013

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The first book in my Show Me mystery series will be published in February 2013 by Five Star, an imprint of Thorndike/Gale/Cengage.

Moving a book from initial idea to print distribution takes years. For me, the most exciting part of the process is writing the first draft. I also enjoy rewriting to shape the whole, to strengthen each chapter, to add punch to each scene, to find the exact word or phrase. The next three to five passes, when I try to function as an editor, don’t thrill me so much.

As Show Me the Murder wends its way through the publisher’s editorial, design, and production process, I’ll polish the second book in the series and entertain myself by writing the third.

Writing with Water

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Near the lake that cools the Summer Palace in Beijing, a tall man with a wet mop wrote something in large Chinese characters.

This mystery writer’s first thought: “What a clever way to write a message that would disappear before authorities could gather evidence.” I scrambled to take out my camera and get a shot.

My second thought: “Can’t be anything subversive. Too risky in such a public place.” I asked our tour guide what the man had written. She glanced at the characters and said, “Something about tourists and peace.”

I could tell she was lying, but since I don’t read Chinese and don’t make scenes in China, I didn’t challenge her.

When I returned to the States, I showed a Taiwan-born friend the photo. She couldn’t read all the characters, but one part said something about birth and another about the coming of autumn breezes. She explained that when the man took water from the lake in his bucket, he also mixed in a little oil.

What the photo shows is a form of performance art. I suspect he’s demonstrating his calligraphic skills by quoting or composing a poem, not a political statement.

I still like the idea of using writing with water in a mystery.

Quiz Celebrates Lincoln as Man of Mystery

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Maya Corrigan celebrates the connection between Abraham Lincoln and Edgar Allen Poe, his contemporary, with a timely quiz on her website, Maya Corrigan: The Fine Art of Mystery (http://www.mayacorrigan.com/mystery-trivia-all-about-lincoln.html).

I particularly enjoyed the surprise in the last question.

If you like mysteries and trivia, test yourself on Maya’s other quizzes, called Five Clues and a Red Herring. She posts a new quiz each month.