Category Archives: Mysteries

Mysteries

Moving Book 4 to Phase 2

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The writing of Show Me the Ashes, the fourth book in my mystery series, has been going slowly.

Opening chapters always take me roughly a third longer than the middle ones and twice as long as the last ones. In the beginning, I’m creating new characters and settings, struggling to drop in essential backstory for new readers without boring old ones or slowing the narrative, and revealing just enough about the crime that will be solved in the next-to-last chapter.

Rewriting Chapter 6 a week ago, I realized I had to shift gears. I had been working from a one-page plot outline that covered mostly the beginning and the end, a list of characters, and general research on the plausibility of my plot. With Phoenix leaving the familiar streets of Laycock to study the key crime scene, I had to get down to the nitty-gritty.

To do that, I spent

  • two days researching arson and applying that to the crime scene,
  • half a day writing a timeline tracing suspects’ movements that night,
  • half a day visualizing and sketching the crime scene and the small town where Phoenix investigates.

Then I rewrote Chapter 6 and started thinking ahead. Time to go to the next phase, to figure out the pacing of the book—not just what happens but when. I do that by outlining scene by scene, chapter by chapter. Yesterday I outlined the first six chapters, all well beyond first draft but not polished, and then the next 18 unwritten chapters. That outline will change regularly, guiding yet allowing surprises.

My books run 32 to 36 chapters. By the time I write Chapter 24, l expect to know what happens in the final chapters.

Tomorrow I begin writing Chapter 7.

—Carolyn Mulford

Starting My New Mystery

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When I turned in Show Me the Gold, the third book in my series, last January, I planned to send Phoenix, Annalynn, and Connie out of town in the next book rather than plague Vandiver County with a new murder. Busy preparing for the February release of Show Me the Murder and going over the editor’s queries for Show Me the Deadly Deer, I stewed about the time and expense of researching that new setting and its subculture.

I woke up one morning with the seed of a new idea: Let Phoenix work on a cold case, one that would put her in conflict with Annalynn. Over two or three weeks I built on this until I was ready to start the prewriting work on my next manuscript, Show Me the Ashes.

Before I write Chapter 1, I do a lot of conceptualizing and research. That doesn’t stop when I put the first scene on the screen. Here’s my basic process.

Step 1: Develop a nebulous idea enough to figure out the major things I’ll need to know and, the big question, what I’ll need to learn to make sure my idea is feasible. I usually end up with about 10 pages of notes on plot, themes, victims, villains, kill methods, and settings.

Step 2: Find key sources, human or written, to give me an overview and, if necessary, direct me to other sources. Often a manuscript requires repeating this step several times.

Usually I begin by searching for information on the Web or in reference books, including those in my own library. As in doing research for articles or other nonfiction material, I prefer to grasp the basics before I question experts. Doing my homework allows me to ask better questions and elicits better answers. That saves time for everyone.

If I know people with vital expertise, I contact them and ask to chat. Maybe I invite them for lunch or a coffee. (Friends tend to tense up if I use the word interview.) I end a chat/interview by asking if I can come back if I have other questions.

Step 3: Determine priorities and set up a rough research schedule. Decide what has to be learned before I start writing (facts affecting the plot) and what can wait (observations of a setting or activity that comes late in the book).

Step 4: Research small, unanticipated questions as I write. Something pops up in almost every chapter. If I can find the information quickly, I may interrupt the writing to do it. If finding the information requires times, I’ll boldface some x’s or a best-guess draft and come back to it later. (After the second draft of the full manuscript, I ask knowledgeable people to check anything questionable.)

 

From the middle of April until the middle of May, attending conferences and preparing workshops and speeches took all my attention. In late May I wrote rough drafts of the first two chapters.

I usually rewrite the early chapters several times before I’m confident I have the right tone and pace. At this stage I’m figuring out any changes in my four regulars’ lives, meeting new characters who are hiding their personalities and motives, and puzzling over how Phoenix will find evidence and evade the inevitable attacks.

Love it.

—Carolyn Mulford

Part 2: Three Writers’ Conferences: Malice Domestic

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The one conference I go to every year is Malice Domestic, a national celebration of the traditional mystery that meets in the DC area in late April or early May. A spinoff of Sisters in Crime, Malice is heavily skewed toward women crime writers and their predominantly female audience (http://malicedomestic.org).

Although a fan conference, I estimate a third of the attendees are published writers and another third want to be. The readers, many of whom return each year, include librarians, reviewers, teachers, and a mix of other people devoted to mysteries. Malice introduces numerous debut and established writers’ mysteries to this influential readership.

I attended my first Malice some 20 years ago as a mystery reader. I loved listening to authors talk about their books on panels and rubbing shoulders with them between panels. They were much wittier than the nonfiction writers on how-to panels that were my usual conference fare. I didn’t learn a lot about writing mysteries, but I had a great time going to sessions and chatting with people. That enjoyment kept me coming back and encouraged me to begin writing mysteries.

This year I went to Malice as the author of a debut mystery, Show Me the Murder. That meant business trumped pleasure. I went armed with bookmarks and a resolve to promote my new series in sessions and informally.

I’d won one of 42 slots in the lottery to give a two-minute pitch in Friday’s opening event, the Malice-Go-Round. The catch was that I had to give the pitch 20 times at 20 different eight- to ten-person tables in a noisy room. I teamed up with Susan Froetschel, author of Fear of Beauty, a mystery about an illiterate Afghani woman who secretly learns to read in hopes of discovering who killed her son. Our pairing worked out well because our books and pitches were so different that no one confused our books.

The Round tested our voices and challenged us to beat the clock without giving a boring rote pitch. I was surprised how attentive readers were and how many took notes. In that hour and a half, I introduced my book to more people than in all the rest of the conference.

Later I realized that by pitching rather than listening, I had missed Malice’s best opportunity to learn who’s writing and who’s publishing what. Oh, well. You have to sacrifice something.

The rest of the day featured interviews and panels with big-name authors, including Peter Robinson, Laurie King, Laura Lippman, Aaron Elkins, Carolyn Hart, and the Agatha nominees for best novel. Entertaining and thought-provoking.

That afternoon my panel—Kate Carlisle, Peril in Paperback; Judy Hogan, Killer Frost; Maddy Hunter, Bonnie of Evidence—met with super-prepared moderator Patti Ruocco to get acquained before our Sunday session and discuss any uncertainly about our topic, Loveable Sidekicks. Our books and sidekicks vary greatly, so we offered different perspectives. Judy and I are seniors in life experience and juniors in mystery credits, but we functioned as equals on the panel. No one tried to dominate or hog time.

Malice applauds cooperation rather than competition. Most authors don’t need reminders of that, but program czar Barb Goffman reminds moderators to enforce it.

Five panels run concurrently most of Saturday and Sunday morning, often forcing participants to agonize over what to attend. Whatever the topics, the most popular writers draw the biggest crowds.

Malice’s major common events are the new authors’ breakfast (a must), interviews with the stars (always good), the Saturday-night banquet (most exciting for Agatha nominees), and the Sunday afternoon tea (a treat).

Good as the panels and special events are, people come back to Malice year after year to catch up with old friends, meet online friends (notably the Guppies) face to face, and chat with strangers/friends who love mysteries.

No matter how much business you do, attending Malice is a pleasure.

—Carolyn Mulford

 

 

Back to My Roots in Kirksville

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Can you go home again?

I’m going back to my hometown Saturday, April 13, to talk about the origins of my new mystery, Show Me the Murder, and visit from 2-4 p.m. with old and new friends at the Hastings, 1800 North Baltimore, 2-4 p.m.

More to the point: Can a writer ever really leave home?

Wherever I go, I carry my past with me. An unreliable memory may alter and even delete parts of it, but the essence of life experiences remains. No period affects us as much as our early years when we see things for the first time. That’s one reason the protagonist in my mystery series comes back to her hometown after living most of her adult life in Vienna.

Laycock and Vandiver County don’t appear on any Missouri map, but many people who live in Kirksville will find the setting, and the people, familiar.

—Carolyn Mulford

Reviewer Calls Characters Appealing, Story Compelling

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Dozens of editors and publishers have rejected my nonfiction and (especially) fiction manuscripts over the years, so forgive me if I report some reassuring praise.

In the February issue of Gumshoe Review Magazine of Mystery Literature, reviewer Verna Suit ended her review of Show Me the Murder with, “Phoenix is a can-do heroine and all three of the women are appealing characters. The reader cheers when Annalynn steps up to take control of her life. Plot and setting are convincing and the compelling story keeps one reading. I look forward to finding out what the future has in store for all three of them.”

The 15 other books reviewed in the issue included Garment of Shadows by Laurie R. King, Calculated by Death by J.D. Robb, and Buried in a Bog by Sheila Connolly.

To read the full review of Show Me the Murder, go to http://www.gumshoereview.com/php/Review-id.php?id=3558.

—Carolyn Mulford

My Next Big Thing Blog Hop

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Week 32 is my stop on a blog hop set up to help readers discover authors new to them. On each stop, you’ll find an author’s answers to 10 questions about a book or a work in progress and links to three to five other authors. We include behind-the-screen tidbits about why we write and how we choose titles, characters, plots, themes, etc.

My thanks to fellow author Thomas Kaufman for inviting me to participate in this event. To learn more about him and his work, click on this link:  http://thomaskaufman.com.

Here are my answers to the questions of the Next Big Thing.

1: What is the title of your latest book? 

Show Me the Murder, the first in a series, comes out February 15, 2013. The title fits the plot and indicates the Missouri setting, but I arrived at that title only after numerous drafts. I started with a working title of Second Adolescence, an indication of my main characters’ age (mid fifties) and their crises and opportunities. Upheavals in their lives compel the three women to begin again much as they had as teenagers. My critique group hated that title. Several drafts carried the title Phoenix Rises, both an illusion to the protagonist’s first name and to the mythological story of the phoenix rising from the ashes. A lot of other writers liked a similar title. I kept looking.

Show Me is part of the title of each book in the series. The next one is Show Me the Deadly Deer (December 2013).

2: Where did the idea come from for the book?

I got the idea from newspaper stories about outed CIA covert operative Valerie Plame during the Bush Administration. Having worked in Vienna during the Cold War, I could imagine the suspicion anyone she knew even casually would face and her anguished desire to protect both CIA contacts and friends. My protagonist, wounded on a post-retirement mission in Istanbul, loses both her day and night careers—and her home in Vienna. I lived in the Washington, D.C., area, but I was preparing to move back to Missouri. That led me to send Phoenix there and to research local problems when I visited there. I was surprised to learn that Missouri ranks at the top in meth use. This easily made, terribly addictive drug ruins many lives and strains the resources of rural law enforcement.

3: What genre does your book come under?

It’s a mystery with a lot of suspense. It cuts across subgenres, with an armed amateur sleuth, a bit of police procedure, and a rural setting often associated with cozies.

4: Which actors would you choose to play your characters in a movie rendition?

Ex-spy Phoenix is brilliant, athletic, and immodest with a well-developed sense of irony and a passion for fairness. She’s a little above average height and wears her black hair short for easy care and quick covering when putting on disguises. One possibility would be Jamie Lee Curtis. Civic leader Annalynn is reserved, aristocratic, and both intimidating and charismatic. She’s tall, wears her long brown hair in a French roll, and remains impeccable at all times. She has the kind of presence that Marcia Cross had on Desperate Housewives but with more warmth. Never-been singer Connie is short, blond, and trim with great warmth and considerable insight. Phoenix complains that Connie is irredeemably perky. Kristin Chenoweth could capture Connie.

5: What is the one-sentence synopsis of your book? A former covert operative returns to her hometown to relax but instead must use her skills to solve a murder—and to survive.

6: Is your book self-published, published by an independent publisher, or represented by an agency?

The publisher, Five Star, is a fiction imprint of Gale, Cengage Learning, a giant in library and education publishing. Five Star distributes through bookstores (including online ones) but emphasizes library sales.

7: How long did it take you to write the first draft of your manuscript?

The first draft, roughly 123,000 words, took me about a year. The next dozen or so drafts took several years, including breaks for other projects. I cut the manuscript down to 89,000 words and, after several drafts, changed the point of view from third to first person.

8: What other books would you compare this story to within your genre?

Like every book and every writer, Show Me the Murder is unique. In the decade or so since I became serious about writing mysteries, I have enjoyed reading many mystery writers, among them Barbara D’Amato, Nevada Barr, Robert Crais, Earlene Fowler, Tess Gerritsen, Carolyn Hart, Joan Hess, Tony Hillerman, P. D. James, J. A. Jance, Laura Lippman, Margaret Maron, Grace Miriam Monfredo, Sara Peretsky, Anne Perry, Elizabeth Peters, Nancy Pickard, S. J. Rozen, and Julia Spencer-Fleming.

9: Who or what inspired you to write this book?

I’ve wanted to write stories since I learned to read. After decades of earning a living writing and editing articles, a wide variety of documents, and a few nonfiction books, I longed to write a novel, to create and populate a world.

10: What else about your book might pique the reader’s interest?

I hope readers will enjoy watching the interactions of three old friends who’ve led very different lives for decades but come together as each faces a crisis. I suspect readers will love the dog, a Belgian Malinois who flunked out of K-9 training. Conceived as a walk-on character, he forced his way into the characters’ lives and my pages. In fiction as in real life, once you name an animal, you belong to it.

On Week 33 of the Next Big Thing, the following four writers will answers these questions on their websites/blogs.

Elaine Douts (writing as E. B. Davis): http://writerswhokill.blogspot.com

Maria Hudgins: http://mariahudgins.com

Karen McCullough: www.kmccullough.com/kblog

Erica Obey: http://ericaobey.net

Please feel free to share your thoughts and questions.

—Carolyn Mulford

Book review: Writing Teachers Will Relate to Mystery’s Setting

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Anyone who has taught a basic English or creative writing course will recognize some of the characters and situations in Killer Frost, a debut mystery by Judy Hogan.

Most of the book takes place at a financially and academically distressed historically black college in North Carolina. An idealistic untenured professor wars against the  administration to bring ill-prepared but determined students up to standard and to give gifted ones a chance to soar. He brings in Penny Weaver, a dedicated white writer/teacher, to take over both the remedial and the creative writing classes.

Hogan obviously knows both groups of students well, and some of her best scenes involve teaching rather than detecting. Finding the killer takes second place to rescuing the students from poor teaching, bad conditions, and the burnt-out and corrupt staff.  The victims’ behavior had given faculty and students reasons to want to murder them.

The major subplot revolves around Penny’s disconcerting attraction to the professor who hired her (both are happily married). A more effective subplot involves her difficult relationship with her single-mother daughter.

Some of the numerous characters in Killer Frost live on the page. Unfortunately some students get lost in the classroom, and neighbors overpopulate Penny’s diverse community. Most talk too much and act too little—until the fast-paced climactic scene, which ends with a satisfying twist.

Killer Frost, by Judy Hogan, Mainly Murder Press, 2012, 244 pp., $15.95 in paperback and $2.99 in e-book; ISBN: 978-0-9836823-8-7. For more information about the writer, her work, and where to buy the book, go to http://judyhogan.home.mindspring.com.

“Leftovers” Published in Humor Anthology

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I couldn’t resist the challenge: a call for humorous short stories featuring a resourceful woman dealing with a bad day.

For me, short stories pop into the brain almost whole. Nothing popped, but I’d toyed with a vague idea for a new mystery series. I decided to test it in a short story.

A lot of writers turn a chapter into a short story. I hadn’t written a chapter. Instead I developed a protagonist and a setting in backstory—what happens before the mystery begins. I submitted that short story, “Leftovers,” to Mozark Press for consideration for A Bad Hair Day, the third in the A Shaker of Margaritas series.  

Mozark accepted my story and 23 others from the Heartland and around the country. The paperback and e-book editions are now available.

With the cooperation of Mozark Press publisher Linda Fisher, I’ve arranged for the Columbia Branch of the American Association of University Women to sell the book as a fundraiser tied to the international Half the Sky Movement. Until the end of 2012, our Raising Our Half the Sky Committee and other members will sell the anthology. Our profits will go to Women for Women International.

I’ll be signing A Shaker of Margaritas: A Bad Hair Day and The Feedsack Dress from 1 to 5 p.m. November 23 and 24 in the historic Community Hall, Rocheport, Missouri.

The story convinced me that I would enjoy writing the series. In spare moments, I’ll come up with character bios, fiddle with plot ideas, and gather background information. Putting chapters on paper will have to wait until after I complete another book in my Show Me series.

Starting and Maintaining a Critique Group

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Loved ones usually can’t give us objective feedback. For that we need a good critique group, one made up of four to six writers who share our interests and goals. How do you find them? The best bet is to recruit them from a writers’ organization or a writing class. If neither is available, post a notice at the library or bookstore. If that fails, look for an online group.

Turning several writers into a useful (possibly inspiring) critique group takes time and patience. Once established, many groups continue for years. In my experience, you improve your chances of having a great group if you remain flexible but follow these basic steps.

 

1. Before committing to a group, discuss:

*** the compatibility of writers’ current and anticipated projects:

*** the time each writer can devote to writing and critiquing:

*** the preferred frequency and location of meetings.

2. Writers should agree on the following:

*** the amount of material a writer can submit to the group at one time;

*** the deadline for submitting material before each meeting (critique before, not during, the meeting);

*** members’ responsibilities (e.g., critiquing—not just marking typos—of all work submitted and submitting occasionally);

*** a coordinator who will deal with scheduling, etc.

3. During each meeting, follow an established procedure, preferably silent author-single speaker. Under this plan, no one interrupts as each critiquer takes a turn at commenting on a manuscript. Often a group modifies this to allow the author to ask for a clarification and other critiquers’ opinion of a specific point. A group may suspend the rule to discuss an issue, but it’s critical that the author listen rather than “explain” at length.

4. Be honest but constructive. Be professional, not personal.

*** Start by summarizing the piece’s strengths but noting any major weaknesses.

*** If you are the first critiquer, be thorough; cover minor and major points.

*** If you’re not first, focus on points no one else has mentioned and on major points where the writer needs to hear different opinions.

*** When everyone has finished, the author may ask for suggestions.

*** Suggest—not dictate—changes, always remembering this is another writer’s work, not your own.

*** Give the writer the manuscript with your comments written by hand or on the computer.

If you get into a critique group where writers offer destructive rather than constructive criticism or seek nothing but praise of their own work, leave the group and find another.

 

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.

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.”