Mayra Calvani's Blog - Posts Tagged "murder"

Gerald Elias is author of the award-winning Daniel Jacobus mystery series, published by St. Martin’s Press. Elias brings over thirty-five years as an internationally recognized concert violinist, conductor, composer, and teacher to his novels that take place in the murky recesses of the classical music world. He draws upon his intimate familiarity with the unseen drama behind the curtain to shed an eerie light on the deceptively staid world of the concert stage. A native New Yorker, Elias now resides in Salt Lake City, Utah, and West Stockbridge, Massachusetts.

Congrats on the release of Death and the Maiden, the third instalment in your violinist mystery series. What was your inspiration for this particular story?

If you’ve ever played in a string quartet, you’ll know it doesn’t take very long before everyone wants to kill each other. That makes it slam dunk material for the setting of a murder mystery. Then, given that the titles of my books are also the names of classical music pieces having to do with death, I would have been a knucklehead to overlook Schubert’s masterpiece, the Quartet in D Minor, Death and the Maiden. He transcribed the music for the quartet from a song he composed, in which a young woman struggles against the figure of Death, who has come to take her with him to the beyond. The maiden, of course, is anguished, but Death tries to convince her that he is there to provide comfort. In a way, he’s almost like a lover. The story in my book was inspired by that encounter.

Are you a fan of Agatha Christie?

Not only dear Aunt Agatha, but many of the other English mystery writers as well: Dorothy Sayers, Ngaio Marsh, Dick Francis, John LeCarre, and of course the grand-daddy of them all, Mr. Conan Doyle.

Tell us about your amateur sleuth protagonist, Daniel Jacobus. I hear he’s quite a character. How did he come to be how he is?

Daniel Jacobus has about as flinty an exterior as one can imagine, but deep down inside he has a heart of pure gold…maybe. As a young man his career as a concert violinist started with great promise, but with the onset of blindness he became increasingly reclusive, embittered not with music itself, but with the professional world around which it is created. Now, in his old age, he has to be dragged kicking and screaming to solve mysteries in the very world that he shunned.

Having been a concert musician for most of my life, I’ve taken the frustrations that most of us in my profession have do deal with, in which compromises to musical integrity are sometimes imposed upon us, and have consolidated those vexations into the persona of Jacobus to an inordinately bitchy level. The reason I’ve made him blind is two-fold: first, by being blind his other senses, especially hearing, are extraordinarily enhanced, enabling him to solve mysteries that those with sight cannot; and second, in an almost metaphorical sense, by being blind, he perceives music the way it should be—with his ears—and isn’t distracted by the superficial ostentation.

How long did it take you to write the novel? Did you plot it in advance?

In a way, writing is like playing a musical instrument—they are crafts that need to be learned in a disciplined way, and that takes time. Once one reaches a certain level, the understanding of the craft becomes ingrained, though the artistry, fortunately, always remains a wonderful challenge, full of surprises, and needs to be constantly honed.

With Devil’s Trill, it took ten years from the time I first put pen to paper until it finally found its way into print. I could write a thriller based just upon that saga! Danse Macabre took a year and a half. Death and the Maiden took a year. That’s about as fast as I want things to be because not only do I want to make sure I maintain the quality of the books, I want them to get even better.

The general plot for Death and the Maiden came quickly enough. The idea of each member of a string quartet mysteriously vanishing was the easy part. (That idea, no doubt, has entered the mind of most musicians who have ever played string quartets over the past three hundred years.) Deciding upon the means and the chronology was a challenge, because once one or two members disappear, how do you keep the quartet going so that the remaining members have the opportunity to be offed as well?

How do you go about plotting your mysteries? Do you do a chapter by chapter outline?

I start out with the overall concept, and from there try to visualize a basic story line that would strongly support the concept and grab the reader’s imagination. Then I decide how I’d like to begin and end the story, gradually creating a straight line between the two. That doesn’t necessarily mean the chapters progress chronologically, because sometimes it creates more suspense to jump forward or backward in time, but I need to have an orderly progression in my head or else my brain can get hopelessly addled. Once I have that I add intersecting lines of plot and new characters that have organically sprouted up from the main story line. Finally, of course, I have to figure out how Jacobus is going to solve the mystery!

With my fourth book, Death and Transfiguration, that I’m working on now, I’ve taken to writing a brief summary at the beginning of each chapter, a service a lot of the English writers used to provide their readers back in the nineteenth century (“In which Jonathan is thrown from his Horse and discovers, quite by Accident, a fair Maiden”), but for me it’s simply a way to expedite my writing process and will be deleted in the final product.

What is your writing schedule like and how do you balance it with your teaching and music career?

I’d love to have a regular writing schedule—to sit down from seven to eleven every morning with a cup of coffee and write, gazing out the window from time to time for inspiration. But neither my life nor my brain works that way. For one, I’m always juggling music projects with writing projects, and there are times when I’ll have an idea for a book (not necessarily the book I’m currently working on) while driving or at a rehearsal or concert. On those occasions I’ll keep the idea—which might be as little as a single line of text—in my head until the first opportunity to write something down so that I can remember the idea. Then as soon as I get home, whenever that might be, I’ll write it out in full. I have lots of little pieces of paper on my desk.

One big change for me is that in May, after more than thirty-five years of playing in symphony orchestras, I retired from my position as associate concertmaster of the Utah Symphony. This will give me a lot more freedom not only to write but also to concertize on my own.

Do you have any events coming up in the near future?

I recently returned from a two-week trip to Ecuador, where I conducted the Orquesta Sinfonica Nacional de Ecuador, did some performing on the violin, and gave master classes to groups of young string players. It was a gratifying concert tour in all ways, and I even had a chance to do a concert/book event for my first two books, Devil’s Trill and Danse Macabre, at the American Embassy in Quito.

This summer I’ll be performing with the Boston Symphony at the Tanglewood Music Festival in the Berkshire Hills of Massachusetts (home to Daniel Jacobus). At the end of the summer I’ll be driving back to Salt Lake City for a book tour, the specific events for which are just now being finalized. I greatly enjoy those book events because in addition to the usual Q&A I play excerpts on my violin of some of the significant music talked about in the books.

Do you have a website and/or blog?

My website is www.geraldelias.com. One of the special features I’d like to mention about the site is in response to many readers who wished there was a CD to go with each book. I think the solution we’ve come up with is even better. If you go to the website, there’s a page called Music To Die For. On this page you can click on any of the important pieces talked about in the books and listen to a live performance I’ve given over the years. So it’s free, it’s easy, you can’t break or lose it, and you can listen to music from all the books.

Where is Death and the Maiden available?

Death and the Maiden will be on the bookshelves August 16. It can be purchased at any bookstore or online, and can be found at local libraries as well. If you don’t see it, ask for it!

Is there a fourth book in the horizon?

I mentioned I’m working on Death and Transfiguration. This is the title of one of Richard Strauss’s greatest orchestral tone poems, about a dying man’s physical and emotional struggle for redemption, and his glorious vision of the hereafter when he dies. Strauss composed the music as a young man, and—never one to be called modest—as an old man on his deathbed he said to his daughter-in-law, “You know, death really is a lot like the way I composed it in Death and Transfiguration.”

My story is about a world-famous, tyrannical conductor named Vaclav Herza, who just about everyone would like to kill, but the great maestro always seems to have the upper hand—until he meets Daniel Jacobus, that is.

Is there anything else you’d like to say to my readers?

Since my first book, Devil’s Trill, came out two years ago I’ve received a lot of mail from readers who often have flattering comments to make about the books, but who also occasionally provide some choice, piquant criticism. I welcome both kinds of responses equally (well, maybe not quite equally) because while I like to hear I’m making most people happy, it’s good to be kept on my toes!
Death and the Maiden: A Daniel Jacobus Mystery

Set against the backdrop of Puerto Rico, Belgium, Turkey, and the US, these seven stories range from the mysterious to the paranormal to the bizarre.

Now on Kindle for only $.99!

The story opens during a diving salvage operation with experienced divers and treasure hunters Sam Lyons and Chase Cohen. Though they’re working on the Griffith wreckage, Sam believes the site also contains the wreckage of none other than the Wanli II—the Ming Dynasty Emperor’s lost dragon ship containing an ancient figure head, a fierce dragon in gold leaf and preserved in resin for all posterity—the gift Mai Le intended for her lover.

Unexpectedly, however, things turn bad for Sam while he’s underwater: he suffers cardiac arrest for no apparent reason. Indeed, the circumstances surrounding his death appear more than a little mysterious.

Chase, who had loved him like a father, feels responsible and doesn’t know what to make of it. Did something malfunction or did something scare Sam down there? He'd been an experienced diver with over 20 years of experience under his belt. What had Chase missed? Sam was the only man Chase had allowed himself to trust. He and his daughter Rachel were the only two people he really cared for. But now all had changed: Sam was dead, and Rachel would forever blame him for his death.

Move four years forward. Rachel Lyons, Sam’s Daughter, is working at a grant foundation. All is pretty quiet and routine in her life…until she’s approached by a museum director asking for a grant to conduct another diving salvage operation, run by none other than Chase’s Trident Ventures.

Though Rachel has no intention of helping Chase, Chase is set on convincing her. Since the operation focuses on discovering the Wanli II, if they succeed, her father would receive his long overdue reward and the museum would fund a permanent exhibition to honor his memory.

Yet, Rachel is still hesitant. Then, a twist of fate puts Rachel's brother in danger, forcing her to change her mind about funding Chase's project. Chase is more than suspicious about her sudden change of heart, but he isn't about to say no to this opportunity which could help him leave his mark upon the world as a renowned treasure hunter.

Thus, she grants him the money and insists on joining the underwater expedition. Can she put aside pride and work with Chase on a daily basis?

Severed Threads is an engaging, entertaining read! I've always enjoyed stories about lost treasures and underwater archaeology and this one didn't disappoint. The hero and heroine are realistic and sympathetic and there's a sizzling chemistry between them. The plot is believable with a fair share of exciting twists and turns. I found the workings of a grant foundation and a diving salvage operation quite interesting and informative. Pacing is fairly quick with a nice balance of action, dialogue, description and the inner thoughts of the characters.

In short, Severed Threads is an exciting novel featuring danger in the high seas, romance, action and adventure, murder, and even a sprinkle of the paranormal for good measure. Recommended.

My guest today is Gabriel Valjan, author of the Roma series, published by Winter Goose Publishing. The first book, Roma, Underground , came out earlier this year. The sequel, Wasp’s Nest, was just released this week. The third installment is scheduled for August 2013.

Valjan attended the University of Southern California for his undergraduate education and completed graduate school in England at the University of Leeds. Ronan Bennett short-listed him for the 2010 Fish Short Story Prize. Valjan’s short stories continue to appear in print and online literary journals. He recently won ZOUCH Magazine’s inaugural Lit Bits Contest. He lives in New England.

Find the author on the web: Website/blog / Winter Goose Publishing Author’s page / Pinterest for Wasp’s Nest

Wasp’s Nest is available on Amazon Paperback / Barnes & Noble Paperback / Kindle / Nook

Read my review of Wasp’s Nest on The Dark Phantom Review.

Thanks for this interview. Tell us a little about what got you into writing?

Like most things in my life the road was not always obvious or straight. I didn’t always know that I wanted to be a writer. As a child I read voraciously, so I was quite awed, quite intimidated, by the great talents on the bookshelves at my local library. I began with a lot of self-doubt about my ability to sustain an idea, create multidimensional characters, and capture the tics of dialogue. I knew what I enjoyed in literature, understood to some degree how it all worked. I was convinced (still am) that nobody could teach the idea that starts a short story, a novel, or a poem. When I had set aside the initial excuses and insecurities, I discovered that I was having fun and I had stories within me.

What was your inspiration for Wasp’s Nest?

After I wrote the first in the series, Roma, Underground, I knew that I had created my cast of characters. Two things happened then: one, I wanted to see how each of my characters would grow and evolve, interact with each other, the world around them, and bond emotionally; and two, I wanted to take my own sense of ‘what if’ thinking and create situations and see how my characters would negotiate them. I believe what makes my characters interesting is that they each of them has their own ‘issues,’ as we all do in life, but mixed in it all is a cultural collision of American and European. In Wasp’s Nest, the ‘what if’ has to do with cancer research and technology. What if someone had a way of detecting cancer at the level of DNA and prevent cancer from occurring without chemotherapy, radiation, and disfiguring surgeries? Since the majority of us will die either from heart disease or some form of cancer, there is that ‘what if.’ And then there is the ‘what if’ in Wasp’s Nest of the threat a potential cure poses to those industries that profit from chronic illness. I don’t suggest that ‘what if’ is a pure either/or. Dance with the angel of a cure, but don’t forget that the Devil was also once an angel.

For those readers who haven’t read this or the first book yet, what is the blurb of the series as a whole and how many instalments are you planning?

I haven’t committed to an exact number, but I had planned six novels. The overall arc of the series is watching friends learn how to love and trust each other, learn how to move within a morally compromised world. The main character Alabaster (or Bianca if you prefer her alias) is difficult to know, extremely intelligent, and dichotomous at times in her thinking. She sees things others do not, yet she struggles with intimacy and trusting another person. Dante, her boyfriend, is a nice guy, a little too patient with her at times. Farrugia is a stoical investigator with an edge to him. His peer Gennaro is a widower who has never forgiven himself for causing his wife’s death. Alessandro has brains but picks the wrong women. Then there is Silvio, the ambitious and humorous interpreter. In Wasp’s Nest, readers will be introduced to Diego Clemente, a garrulous, very Boston character. Throughout the Roma Series I try to infuse authentic Italian culture and food.

In this novel, you dive into the controversial world of biotechnology, genetics, and pharmaceutical companies. Is the theory about wasps, the methyl toolkit, and their connection to cancer in your story a real thing?

The Nasonia wasp is real. There are three species indigenous to the U.S. and a fourth was indeed discovered in Brewertown, New York. In the novel I mentioned Mendelian genetics, which should return readers to basic biology. I try to keep it simple. I address the reason why this wasp was selected and why the fruit fly is an imperfect model. The reader will discover that the Nasonia wasp is no pleasant creature, but what I said about its genetics is true; it is easy to study, easy to manipulate, but the ‘what if’ is that current research in Nasonia is devoted to the development of pesticides. The concept of the methyl toolkit is real. The ‘what if’ I propose is pointed at oncology. I don’t think that it is misleading to say that we all have the potential for cancer. Women with a familial predisposition to cancer, for example, can be tested for the BRCA1 and HER2 genes for ovarian and breast cancers, respectively. A while back, the actress Christina Applegate tested positive for the BRCA1 gene, which was unexpressed, but she opted for a double mastectomy as a pre-emptive strike. This is an example where technology exists and the ethical debates begin. While some sophisticated ideas do exist in Wasp’s Nest, I tried to not make them inaccessible. I believe readers are intelligent and seek intellectual engagement while they enjoy a story.

How much research did the book required?

I always do a great amount of research, but I hope that what I decide to include is articulate and not beyond the grasp of the reader, or so implausible that it is science fiction. I research technology online and in technical libraries. While I don’t have a Ph.D, I’ve retained a working vocabulary from my scientific education. With the methyl toolkit I did speak with an immunologist and instructor who researches cancer and teaches at the graduate level. While I was remiss in thanking him in the Acknowledgements I had him in mind when I introduce readers to Portuguese food in Wasp’s Nest.  I should also mention that another form of research necessary to the Roma Series is cultural in nature. Two of my friends act as my editors. Dean proofreads all my work; and Claudio does the ‘cultural editing.’ Both men are far more knowledgeable in Italian than I. Claudio is a native speaker, a linguist, a journalist and a professional translator, with northern and southern Italian culture in his veins. While I can read Italian with respectable facility, only the native speaker can give you the authentic phrases and turns of phrase. This ‘cultural editing’ was crucial to the third novel, out in August 2013, since it deals with a volatile part of recent Italian history, with an unfortunate American connection.

I love the title, which of course suits the story well because it works on two levels. Did you come up with it right away or did you have to brainstorm?

I knew the title from the start. I had wanted to create a story in Boston. The title does work on many levels. It alludes to the insect, the Bostonian stereotype of the White Anglo-Saxon Protestant, and the colloquial expression of getting into a mess, although I think the proper phrase has to do with a ‘hornet’s nest.’ One of the particular joys with Wasp’s Nestwas working with Winter Goose in designing the cover art. I should point out that the wasp on the cover is not a Nasoniacritter, but a yellow jacket wasp.

How long did it take you to write the novel and did you plot in advance?

I wrote Wasp’s Nest in four to six weeks, BUT I spent longer editing and shaping it before I submitted it to Winter Goose, where it underwent more editing with James Logan. Fellow Winter Goose authors Jessica Kristie and Sherry Foley provided me with invaluable feedback and suggestions before James touched the manuscript. Jessica is a poet so her contribution around imagery was helpful. Sherry is the author of two Winter Goose thrillers: A Captive Heart andSwitched in Death. She taught me other “suspense tricks.” I can’t emphasize how helpful they were for both Wasp’s Nest and for me as a writer. In terms of plotting, I knew where I was going with this novel. It did feel at times like “seat of your pants” writing, but I advocate getting the story down on paper and then editing afterwards.

What made you decide to make your main character a woman? Has this been challenging? If yes, in what way?

The genesis for the Alabaster character came from a dare. I was talking to a work colleague whom I’ve known for over ten years. Margaret knew that I was writing short stories at the time so she suggested that I try my hand at writing a female character.  The result was a short story entitled “Alabaster.” Yes, it is challenging to write out of gender and I would add that it is also difficult to write from a child’s perspective. I have a deep respect for children’s authors since they have to modulate story and vocabulary to their audience. I don’t think writing from a female point of view is insurmountable. Research can get you the answers. The skill is in transforming the knowledge into believable action and dialogue.

In Book I, it was Rome. Now, it is Boston. In both novels your locations are fleshed out in vivid detail. How important is a sense of location in a story?

In the Roma series I try to make the location a character. We can take our environments for granted. Wasp’s Nest takes place in Boston, the third, fourth, and fifth novels take place in Milan, Naples, and Boston. Cities change all the time: think of Whitman’s Manhattan and New Jersey, T.S. Eliot’s London, and Baudelaire’s Paris. The modern metropolis provides a remarkable backdrop to our individual and social conflicts and pleasures.

How do you keep up with what’s out there in terms of spy gadget technology?

I hope readers don’t think that they are getting Jane Bond. John le Carré Tinker, Tailor, Soldier, Spy proved that spy-craft is a slow game of chess. As I mentioned earlier, I read a lot so I read the geek articles whenever I find them, rummage in the libraries when an idea takes root, but in terms of gadgetry I think I use a remarkable device called the ‘intelligent brain,’ and it happens to belong to a woman.

As it’s the case with book I, there’s a lot of marvellous food description in Wasp’s Nest. 

Starving is not an option in Italy. How could you not love the food and the attitude of La Dolce Vita?

If you could narrow down the three main elements of a good spy story, what would they be?

Ambiguity. Misdirection. Movement. A story has to move; the pages have to turn. Ambiguity in character and motivation is true to life. Human beings are not selfless creatures; that is why I think altruism is a virtue. One of the joys of a good mystery is watching intelligent people being intelligent.  This is damned difficult to write, since your protagonist has to be smart enough to spot something that neither the other characters nor your readers can see, even though it’s right in front of them.

You also write poetry and short stories, having published many in literary journals. What do you find more enjoyable: working in a poem, a short story or a novel?

Each has its appeal. Poetry is a house with all the necessary language; and by its nature, not often natural language. The short story is an airplane with a short runway and flight is imminent or the plane crashes. The novel is an endurance race, where there are miles to go, numerous paths to take, but you have only so much water and food: use them wisely. For me poetry is intimate and personal. While I enjoy the short-fiction format, I have noticed that what was once acceptable – twenty to fifty pages is now impractical, with most stories clocking in at 5,000 words. Flash or micro fiction is challenging. Is it a story or a vignette? I’ve only had one flash-fiction piece published; it was a 111-word story that I did for a contest for ZOUCH Magazine.

Congratulations on winning first prize in ZOUCH Magazine’s Lit Bit contest. Can you tell us about it?

I was searching for the “calls for submission” web pages and I saw page after page of requests for flash fiction. I felt dismayed but then I thought: What can I tell in a short, SHORT piece? I wrote one sentence that told a hero’s journey. The brevity of the form drew upon my experience in writing poetry.

What’s on the horizon for you?

I’m almost done writing the fifth book in the Roma Series. I’m trying to find a publisher for a three-volume noir series that I have written. It has two main characters, an American and a British woman, who are part of the American intelligence community. The novel starts in Vienna and continues in McCarthy-era Los Angeles and New York, highlighting the time, the mores, and the dark rivalry between the CIA and FBI.

Is there anything else you’d like to share with my readers?

Write because you love to write. No matter how great you think the writing is, please have someone edit it for you. Respect your reader and try to understand that not everyone will like you, that criticism, while an opinion, is an opportunity for improvement. If you find a writer that you like then write a balanced review on Amazon, Barnes & Noble, and Goodreads. Last but not least – thank you for reading.

This interview originally appeared in Blogcritics. 

A native of Chicago, former police detective and now romantic suspense author Chris Karslen grew up with a love of history and books. Her parents loved traveling, a passion they passed on to her. She's had the good fortune to travel extensively throughout Europe, the Near East, and North Africa.

Though her desire to write began in her teens, Chris spent twenty-five years in law enforcement with two different agencies before she decided to pursue her dreams. Chris is the author of the romantic thrillers Golden Chariot, Byzantine Gold and numerous other romance novels.

Now a fulltime writer, she lives in the Pacific Northwest with her husband, four rescue dogs and a rescue horse.

Learn more about Chris and her work on her website and blog.

Read my review of Byzantine Gold here.

Her mission as an author...

I want to entertain the reader with my stories. I want to share my love of certain things, like places, history, and time travel. It’s my way of saying, this is why I love England or Turkey or history etc. I like using the characters to present a “what if” question and have the reader join me in asking it to.

Her inspiration for Byzantine Gold...

Charlotte and Atakan from Golden Chariot—I like them and wanted to show how their relationship progressed. I also liked many of the support characters. I wanted to bring them back. The best way is another shipwreck. I liked using Turkey, as I did in Golden Chariot but also liked the idea of keeping the setting in that region but not necessarily Turkish waters, but someplace a bit different. I needed it to be a place that Atakan still had authority. I set it in the Turkish Republic of Northern Cyprus. The setting is beautiful and it still, for Americans, has an unusual flavour.

The next thing was what to do with Atakan and Charlotte. I had to resolve the issue of Tischenko and I welcomed the idea of fleshing him out more. I knew I’d set him on a path of revenge but I needed something more for the plot. Terrorism is a global problem. Artifact smuggling is one source of funding for terrorist organizations. I did not want to do the usual Al-Qaeda situation. I chose a terrorist organization that originated in Turkey and is in Iraq and Iran now too, the PKK. The extreme militant wing of the PKK presents an on-going problem in Turkey.

I picked a Byzantine ship because I love some of the art and jewellery from the period.

Her hero and heroine...

Atakan Vadim is an agent for the Turkish Ministry of Culture and Tourism. He has his PHD in archaeology. Fact: The Turkish Ministry of Culture and Tourism has a representative present at all legitimate archaeological sites in the country. Their job is to oversee the safe handling of recovered artifacts along with site safety and preservation.

He is from a middle class family and grew up near the town of Milas in the Mugla Province. His father was a career military man and his mother oversaw the family orchards in his father’s absence. Atakan has a married sister. He’s close to his family but can’t see them often due to distance. Istanbul is over 400 kilometres from Milas.

Atakan is a consummate professional. He is a reserved man unless he knows you well, then he shows his dry sense of humour and with Charlotte his very sensual side. He has a strong sense of honour and ethical code. He’s not a man driven to “obtain or possess” things. His apartment is functional although he has an interesting display of collectibles which are family heirlooms.  His apartment has a beautiful view of the Bosphorus Strait and that is more important to him than high end furniture. Nice suits are his one very expensive taste. He likes to dress well on the job.

Charlotte Dashiell is an American nautical archaeologist who just received her PHD. She’s outspoken and extremely determined in her pursuits, which sometimes disturbs, sometimes worries and sometimes amuses Atakan.

She’s the daughter of a Chicago policeman and a homemaker. Her parents divorced when she was a teen and her father remarried to a Chicago policewoman and her mother is remarried to a wealthy businessman. Charlotte also has an older brother who’s a member of the Chicago Police Department SWAT team She too is close to her family and tries to visit once a year.

Like Atakan, she is the consummate professional when working a shipwreck recovery team. She’s not overtly vain as her job requires her to keep her hair simple, she’s diving most days and not concerned with makeup. Conservation work on the relics is hard on a manicure. That said, she has a jealous streak when it comes to Atakan. She’s not above passing an acerbic comment or two when she’s introduced to a former girlfriend of his. When she has the opportunity, she does take pride in her appearance and dresses nicely.

Her guilty pleasure is belly dancing for Atakan. She takes lessons in Istanbul, where they live. Atakan is a big fan.

About the cover art...

The overall concept was mine. Although most of the story takes place in Cyprus, Istanbul has such distinctive architecture and buildings I wanted something of it on the cover so a reader knows the story has a different setting. I wanted the shipwreck and divers because of the nature of the story.   This is what draws the characters to this place. I worked closely with the designer. I asked her to look at my previous cover, and the trailer for Byzantine Gold, which I was very happy with, and to look at my book boards for both this and Golden Chariot on my Pinterest page. She had the idea for the bullets and crosshairs in the lettering. She put all my wishes together and came up with a cover I love.

Her advice to aspiring authors...

Do join a critique group. You need other eyes to read your work. Your family and friends will avoid hurting your feelings and as a result are often not as honest as you need them to be.

Take classes or if you can afford it, go to conferences and seminars to learn the craft. If you can’t afford workshops, then buy books from the experts. Three I like and keep in my desk and reference are: Writing the Breakout Novel and The Fire in Fiction by Don Maass, and Goal, Motivation, and Conflict by Deb Dixon.

Develop a tough skin and accept the fact that your early drafts (and that’s what they are, drafts) are not ready to send to an editor or agent or to self-publish. Every new writer believes what they’ve written is perfect. Perhaps there’s someone out there this is true for but I can’t think of any. Hemingway said, “There’s no such thing as writing, only rewriting.” Stephen King in his book, “On Writing,” said, he never lets anyone see his first draft.

Read books in the genre you want to write in. This is important. You need to have an idea of how stories in that genre flow, how tension and action and characterization is handled. Literary fiction is generally not the same style as a thriller. The readership of different genres have different expectations.

When you read a scene that is especially moving or well done, or one that stands out to you, then dissect it. See what it is that “makes” the scene work so well for you and try to do the same but with your own spin.

___________________________________________

Book Description

A sunken warship from the Byzantine Era carrying an unusual cargo of gold has been found off the coast of Northern Cyprus. News of the valuable cache has attracted the attention of a terrorist cell. They plan to attack the recovery team’s campsite and steal the artifacts. On the Black Market, the sale of the relics will buy them additional weapons.

Charlotte Dashiell, an American archaeologist, and her lover, Atakan Vadim, a Turkish government agent, are scheduled to be part of the recovery team that brings up the artifacts. While en route to Cyprus, they find themselves caught in the crosshairs of Maksym Tischenko, a Ukrainian contract killer bent on revenge. Charlotte, Atakan and Tischenko share a grim history. As a result, Tischenko is a man who will stop at nothing to achieve his goal—seeing them both dead.

Read the first chapter / Purchase from Amazon 

Robert Lane’s literary crime noir novels mix humor, action, and ageless moral themes set against the backdrop of the west coast of Florida. Cooler Than Blood is his second stand-alone Jake Travis novel after The Second Letter. His third book, The Cardinal’s Sin, will be released in October 2015.Q:

Congratulations on the release of your latest book, Cooler Than Blood. What was your inspiration for it?

A: I yearned for a classic crime tale, in this case a kidnapped young woman, that, through twists and turns, circles back to my protagonist, Jake Travis. I desired a story arc, that in ways Jake could have never foreseen, threatens Kathleen, the “world’s most important person,” to Jake.  I wanted the story to force him into moral choices that will define and shape him. Where’s the inspiration? Instead of a faceless victim that the reader would have no feeling for, I was intrigued with the idea of a young woman who lost her father at a young age. She relies on the memory of her father and the lessons he taught her while boating, to persevere a kidnapping ordeal. The time she and he spent on the boat is all the fuel she has to survive her captivity. The only thing real, and inspiration, is the boat, but we all know the formula—1 percent inspiration and 99 percent work.

Q: Tell us something interesting about your protagonist. 

A: Jake Travis has struggled with who he is and is just now learning to accept himself. He cannot resist the thrills found on the edge of life, but they come with heavy consequences. Unfortunately, some of these consequences are moral ambiguities that are likely to re-occur. It’s the central theme in his life, and central themes do not fade or resolve.

Q: How was your creative process like during the writing of this book and how long did it take you to complete it? Did you face any bumps along the way? 

A: My books are character driven—I have little clue as to how they will end. I usually see the end coming somewhere around two-thirds of the way through. That’s good—I think. Hemingway said if you know where your story’s going, so does the reader. Total writing time is about nine months, with half of that time in re-writes and crafting the words. Writing is a bumpy road. Sometimes it comes out smooth and clean, but that’s just the space between the bumps.

Q: How do you keep your narrative exciting throughout the creation of a novel? 

A: I don’t let myself get bored. Add humor. Conflict. More conflict. Physically move Jake.  In Cooler Than Blood, Jake gets a lead, hops in his truck with Garrett, and the story explodes as he meets other characters who, in turn, lead to the core of the story.

Q: Do you experience anxiety before sitting down to write? If yes, how do you handle it? 

A: Not really. My secret is I flip open the laptop and hit it hard and fast. If I waited, even a minute, I know self-doubt would gain a foothold.  Also, I usually exercise before I write—let the endorphins meet anxiety at the gate and thrash it away.

Q: What is your writing schedule like and how do you balance it with your other work and family time? 

A: I run or swim early in the morning and then write until my mind shuts down. By late in the afternoon, it’s been recharged enough to go a couple more hours. If I had sixteen free hours, the best I could do is write during five to six of those hours, and not congruently. That leaves plenty of time for other activities and obligations.

Q: How do you define success?

A: Doing my best used to be my mantra, my measuring cup for success. After I read Haruki Murakami’s excellent book, What I Talk About When I Talk About Running, I altered that stance. Success is exceeding my capabilities. Doing better than I thought I could do. Freeing my mind of self-imposed limitation and handicaps. That’s pretty elusive…but so is success.

Q: What advice would you give to aspiring writers whose spouses or partners don’t support their dreams of becoming an author? 

A: Get a new a partner? That could be expensive. How about this: forget them. It’s your dream. Since when do you need the outside world to validate your goals and aspirations?

Q: George Orwell once wrote: “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.” Do you agree? 

A: I suppose I do, but that seems a little heavy, dare I say Orwellian? Lighten up. I don’t drill too deep into my compulsions, who’s got time for that? At some point, during the writing of every book, I’ve sworn off writing and rue the day I ever started. Is that so different than other professions and activities in our lives, or do writers just whine more?

Q:  Anything else you’d like to tell my readers? 

A: While reading my books, I hope you laugh, I hope you get choked-up, I hope you turn the page quickly to see what happens next, I hope you come across a mirror and ponder yourself, and I hope that is some small, immeasurable, speck-of-dust manner, all that gobbledygook gives you a better understanding and acceptance of your world.

Anne K. Edwards enjoys reading as well as writing and would be hard put to choose one over the other since her love affair with the printed word started with reading at age six. When she found she could write stories as a third grader, she found a certain sense of self-fulfillment that lonely kids often miss. That love of words stayed with her and finally found satisfaction in her first publishing contract. Since then, each book or story she writes adds to that private happiness. It is only exceeded by having readers tell her they read and enjoyed one of her books. She’s here today to talk about her latest book, This and That—Collection of Light and Dark Tales. 

It's nice to have you here, Anne. Do you have another job besides writing? 

I’m retired now, but did work much of my life as a secretary. The pay wasn’t good and I changed jobs frequently for that reason. The work isn’t particularly fulfilling either, but the advent of the computer did make it somewhat easier. I usually looked forward to the end of the day when I could escape  into the worlds I could create and live vicariously through my characters.  The best thing that happened outside of writing was a move to a farm where we associated with horses and several cats.  I’m still here.

Were you an avid reader as a child? What type of books did you enjoy reading?

I was and still am an avid reader. As a child I always preferred books that were not on a reading list and ahead of my age group.  I went through stages of westerns, romance, history and so forth.  I love a good historical tale, fact or fiction, biography, some sciences like anthropology and others.

Tell us a bit about your latest book, and what inspired you to write it.

This and That—Collection of Light and Dark Tales is an assortment of short stories written over a period of several years. They are varied in subject and genre. For instance, in this book, the reader would learn how the devil outsmarts himself when he leaves Hell, why Death had to hire a private detective, and what happens when the sun sends a ball of fire toward Earth.  These tales were a pleasure to write and that is what inspired me to write them. I wrote them when I suffered writer’s block or was between projects.  They filled what would have otherwise been wasted time.

Did your book require a lot of research?

No. I rarely do research these days because over the years when I did a log of non fiction reading, I managed to store information I could use as backdrops for books. For instance, I write mysteries, but I don’t spend time on dna and fingerprint evidence research as this is the sort of material mystery readers in general are familiar with. I don’t use a lot of scientific jargon or crime scene description, nor do I spend a lot of the readers time on things I believe they already have in their minds to help comprehend the basic mystery.

What was your goal when writing this book?

No specific goal was in mind as the stories were written for fun and one at a time with months in between. The goal for each story is to write a good story for the reader, one that I hope they enjoy as much as I enjoyed writing it.

Agatha Christie got her best ideas while eating green apples in the bathtub. Steven Spielberg says he gets his best ideas while driving on the highway. When do you get your best ideas and why do you think this is?

My best ideas come, like Christie and Spielberg, when my body is busy with one thing and this lets my mind range freely on other things. I used to get great ideas or solutions to problems with a book while I was cleaning out a stall, or weeding.  Those times, the rote of the work let my mind work on writing related matters.

Do you get along with your muse? What do you do to placate her when she refuses to inspire you?

My muse is a nutty critter called Swamp Thingy. We don’t get along for many reasons, such as he is a real complainer. Read his column One Muse’s Opinion on my website www.AnneKEdwards.com and you’ll see what I mean.  He’s turned my mind into a bog and then whines it’s wet.  There is no placating him.  Yes, I know, muses are supposed to be female, but this one is a weird guy built like the blob. For some strange reason, he does give good ideas most of the time, but when he stalls and produces aome half baked idea, I could give him such a boot.  If anyone out there knows where I can trade him in, please let me know.

What types of scenes give you the most trouble to write?

To this, I’d have to answer action scenes with several people in attendance. It is very difficult to keep track of say five or so characters at the same time during a conversation that includes all of them. One must include facial expressions, dialogue, body positions and changes, and perhaps the shifting background such as shadows or people in the background coming and going. Such scenes get a lot of information into a story at the same time so the author cannot concentrate on only one or two.

Do you write non-stop until you have a first draft, or do you edit as you move along? 

I edit over and over and over as I write. I learned to do this because by the end of the story, I only have to reread once for typos and other errors. I usually find editing as I write, the development of scenes, characters and dialogue feel more natural and that helps me write the next scene because I have a clear picture of what is the story’s past and can safely draw on it to push the tale forward.

As a writer, what scares you the most?

Not being able to write, no matter what the cause.

Do you have an agent? 

I don’t have an agent. I admit to going through a short phase of wanting one to take me under their wing, but when they said they’d read the manuscript only to return it unread or half of the pages missing or not at all, I began to think this was not for me.  About that time the Internet publishers began to accept submissions and I was off.  I quit sending out manuscripts and the waiting of six to twelve months or more without word from the agent and I always queried before sending to them. I learned from this experience that agents would put your work in a slush pile and at some point take another job and leave behind that pile of manuscripts without returning them or letting the author know they were moving on and the work wouldn’t. No other agent in that agency would take on the work either, even if the prior agent had requested changes that had been done. The secret of my not wanting an agent any longer was I factored in all that wasted time when I could have been submitting it to online publishers.  Perhaps these were new agents, editors changing jobs and the like, but they did keep me from submitting elsewhere. I came to believe ‘you got to have an agent’ is a myth spread by agents who fear losing control of the markets.  I don’t know if that’s really possible, but for myself, I lost my acceptance of their mantra.  I do know you don’t need an agent to be published online by a good publisher, but you do need to submit your best work.

What is your opinion about critique groups? What words of advice would you offer a novice writer who is joining one? Do you think the wrong critique group can ‘crush’ a fledgling writer?

I think a good critique group in which the author and their work fits, such a mystery writer into a mystery critique group, is a very good tool. You not only can learn the craft better from experienced or published members of the group, but you can hone your writing and your own critiquing skills. I would advise a novice writer to ask questions to find the right group and not to join the first group that appears. Some groups are headed by a founder who is on an ego trip and who will not allow other opinions than their own. Some groups don’t seem to have a goal such as helping other writers or sharing information. Some groups have members who only offer critiques in a very negative form and nothing a writer does will please them. Those are groups to stay out of.  Ask other writers in your area where to start, or perhaps the local bookstores or libraries will know.  And if you join a group that does not work out, do not apologize if you feel it best to drop out. After all, you are in the group to learn.

What is the best writing advice you’ve ever received? 

A good author once gave me some very basic advice and I’ve found it to be true. Keep writing. Read, read, read, and study what you read. Pay attention to your own mistakes and those of other writers and learn from them. Don’t be afraid to ask questions.  Learn to self edit your own work. Then keep writing.

Do you have another book on the works? Would you like to tell readers about your current or future projects? 

Yes, I do have a new mystery in the works, a second in a series starring Hannah Clare. I am also looking to finish some children’s books for publication. They may end up self published because I do not want to put in a lot of time trying to make them fit publishers specific guidelines by stretching the story or changing things to suit someone else. A publisher told me and I believe correctly in referring to a story, it is what it is, and she is so right. The children’s books are written to show kids can think and make decisions without adult input. They are really people, smaller perhaps than adults, but by the time they are seven or so, they already know things they can do and can’t, how to make some decisions, and right from wrong.

Born into a military family, R.M. Cartmel was educated at Sherborne School in the South West of England and at Oxford.  Cartmel served as a practicing doctor for over three and a half decades. As a novelist Cartmel combines two of his lifelong loves—writing and traveling throughout France’s exquisite Burgundy region.

Connect with the author on the web:

Web / Facebook / Twitter / Blog

Q: Congratulations on the release of your latest book, The Charlemagne Connection What was your inspiration for it?

A: It is the second book in a series of books set in the famous wine making part of France called Burgundy. Originally when I retired I was looking for a novel set there, and when I couldn’t find one I decided to write one. That was The Richebourg Affair, which was set in the spring in Burgundy. The second book, The Charlemagne Connection is set in high summer of the same year, and the third of the trilogy, which I am writing at the moment, is set during the vintage.

Q: Tell us something interesting about your protagonist.

A: He is a small middle-aged rather tatty policeman, who is obviously very capable at his job, as he has reached the rank of Commandant [translated as Commander] in the French National Police. He has been married but it never worked out.

Q: How was your creative process like during the writing of this book and how long did it take you to complete it? Did you face any bumps along the way?

A: Having finished Richebourg, it was just the right time to go to Nuits Saint Georges to experience the flowering of the vines, so I set off to do the first piece of research, in France. I also needed to discuss the legal issues in the book, and the forensics. It took round 6 months to create the first draft, including finding out that some of the forensic detail I had got wrong, and that needed a rewrite. But as I had not actually finished the first draft when I hit that glitch, it wasn’t enormously difficult to write round it.

Q: How do you keep your narrative exciting throughout the creation of a novel?

A: I have no idea, it happens. Charlemagne pretty much wrote itself, so the plot I found exciting as I went along.

Q: Do you experience anxiety before sitting down to write? If yes, how do you handle it?

A: No. None of the process causes anxiety. I may not always be able to produce text that I like, but it is not a cause for anxiety. That of course may happen when I start to get behind a deadline, which is a place, so far I have never been.

Q: What is your writing schedule like and how do you balance it with your other work and family time?

A: There is no other work outside writing. My son lives in my house but he too has a job so we meet when we meet.

Q: How do you define success?

A: Someone I know from the past telling me that they loved my book and when’s the next one out?

Q: What advice would you give to aspiring writers whose spouses or partners don’t support their dreams of becoming an author?

A: If you want to write, and your consort doesn’t want you to write, then you either have to not write or change your consort. I can’t help thinking that if the conflict is irreconcilable, then don’t try. What a horrible place for someone to be. Is that idea copyright, there may be a novel there?

Q: George Orwell once wrote: “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.” Do you agree?

A: Obviously not! If I did I wouldn’t be a writer.

Q:  Anything else you’d like to tell my readers?

A: Never ever think you can do it all alone. Write the first draft of book, and then be prepared to let it fly. Send it to an editor to polish it.

jd daniels holds a Doctor of Arts degree from Drake University with a dissertation of her poetry.  Her award-winning fiction, non-fiction and poetry have appeared in various publications, including: The Broad River Review, The Sylvan Echo, The Elkhorn Review, Doorknobs & Bodypaint: An Anthology, The National PEN Woman’s Online Magazine and riverbabble. “Nancy’s Woodcut” won a prize in a contest sponsored by Emerson College, Cambridge University.

Say Yes, a book of poetry, 2013 topped the local bestseller list in Iowa City. The Old Wolf Lady:  Wawewa Mepemoa, was awarded a publication grant from The Iowa Arts Council and three research grants from the college where she still teaches writing. Minute of Darkness and Eighteen Flash Fiction Stories debuted January, 2015. Through Pelican Eyes, 2014 is the first of the Jessie Murphy Mystery Series.

The Iowa Arts and Poets & Writers Directories invited her inclusion. She is also a co-founder and an editor for Prairie Wolf Press Review, a literary online journal featuring new and emerging writers and visual artists.

jd maintains a blog, is a member of two critique groups, Mystery Writers of America, and South West Florida PEN Women.  She continues to teach writing at the college level. Quick Walk to Murder, the Second Jessie Murphy Mystery, was recently released.  Visit her website to find where you can get her book:  www.live-from-jd.com

Q: Congratulations on the release of your latest book, Quick Walk to Murder. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it? 

A:  Quick Walk to Murder is a mystery, so of course there’s a sleuth trying to nail a murderer.  In this case, she’s property manager/artist, Jessie Murphy.  The victim is the son of a Matlacha, Florida crab fisherman.

I love my amateur sleuth, Jessie Murphy.  She’s my alter ego and has bits and pieces of my creative mother in her as well.  I get a high when I get into her skin and brain to solve these murders.  As soon as I finished the first book with her as a protagonist, I started writing the second.  Plus, Matlacha, Florida, an island I fell in love with, is the perfect setting for this mystery. It’s funky and colorful.  A pleasure to describe.  So, I guess I would say, both wanting to spend more time with the main character and being surrounded by the sea are big factors in inspiring me to write these mysteries.

Q: What do you think makes a good mystery? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A:  Hm, hard to narrow down to only three elements, but let me try:  1. Tight, compelling plot and sub-plot. 2.  Engaging, unique characters set in a colorful environment 3. Red herrings, subtle clues, surprising twists, a dramatic climax and a believable resolution.  Okay, so I cheated.  This is far more than three elements isn’t it?  I could list more, so I guess it’s impossible to narrow down to just three.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A:  In the first draft I let the story unfold on its own.  After this, I do a plot check to see if it follows the classic mystery outline. If it doesn’t I begin to cut and paste.  If a writer goes online they can find a very handy tool called “Plotting the Mystery Novel” as defined by contemporary editors and publishers.  I beginning check my plot against that on the second draft.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A:  My character is twenty eight, Irish and a fledgling artist.  Her first name is my mother’s middle name.  Her last name was my mother’s maiden name.  While she is no doubt my alter ego, she was also developed from how I envisioned my creative beloved mother to be at this young age.  Thus, each time I write a book with Jessie Murphy in it, I’m also exploring and visiting my mother’s life who passed away several years ago at the age of eight-six. So character interviews and sketches were done over a lifetime of being her daughter.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A:  My antagonist is a compilation of different people I’ve known over the years. Unfortunately, I’ve had personal experience with more than one sociopath. Without giving away who the killer is, I’ll just say that I had to do research to make sure him or her was portrayed realistically.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A:  As you see from my bio, I’ve taught writing for several years.  While doing this, I spend much time moving my students away from a passive voice to an active one.  I find that when writing a mystery such as mine this is apt advice.  Use of first person, active verbs, specific nouns, realistic dialogue, strong metaphors that fit the setting and time, plus the use of similes and minimal background information helps keep the reader engaged and turning the pages.  One thing that helps my students understand this concept is to pretend your reader is standing over your shoulder as you create pictures on the page with words, including the five senses in as many scenes as possible.  Make sense?

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A:  When writing about setting, I use the same “picture-making” tools that are needed to make for an exciting narrative.  By considering the five senses, by thinking of the setting as a character while you are writing the book, helps greatly in making it one.  This means that once you initially describe the setting, each time after that (like your protagonist or other characters) when you use the setting in a chapter, you must show different aspects of it to develop it into a place the reader can actually identify with and see in their mind.  I am happy to tell you that one reader did say I had been successful in doing this in the first book.  I hope I’ve succeeded in Quick Walk to Murder too.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A:  My themes for Quick Walk to Murder became evident as the characters and plot developed.  This is one thing I love about my process—the creative journey—the constant learning and surprises.  At least one of the themes is recurring—action versus apathy—others are unique to the mystery’s situation.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A:  Hm, another interesting question.  Perhaps this is why I write the first draft before referring to that plot outline—I want my imagination to have freedom before I have to consider my reader. I began as a poet as well as a fiction writer.  In fact, I have a doctorate in poetry from Drake University.  I don’t think you can create your own path until you understand your craft—the elements that make a fine mystery, novel or poem.  I’m a person who free writes in a journal often.  I also encourage this activity for my students.  But freewriting is only a tool to free the imagination, after this the hard work of being a writer begins.

I believe if writers understand that writing is a complex process, that editing is only one important aspect of that process, their initial creative thrust will not be destroyed.  Some fledging writers don’t understand this and they can be adversely effected by editing.  It’s a shame, but happens all too often.

Q: What three things, in your opinion, make a successful novelist?

A:  1. One who receives respect for their work.  2.  One who honors their passion by making a life as a writer.  3.  One who understands the importance of discipline and persistance.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A:  Makes me smile.  As a life-time learner, I couldn’t agree with the famous writer more.  The difference is that you are your best teacher, a fact I stress with my students probably more than they want to hear.

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career? 

A:  There are so many.  I already mentioned the outline for plotting for mystery writers.  With the amazing technology we have today, I’d say just Google what you want and sit back until multi-sites pop up on your screen.  But I also recommend The Art of Fiction by John Gardner, Writing the Breakout Novel and The Fire in Fiction by Donald Maas, Save the Cat by Blake Snyder and Imaginative Writing:  The Elements of Craft by Janet Burroway.  Again, there are so many more to add to your library.

Writers also have to be readers of their genre.  Whatever genre you choose to write, read and study as many books as possible in that area.

Writers Market is always announcing workshops for all sorts of things writers need to know, including insights into the changing publishing world.  She Writes does as well, as does Poet & Writers and Mystery Writers of America.  There is also an amazing number of workshops and writer’s retreats offered world-wide.  Many of these are expensive, but many offer free tuition for those who are accepted as Fellows.

The important thing is to do your research. Take yourself and your decision to become a published author seriously. Read and take workshops that are practical and will help you become the writer you want to be.

It’s an amazing journey.  Enjoy.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A:  I guess I’d just like to emphasize that knowing your craft is essential if you want to earn respect in your field.  I recently was chatting with another editor of a respected young adult traditional publishing company.  She said something quite wise: “In the mystery editor’s world, anyone can be a fine wordsmith, but if you don’t know how to plot, you don’t know your craft, it makes no difference.”

 

Bestselling author Tom Carter is a longtime Nashville who lives with his wife, Janie, a few miles from Nashville’s legendary Music Row.

Connect with the author on the Web:

http://www.authortomcarter.com/

https://www.facebook.com/authortomcarter

https://www.instagram.com/authortomcarter/

 

Q: Congratulations on the release of your latest book, Nashville:

Music & Murder.  To begin with, can you give us a brief

summary of what the story is about and what compelled you to

write it?

 

A: The book is scheduled for release on February 7, 2017.  It's

a murder mystery set in Nashville, Tennessee, the home of recorded

country music.  In part, I wrote the book due to the popularity

of country music, as 107 million Americans now listen to that

genre of music once daily, according to the Country Music

Association.

 

Q: What do you think makes a good mystery book?  Could you       

narrow it down to the three most important elements?  Is it even

possible to narrow it down?

 

A: Try to make each page magnetic.

 

Q: How did you go about plotting your story?  Or did you discover

it as you worked on the book?

 

A: I discovered it as I worked on the book.

 

Q: Tell us something interesting about your protagonist and how

you developed him or her.  Did you do any character interviews or

sketches prior to the writing.

 

A: My protagonist is an insecure and neurotic celebrity whose

popularity is dwindling.  I've met many such folks in Nashville,

Tennessee, my home.

 

Q: In the same light, how did you create your antagonist or

villain?  What steps did you take to make him or her realistic?

 

A: I won't identify the antagonist.  That would spoil the

mystery.

 

 

Q: How did you keep your narrative exciting throughout the novel?

 

A: I did not reveal the villain’s identity.  But, on many

occasions, I almost did.

 

Q: Setting is also quite important and in many cases it becomes

like a character itself.  What tools of the trade did you use in

your writing to bring the setting to life?

 

A: The setting is "Music Row," that part of Nashville, Tennessee

where the production of country music lies inside recording

studios, celebrities' offices, and music publishing houses.  I

used to live on Music Row among its people.  I still visit that

neighborhood and its people regularly.

 

Q:  Did you know the themes(s) of your novel from the start or it

this something you discovered after completing the first draft? 

Is this theme(s) recurrent in your other work?

 

A: I did not know the theme of my novel until I'd written most of

This theme is not recurrent in my previous books. Those

books were mostly non-fiction.

 

Q: Where does craft end and art begin?  Do you think editing can

destroy the initial creative thrust of an author?

 

A: I don't know where the craft ends or art begins.  To me,

masterful crafting IS an art.  Editing didn't destroy my creative

thrust.  I allowed only copy editing, nothing else.

 

Q: What three things, in your opinion, make a successful

novelist?

 

A:  A vivid imagination, daily writing, and promotion.

 

Q: A famous writer once wrote that being an author is like having

to do homework for the rest of your life.  Thoughts?

 

A: I agree with that statement as long as the writer writes.  If

he retires from writing, he'll hopefully return to spare time and

what to do with it.  I've been writing professionally for 47

years.  I still write daily.

 

Q: Are there any resources, books, workshops or sites about craft

that you've found helpful during your writing career?

 

A: I earned a five-year, Bachelor's Degree in Journalism.  I

learned more about writing in one week while working at a daily

newspaper and by reading other newspapers and novels.  I found

that workshops or sites are largely inhabited by failed or

inferior writers who want to sponge from other failed souls.  To

me, those venues are friendly but inefficient.