Sunday, April 21, 2013

A Moment of Bliss


This will probably be one of the oddest blogs I’ve ever written, but I have decided to post it anyway because the thought behind it will not go away.

About a month ago I borrowed from the library a book of essays recommended by a fellow writer. I don’t normally read Zadie Smith’s fiction, but my friend assured me I would enjoy her nonfiction, Changing My Mind: Occasional Essays, published by Penguin in 2009. The book arrived by mail from a lending library I belong to, and when I opened it up I at first thought this was just another book. I opened the book at random and had a moment of exhilaration and bliss. There, on the page, beneath my fingers, sat a five-line footnote.

Perhaps you are thinking this is silly, or pretentious, or a waste of time. Perhaps it is. But for me, it was a surprise because I hardly thought I cared about nonfiction anymore beyond the occasional interesting book of pop culture. I enjoy Malcolm Gladwell’s take on things, but he’s not a scientist or anyone whose opinion I would accept over my own, not without a lot more research. But the discovery of the footnote in Smith’s book brought me back to something I do care about.

The collection of essays is thoughtful and wide ranging, and it shows in the construction of the book, something I had missed without realizing it. This book opened the door to a room I had closed off years ago when I finished graduate school and left teaching (my teaching career was nothing to be excited about). The book has all the working parts of a carefully constructed work: Dedication, Epigram, Table of Contents, Foreword, seventeen essays distributed by theme in five parts, with footnotes as necessary, Acknowledgments (yes, at the back of the book), and an index. Do you have any idea how rare an index is these days?

A book with footnotes, index, along with the work is a body to be enjoyed on many levels. The footnotes answer those moments of curiosity that can’t be explored well in the main text but yet call out to be considered, or provide additional information that enhances our understanding of the main point, or tells us the author has a sense of humor, a personality sometimes more playful or thoughtful or something not fully in accord with the tone of the main text.

At this point I might have concluded that the discovery of a well-put-together book was enough joy for one day, and left the book on the table to be read at a later date. But I delved in at once, reading the first essay. (I am methodical, and almost put that aside in a footnote, but here it is, casually dropped in.)

The first essay rewarded me with another pleasure—the discussion of a word, in this case soulful, and Their Eyes Were Watching God by Zora Neale Hurston. Smith discusses her first encounter with this book, and growing into over the years. Her experience reflects several I had at that age, fourteen, when my mother offered books for me to read and I would have nothing to do with them. I had my own choices at that age.

I haven’t finished the collection yet, and when I spoke with the librarian she said, “Don’t feel you have to get to it in a hurry. This is an eight-week book.” Another moment of bliss at all that generosity. That sounds like a long time, and to merely read pages, perhaps it is. But to enjoy every aspect of this book I know I’ll want more time. I plan to renew.


Saturday, April 6, 2013

Time: Where to Find It and How to Use It


This post originally appeared on Author Expressions on Friday, April 5, 2013.


We live in an age of "not enough time." How often have you said it? How often have you heard someone else say it, when you nod and murmur agreement? For anyone who writes, the phrase comes often, sometimes every day. But is it accurate?

Every writer needs time to write, think, rewrite, edit, revise, review, critique, and polish. There seems never enough time when I start writing, and I slog along wishing I had more time. But I'm starting to think this is one of those automatic thoughts, and I would do well to ignore it. When I stop to think about it, I find time in lots of corners of my day.

One morning last month, because of the snowstorm, I left for work three hours later than usual. These three hours were a luxury, and instead of doing something mundane like vacuuming or sorting laundry, I proofed a copy of the paper back of my newest work, Last Call for Justice: A Mellingham Mystery. I knew the text was correct, since I'd already read it through, but I wanted to go through each page to make sure no lines had fallen off, the pagination hadn't suddenly gone awry, and similar concerns. That took less than an hour.

After proofing, I took the time to review a short story I'd written several months earlier, sent out for review to a reader, and revised. It was ready to send out, but where? I spent half an hour considering where to send it, made a choice, and submitted it online to a literary journal. (I write all sorts of things, with and without dead bodies. This one was without, but it did feature a homeless teenager.)

Next came a friend's mss, which I had eagerly offered to read and comment on. She's been kind enough to read almost all of my work and I wanted to return the favor. I gave the story a first reading, made notes, and mentally scheduled a second reading for the next day, when I'd have had time to digest the first one. After that I had a little time left so I read. My current reading is Kate Atkinson's One Good Turn, a Jackson Brodie mystery.

I can't always count on a snowstorm to start my day, but I can find half an hour before I go to work to do one or two things--send out a short story, read a few chapters, make notes for a scene.

On my drive into work on that snowy day, I thought about the first draft of my current work-in-progress, which has been sitting on my desk for over two weeks. It's taken me over three years to finish the draft, and I have already made a mental list of the main changes I want to make. The ending is a little too perfect, unlike life, and in this mss I want the reader to come to the end and think, yes, this is how it would end; this is what would happen. I know I also want to strengthen the first chapter. Occasionally I hear perfect lines in my head and I hope I can hold onto them till I get to work, or can pull over and write them down. I am a firm believer in both hands on the wheel. I do not answer my cell or make a call while driving. (Warning: Do not call me on a cell when you're driving. I'll ask you to call back when you've parked the car.)

When I got home after work, I turned on my computer, checked email, viewed FB, and made a few notes for editing. I started dinner and left it simmering on the stove while I returned to my mss. Later, my husband and I ate dinner, he did the dishes, and I tidied up. After dinner I drafted this short essay. And now, as I come to the end of this piece, I'm glancing around for my book. I have fewer than one hundred pages left in Atkinson's mystery and want to finish it tonight.

Even without those extra three hours this morning, I would have completed almost all of the writing tasks I got through. My day is like anyone else's, with little pockets of time I can use for writing or for something else or for nothing. But since I'm a writer above all else, I'm going to use them to write, edit, revise, read, and more.

Would I like more time? Certainly. Do I need more time? I'm not sure. Having more time would be a luxury, but anyone who thinks he or she needs days and weeks of uninterrupted time in order to write will probably never write. Each one of us has many things to do, but if we want to write, we will. Writers write. That's what we do. We find the time, however much or little it is, and we use it. So when someone tells me he or she doesn't have enough time to write, I smile and nod, and then I think about making them a character in my next story.

If you're interested in my current work, go here for Last Call for Justice: A Mellingham Mystery.

Sunday, March 3, 2013

Comparison is the thief of joy, unless ...


This post appeared on March 1, 2013, on Author Expressions. I'm reposting it here because of some of the feedback I received on it.

The usual misery of February was ameliorated this year with the riveting tale of Patricia Cornwell taking on her financial manager in a case of financial mismanagement, and winning a $50 million settlement. I don't know how this story played out in your home, but it became the undercurrent in the swells of dinner conversation and the rogue wave that crashed during a quiet evening of reading.

The first, and really the only, question was, How many books do you have to sell to make $15 million a year? My answer? How would I know? I can barely figure out how much money I need to get half a tank of gas in the car. Fifteen million dollars for books? I look at that lowly plural "books" and think it needs more oomph to match that amount of money. The word looks so puny by comparison.

The story of a writer who makes huge sums of money will make life much more difficult for the rest of us. Now, every time someone asks me what I do and I admit that I'm a writer, their eyes light up, they stand a little taller, and they ask about my books. I know (and you do too) that they're thinking I'm so rich that I must shed gold dust. As I disabuse them of this notion, their eyes fade to the usual dullness of strangers when I explain the term "mid-list" writer.

The Cornwell saga of loss and triumph has brought a certain glamour to writing once again--for writers. We know our work is mostly drudgery, but now others think we are "almost" important. Anyone who makes that kind of money certainly must be important. Even if other writers don't come close to making what Cornwell makes, we can see the potential is there. It's a heady moment.

Or it would be if I could relate to the court award. But I can't. Cornwell is so far off in another universe that if someone told me she had been awarded $50 billion I would have thought it bizarre but equally irrelevant to me and my life. Furthermore, I don't wade in the mainstream, or swim in the ocean of popular culture. I would never expect any book of mine to sell millions of copies, and if it did, well, my thought processes don't stretch into that realm.

My inability to connect with Patricia Cornwell's circumstances, beyond wishing her a heart-felt congratulations, is perhaps one of the best things that could happen to me or any other writer. Theodore Roosevelt was right when he said, "Comparison is the thief of joy." I love to write, I love hearing the stories that come to me, I love watching human beings act out their dreams and fantasies. If I start watching other writers develop their work and careers, I'm sure to start seeing flaws and emptiness in my own. Even worse, I'll take time away from my own work and what gives me satisfaction.

Writers are celebrating the success of one writer who triumphed in court. But in the quiet of the early morning, or the end of the night, during the time F. Scott Fitzgerald called "the dark night of the soul," writers are also thinking about all those books people are buying. $15 million, which is what Cornwell gave as her annual income, is a lot of royalties for a lot of books. And she's not the only one selling in big numbers. Somewhere out there millions of people are buying books--books, books, books. That little one-syllable word, "books," still has the power to fill a universe.

A few writers in this world will look at Cornwell's court judgment and think they make almost as much, but all writers can look at the news story and know in comparison they live in the same world with her. They write books that go out into the world and someone, somewhere, buys them and loves them. The real news in the Cornwell story, for writers, is how big the world is for their work.

So, to Patricia Cornwell, a brief message, Hearty congratulations, and Thank you.


Sunday, February 24, 2013

Motive and Motivations


Writers of crime fiction think hard about motive and motivation in an effort to give authenticity to their characters' behavior. My motive in this short piece has something to do with surprise, my own.

In the Oxford Companion to Crime and Mystery Writing (1999), B. J. Rahn explores the subject of motives in crime fiction, citing two main publications on the topic as well as numerous mystery novels. F. Tennyson Jesse, in Murder and Its Motives (1924), a study of true crime, isolates six motives: "gain, revenge, elimination, jealousy, conviction, and blood lust." Rahn next cites Ruth Rendell's The Reason Why (1995), in which the author also cites six motives for murder: "gain, revenge, escape, altruism or duty, insanity, and impulse or curiosity." Rahn explores these systems more extensively and cites numerous mystery novels as illustrations.

When I begin a new story my first question is who are these characters and what do they want? It's the one who desperately wants something that drives the story. In one form or structure, the one most driven is the detective seeking the truth, or the solution to the question of who did what. And beneath that is the reconstructing of an earlier story--what did the villain do? The crime mystery moves forward in investigation by moving backward in reconstructing a crime and its motivations.

The essay on motives in the Oxford Companion is helpful in pushing at least this writer to think about possibilities. We all have our favorite ruts, or stories, and every writer is in danger of recreating a favorite plot. We can too easily fall into a formula within the genre formula. Reading broadly in both fiction and nonfiction is a way of pushing ourselves out of that rut and away from at least one danger in writing.

But the motive for this piece?

On the Five Star chat list a writer posted a link to a newly discovered "service." At the site a writer can type in her blog or website and determine its general ranking, on a scale of 1 to 10. Since I'm just as ego driven as any other writer, I went to the site expecting to find my blog or website ranked near or at zero. To my continuing amazement, it ranked 4 out of 10. This is surely an error and a warning to other writers not to take this ranking system seriously.

Nevertheless, the ranking made me feel I was shirking my duty, not living up to the standard that at least someone else thought I had met. I decided I'd better get writing--on my blog. So here it is. Motive and motivation.

If you have a blog or website and want to face an entirely arbitrary ranking, go to the site below. And I hope you are as pleasantly misinformed as I was.

Wednesday, December 19, 2012

My Next Big Thing


Today I'm participating in a blog tour called The Next Big Thing. The Internet is full of blog tours but this one looked like fun when I learned I could "tag" some of my friends and give them some well-deserved publicity--all three are terrific writers, and I've learned lots from all of them.  I've given their links below.

My thanks for inviting me to participate go to June Shaw, whose work you can find at http://murderousmusings.blogspot.com/ Many people who read mysteries already know her blog, and for those who don't you'll be glad of the introduction.

The purpose behind this tour is to give writers a chance to talk about our  "Next Big Thing." And to keep us all on track, we have a list of questions to answer. (Some things in life really are easy and fun.)

What is your working title of your book?



My current book is the sixth book in the Chief Joe Silva/Mellingham series. I chose the title Last Call for Justice because Joe's father, now a very old man, he wants to settle a crime from almost forty years ago. Joe's father has little time left and is determined to see this through.

Where did the idea come from for the book?


Some years ago at a conference a reader asked me about Joe's family. She was quite concerned that I never introduced his family in any of the Mellingham books. I hadn't thought about it because I wanted Joe to be the quintessential outsider in a small town, someone who could concentrate on the crime and the citizens; I didn't want the story to be about him. The reader said, "So what's the story about Joe's family." She was so certain there was a story that I started thinking about all the little things I'd said about Joe's family scattered throughout the books. The story grew gradually until the day came when I knew I had to write it.


What genre does your book fall under?



This is a traditional mystery. It's not really a cozy, though not far from it, because it's not as light as most cozies are.

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

That kind of question stumps me. Joe is tall and handsome--Portuguese with dark hair and dark eyes. Gwen is Irish American and looks it. She's not beautiful, but she's good looking and her character and personality shape people's reaction to her. 



What is the one-sentence synopsis of your book?


Joe's father brings together all his children in order to settle the question of an old crime only to find that a family reunion is fertile ground for a new crime.


Will your book be self-published or represented by an agency?


I offered this book to Five Star just when I was starting the Anita Ray series, and the editor wanted me to focus on one series or the other. I held back the Mellingham book and focused on Anita's adventures. But the story about Joe's family kept coming back to me, so I decided to publish it myself--this is my first self-publishing effort.

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

A first draft usually takes me three to six months. I write about 1500 words a day but I then do a lot of editing before I feel I have anything that is strong enough to consider a "first draft." And then the real editing begins. I usually do at least 6 or 7 drafts after that.



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


My books are like some of the traditional British mysteries and perhaps some of Margaret Maron's work.


Who or what inspired you to write this book?

In addition to the reader who was insistent on knowing about Joe's family, Joe himself pushed me to write this book. I wanted to know more about him and his family, about how he grew up and what his siblings were like. I kept notes on some of the comments I'd made about him and his family throughout the five other books, and there were enough loose ends there to suggest I had ideas I could easily develop. The inspiration, I think, really came from writing about Joe for so many years. (When I first wrote this last sentence, I wrote, "came from working with Joe." I guess that's how I feel about it. He's my co-writer in all of this.)

What else about your book might pique the reader's interest?



When ethnic groups come to the United States they are safe to be who they are, to preserve the parts of their culture that matter most to them. In some cases the traditional culture is better preserved in the United States than in the home countries. But when people within an ethnic group begin to move outside, their choices tend to be consistent across their own culture. That was something I wanted to explore. I also wanted to look at how different relatives handle the same loss over time.

One of the comments I made about Joe at a talk drew a very strong response from the audience, and if I'd had a thousand copies of the book I could have sold every one of them in a nanosecond. I described Joe as a chief of police and a very decent guy. When I began writing I didn't feel I had to make him the typical protagonist who is forever struggling with alcohol, depression, a conveniently flexible interpretation of the law, and the rest of the flaws writers have given their characters. I felt he could be a good cop and a good protagonist and a good man. Part of this was because I was bored with the predictable cops and detectives I came across in crime fiction, and I wanted something different. I wanted a sense of realism in my stories. And I do think Joe is realistic. In my other life working in a social service agency I have encountered several police chiefs and police officers who are like Joe--decent people doing a difficult job with kindness and firmness and without all the literary flaws.

The best part of doing something like this blog tour is the unexpected turns in the process. Until I came across the last question I'd forgotten about the way people responded to my casual remark that I wanted to write about a policeman who was a decent guy and not an alcoholic or anything else. It reminds me of how much I enjoyed writing about Joe even when I was struggling to get something in the story to work.

And the other best part is finding out how my fellow writers will answer the same questions. Next week you can follow Skye Alexander, Rae Francoeur, and Kathleen Valentine.

Skye Alexander is the author of more than thirty fiction and nonfiction books. www.skyealexander.blogspot.com

Rae Padilla Francoeur's memoir Free Fall: A Late-in-Life Love Affair was published by Seal Press in 2010. She's working on a new memoir, "Partial Recall," while operating her arts and nonprofit creative marketing business New Arts Collaborative and publishing weekly book reviews. http://freefallrae.blogspot.com

Kathleen Valentine is the author of over ten books including fiction, knitting, and a cookbook/memoir about growing up Pennsylvania Dutch. Her fiction has been number 1 in Amazon's Horror category. http://kathleenvalentine.com

Kathleen is also the designer of my cover for Last Call for Justice.


Friday, December 14, 2012

Guest Post: Edith Maxwell, on Learning to Write


Today my guest is Edith Maxwell. I've known Edith the early 1990s when she joined a writers' group in my home. I loved learning about her varied interests, and now I get to read about some of them in her novels. Her first book appeared this year, and brings together several of her interests.

___________________

I’m so pleased to be a guest on Susan’s blog today.

 
I just spent three days alone on Cape Cod on a solo writing retreat, and am extremely happy to report that I cranked out more than 15,000 words on my work-in-progress, the second book in my Local Foods Mystery series. This is the fourth book of mystery fiction I have written. It’s getting easier, but that doesn’t mean it’s easy. But I do like to think that my writing gets better with each book, and I wanted to share the story of when I started writing book-length fiction.

Almost twenty years ago my younger son went off to kindergarten. I was home with my boys at the time, running a small organic farm, teaching independent prepared childbirth classes, and doing some free-lance editing. For the first time since my older son was born, I had every morning to myself.

I loved reading traditional mysteries and spent many happy hours with Sue Grafton, Susan Wittig Albert, Katherine Hall Page, Sara Paretsky, and more. So I decided to see if I could write one myself. I knew the world of farming very well by then and created a geek -turned-organic farmer named Cameron Flaherty. She found a body in her hoophouse and we went from there.

Let me clarify right now that I had never studied creative writing. I’d been writing since I was a child but had NO formal instruction in writing fiction. I didn’t know anything about point of view, avoiding adverbs, writing suspense, bringing setting and environment in as an intimate part of the story. Nothing, even though I had a PhD in linguistics and had written news stories, academic articles, fun essays.

After a few months, my neighbor across the street, also a budding writer, suggested in casual conversation that I might benefit from attending a writing class that several of her friends were part of. This was the group that Susan still conducts in her home all these years later.

I contacted Susan and submitted a couple of creative non-fiction essays I had written for a local paper. I guess they were good enough for me to make the cut. I started riding down to Beverly with others in the group every Wednesday evening to read scenes to the class.

Man, did I learn fast how much I had to learn! I basically rewrote everything I had written up to that point, which was about 70 pages. And then I went from there. We followed each others’ progress and offered critiques. I learned not only how to write better, bit by bit, but also how to offer constructive criticism. And I especially looked forward to those moments when Susan would say, “Now that’s very nice.” Those comments weren’t thrown out with abandon—you had to earn them.

I didn’t quite finish the book before the farming season started up again. Since that time I have resumed a regular day job, gotten divorced, discovered Sisters in Crime, had several short stories published, and taken my share of writing workshops. I have one book out (Speaking of Murder, under the pen name Tace Baker) and a three-book contract for that very same organic farming story I started so long ago, although I rerewrote it all from scratch, retaining only the world I had created and adding a Locavore Club.

I owe so much to Susan and her expert and gentle teaching. I’m really pleased to see the success of her Anita Ray series as well as the publication of another Joe Silva book, a series I still think is one of the best I have read. Thanks, Susan!
__________________


Tace Baker, the pen name of author Edith Maxwell, is the author of Speaking of Murder (Barking Rain Press) featuring Quaker linguistics professor Lauren Rousseau. Edith holds a PhD in linguistics and is a member of Amesbury Monthly Meeting of Friends. 

Edith also writes the Local Foods Mysteries.  A Tine to Live, a Tine to Die introduces organic farmer Cam Flaherty and a Locavore Club (Kensington Publishing, May 2013). 

A mother and technical writer, Edith is a fourth-generation Californian but lives north of Boston in an antique house with her beau and three cats.




Sunday, December 2, 2012

A Quantum Leap

On Saturday afternoon, yesterday, I moderated a panel on self-publishing. This is no longer quite the novel topic it once was. About five or six years ago I moderated a panel on publishing that morphed into one about self-publishing because one of the writers had done both commercial and self-publishing. We had about ten people in the audience. Two and a half years ago we put together a panel on self-publishing and drew about fifteen people. Those in the audience asked a lot of questions and the discussion was mild and easy going. Fast forward to yesterday.

Yesterday six writers showed up for their panel, and we waited for everyone to get settled. By the time we began--I was moderating--over 40 people were in the audience. That number grew to over 60 people. What happened in the last two and a half years? The word  about self-publishing spread and people began to understand what was possible. So many companies have jumped into this world with various levels of service that it would be hard for anyone not to find a resource for publishing their own work--in paper, in audio, in eBook format.

The writers on the panel had a wide range of experiences and were willing to share generously. They talked about their first efforts, and the high costs of not knowing the "system," and then talked about their most recent efforts and the almost nonexistent costs after learning how to do much by themselves. Another talked about the doors that opened to advocate for important causes, and another talked about the opportunity to put a personal experience into print. One writer wowed the audience with her own success--30,000 copies of one title sold in the last year (and her new car, paid for with cash). Another talked about her several books that reflected a life of both tragedy and triumph in working for justice for others. The last panelist described a new profession that allows him to work at home on others' writing projects while creating his own books. The panelists were varied and interesting and enthusiastic and generous.

There were so many questions from the audience that I, as moderator, could not keep up. Every time one question was answered, another ten hands went up. We could have stayed there for another four hours answering questions. People came with lists of questions about the process in general and their own works in particular; some came with their own self-published books and suggestions about what companies to work with. Most people were clear about learning quickly from any missteps and moving on to the next project.

When asked about the advantages, every writer--on the panel or in the audience--echoed the idea of control and time. Writers wanted to control their own work and they didn't want to wait months and years to see a book make it into print.

No one said he or she wouldn't do it again, and no one discouraged anyone else from giving it a try. We talked about the challenges in publishing something without assistance such as proofreading, publishing color drawings with text, copyright, business choices such as iUniverse or CreateSpace, POD and eBook formats. It was one of the most stimulating and hands-on panels I have ever participated in.

The big question for some of us was, how did so many people who were interested in this new world of publishing find out about the panel? The panelists did their job before Saturday. Every one of them posted the announcement somewhere--Facebook, a local website (Good Morning Gloucester), blogs; and it was twice in our local newspaper.

Yes, it is indeed a new world. And, to my surprise, I'm not the last one to enter it. Last month (which was only last week) I posted my new Mellinghan/Joe Silva mystery for Kindle. Last Call for Justice is on sale now.

The panelists are a group of Cape Ann writers and I hope you'll take the time to look at their work. You have lots of good reading ahead of you if you do.

Margery Leach
E.J. Lefavour
Thomas Hauck
David Simmons
Kathleen Valentine
Susan Wadia-Ellis