Mayra Calvani's Blog, page 3
February 11, 2019
Talking Craft with Literary Author Dwaine Rieves
Dwaine Rieves was born and raised in Monroe County, Mississippi. During a career as a research pharmaceutical scientist and critical care physician, he began writing poetry and creative prose. His poetry has won the Tupelo Press Prize for Poetry and the River Styx International Poetry Prize. His writing has appeared in The Washington Post, The Baltimore Sun, Virginia Quarterly Review, The Georgia Review and other publications. He can be reached at www.dwainerieves.com.INTERVIEW:
Q: Congratulations on the release of your latest book, Shirtless Men Drink Free . 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 a work of literary fiction, which I began as a form of a really long poem, one that played out on the stage belonging to a success-driven Atlanta family in 2004. I like to say the book is about “souls and the bodies that won’t let them go,” which is a perhaps an all too nonspecific way of saying the book is about three Atlanta professionals who change their lives in response to the death of their parents. The book deals with a deep need for personal and family redemption, a need that I think pervades the lives of so many Southerners, myself included.
Q: What do you think makes a good literary fiction? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: Literary fiction lies at the opposite reading pole from twitter messages. That is, literary fiction is created to provide more than a single, focused message (“dumb as a rock” as Trump said not so long ago in a twitter dart directed to a former cabinet member). There are so many great examples of literary fiction—As I Lay Dying loomed in the back of my mind while working on my Shirtless novel. I (along with most of the world) find much of Faulkner challenging, but I don’t think literary fiction has to be challenging. For example, Carson McCullers’ The Heart Is a Lonely Hunter is delightful, readable literary fiction and a post-hoc inspiration for my Shirtless novel. I’ve often wondered whether all poetry should be called “literary.” I doubt it, but I also suspect some bumper stickers and twitter messages actually could be called “literary.” A major purpose of art, I think, is to help create empathy. Perhaps empathy-making distinguishes “literary” from “non-literary.” Hmmm…sounds ominously all too political.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?A: I started Shirtless Men Drink Free much as I start a poem—with images and mystery. I was naïve though, in that I didn’t really appreciate how such an unstructured approach to a novel was a sump of time, angst, pain, frustration and rare joy. It took over twelve years to finish the novel—that is, to get to the point where I felt the story had told itself. In the process, I completed three novels, trashing each after multiple re-writes. Ultimately, a very gifted editor by the name of Billy Fox helped steer the narrative along a plot line that got the story to where it was supposed to go. The lesson is—when you’re lost or down-and-out, get help! There’s great value in recognizing when you need help, especially if the help must be a rescue-effort.
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: I did many character sketches for my characters. I even collected their pictures (fusing clipped headshots from magazines and newspapers with character profiles). I learned the kind of underwear they prefer, who wears pajamas, who does yoga in the nude. Intimacy was essential and, thankfully, the characters had little modesty—probably because they knew these details might never make it to the page. I still admire their bravery.
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: The Shirtless novel has a trio of key characters, one of which is pivot point for the entire story. Jackson Beekman is a derivative of a man I encountered one evening in a gym steam room—a towel falling provocatively, heat unbearable—even to a politician. Combining this situation with Talk Radio chatter and a star-speckled Alabama night produced the cauldron for Shirtless Men Drink Free.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: Eudora Welty said plot was emotion acted out. I believe that’s true, but I also believe emotion evolves from a disturbance of some sort—a catalyst that actually causes the emotion. In short, something has to happen to create an emotion and to portray it, even if that “happening” is simply a change in a character. In my Shirtless novel, the catalysts are the deaths of parents, one due to cancer, the other suicide.
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: Shirtless Men Drink Free is set in an Atlanta of 2004. This setting was a natural because the initial image for the story was gifted to me during the Talk Radio I listened to while driving across Alabama in 2004. If you remember, 2004 was a presidential election year and, largely thanks to the threat of the homosexual agenda, George W. Bush was re-elected. Of course, things turned out very differently for the gubernatorial candidates in Georgia—that’s the lesson within Shirtless Men Drink Free.
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: I have to say the final theme of the novel didn’t solidify until twelve years after I started the novel—and after trashing so many novels before the definitive story appeared. This theme—the need to know, to understand, to matter—pervades most of my writing, especially my poetry.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: In poetry, I definitely think craft can devitalize an original work. The devitalizing risk is there also for prose, although I think prose is probably less vulnerable to “over-crafting.” That said, I remember how Gordon Lish turned some of Raymond Carver’s work into far more adventuresome creations with what I sometimes view as “over-editing.” Still, I think having an engaged, concerned editor is a gift from heaven! The writer can always take or leave the editing suggestions.
Q: What three things, in your opinion, make a successful novelist?
A: Creation of a novel that speaks to the authorial “self”—that’s three things, isn’t it? Yes. A 1) novel that 2) speaks to 3) the “self.” Remember the critic Cyril Connolly said something along the lines of, “Better to write for yourself and have no public than to write for the public and have no self.” On this point, I definitely agree with Mister Connolly.
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 think most writers of creative projects adore doing “homework”—otherwise, they wouldn’t persist with writing. Isn’t that fascinating—someone who enjoys “homework.” The key here is that the “homework” is defined by the writer—not demanded by a teacher or other outsider.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: I’ve taken innumerable poetry workshops and several workshops in fiction—all geared to the working woman/man. By which I mean that I didn’t start writing until I was nearly 40—late. Thank goodness there are card-carrying writers in this world who get early starts. I’m not one of them—I came from a world where survival depended more on physical work than meta-physical creation. My calluses have colors.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Write whatever gives you the greatest pleasure. Share the work. Treasure your critics and learn to make the best of their offerings—never underestimating the value of the “self” within your work.
About the book:
In Shirtless Men Drink Free, Doctor Jane Beekman has seen her dying mother’s soul, a vision above the bed—a soul struggling with a decision, some undone task, something in this world too noble to leave. The question that lingers—why?—prompts a shift in the doctor’s priorities. In this election year, Jane must do what her mother, an aspiring social activist, would have done. Soon, Jane is embroiled in the world of Georgia politics, working to make sure her dynamic younger brother-in-law Jackson Beekman is selected the next governor, regardless of what the soul of the candidate’s dead father or that of his living brother—Jane’s husband—might want done.
Indeed, it is a mother’s persistence and a father’s legacy that will ultimately turn one Beekman brother against the other, launching a struggle with moral consequences that may extend far beyond Georgia. Set amidst 2004’s polarizing election fears—immigrants and job take-overs, terrorists in waiting, homosexuals and outsider agendas—Shirtless Men Drink Free makes vivid the human soul’s struggle in a world bedeviled by desire and the fears that leave us all asking—Why?
Engaging, beautifully written and resplendent with realism, Shirtless Men Drink Free is a standout debut destined to stay with readers long after the final page is turned. A meticulously crafted tale that showcases an outstanding new voice in Southern fiction, Shirtless Men Drink Free has garnered high advance praise:
“This is brilliant and rare work, as attentive to an absorbing plot as it is to a poetic, chiseled cadence."—Paul Lisicky, award-winning author of The Narrow Door: A Memoir of Friendship
“These characters are all too real. Rieves, as Faulkner, McMurtry and Larry Brown, writes people and story that will worm, burrow into you. Change you even.” —Adam Van Winkle, Founder and Editor, Cowboy Jamboree
“Vividly sensuous, this novel is full of textures, sounds and smells. Rieves tells a terrific story with the sensitivity of a poet.” —Margaret Meyers, author of Swimming in the Congo
Published by Tupelo Press joint venture partner Leapfolio, Shirtless Men Drink Free will be published in trade paper (ISBN: 978-1-946507-04-4, 326 pages, $16.95) and eBook editions. The novel will be available where fine books are sold, with an arrival on January 22, 2019.
January 21, 2019
On the Spotlight: One Taste To Many, by Debra H. Goldstein
Genre : MYSTERY (COZY MYSTERY)
Author : Debra H. Goldstein
Website : www.debrahgoldstein.com
Publisher : Kensington
Find out more on Amazon
A culinary cozy unlike any other, One Taste Too Many introduces Sarah Blair, a culinary-challenged, recently-divorced woman adjusting to her new status as “single,” her new studio apartment—which she shares with her Siamese cat, RahRah—and her new job as a law firm receptionist. When her ex-husband gets murdered and her twin sister becomes the top suspect, Sarah will have to add “solving crimes” to the list of challenges she’s taking on in her newly single life.
About One Taste Too Many: When Sarah Blair’s sister, a trained chef, is suspected of murdering Sarah’s ex-husband with one of her award winning dishes, Sarah mourns the rat’s death but leaves the sleuthing to the professionals until she realizes that she and her sister are their only suspects. Sarah’s efforts to find whodunit are complicated by her twin’s refusal to help—and a glitch in the rat’s will that forces Sarah to relinquish her beloved cat, the only thing she got in her divorce, to the woman who broke up her marriage.
Compelled to discover the true killer, Sarah soon finds that for a woman whose good china is floral paper plates, getting too close to the heat in the kitchen may be scorching. As a cook of convenience, Sarah will have to come up with just the right recipe to save her sister and avoid her own worse than death fate—being in the kitchen.
A fun, fresh twist on the culinary cozy mystery, One Taste Too Many stands out with its charming heroine: Sarah Blair, a cook of convenience. Moreover, One Taste Too Many is informed by Goldstein’s career as a former litigator and US Administrative Judge and her unique perspective on the inner workings of the perfect crime. A to-die-for tale with an irresistible plot and wholly relatable cast of characters, One Taste Too Many heralds the advent of a delicious new series.
ABOUT THE AUTHOR
Debra H. Goldstein is the author of the Sarah Blair Mysteries as well as Should Have Played Poker, a Carrie Martin and the Mah Jongg Players Mystery and the 2012 IPPY Award-winning Maze in Blue, a mystery set on the University of Michigan’s campus. Her short stories, including Anthony and Agatha nominated “The Night They Burned Ms. Dixie’s Place,” have appeared in numerous periodicals and anthologies including Alfred Hitchcock Mystery Magazine, Black Cat Mystery Magazine, and Mystery Weekly. A Judge, author, litigator, wife, step-mom and mother of twins, Debra is an involved community volunteer, MWA member, and serves as a national board member of Sisters in Crime, as well as being the SinC Guppy Chapter’s President.
Connect with Debra on the web:
November 27, 2018
5 Questions with John Ford Clayton, Author of ‘Manipulated’
John Ford Clayton lives in Harriman, Tennessee with his wife Kara, and canine companions Lucy, Ginger and Clyde. He has two grown sons, Ben and Eli, and a daughter-in-law, Christina. He earned a BS in Finance from Murray State University and an MBA from the University of Tennessee in Knoxville. He is active in his East Tennessee 
community having served on the local boards of the Boys and Girls Club and a federal credit union, on church leadership and creative teams, and on a parks and recreation advisory committee. When he’s not writing he works as a project management consultant supporting Federal project teams. John is a huge fan of Disney parks and University of Kentucky basketball. Visit his website at www.johnfordclayton.com.
Find out more about Manipulated.
Q: What’s inside the mind of a political thriller author?
A: In our hyper-polarized 2018 political climate, where any discussion of politics can quickly turn toxic, my primary thought is, there must be a better way. This current partisan rancour can’t continue. We seem to be rapidly approaching a time where the country is either going to explode or find a way to heal itself. Manipulated explores an alternative reality where that healing process begins. It is an outlet to provide a glimmer of hope in what appears to be a hopeless situation. It dares to ask, what if we didn’t settle for two firmly entrenched political parties but instead forged a third path out of this abyss. What if?
Q: Tell us why readers should buy Manipulated.
A: The 2016 presidential election elicited raw emotions from many Americans. Okay, I already know what you’re thinking, “politics, no thank you!!” Believe me, I understand. For countless political observers the entire election process demonstrated the ugly underbelly of our country, regardless of which side of the political aisle you call home. Manipulated reimagines that election cycle.
Manipulated chronicles a 70-year clandestine effort to seize control of the United States at the foundational level. It's all happening right under the noses of an unsuspecting nation. The long-awaited scheme will come to fruition with the 2016 presidential
election. Everything is going according to plan, but then something happens. A new voice emerges. A strangely authentic candidate captures the fascination of the American people. But is it too late? Has the machine gotten too large to overcome? The stakes are high. The survival of the nation as we know it hangs in the balance.
Q: What makes a good political thriller?
A: A political thriller must thread the needle of not being so far-fetched that it is unbelievable but far enough from reality that it is compelling. It must have a rapidly evolving storyline that demands the reader to ask, “what’s next?” It must have characters that the reader cares about, including those they love and those they want to strangle. In the end the author owes a debt to the reader’s investment of time paid off in the currency of an ending that leaves them moved, fulfilled, and satisfied.
Q: Where can readers find out more about you and your work?
A: My website www.johnfordclayton.conm provides information about me and my book. I am on social media at www.facebook.com/johnfordclayton and www.twitter.com/johnfordclayton.
Q: What has writing taught you?
A: Writing is hard. It requires energy, focus, and a stubborn commitment. It demands equal parts of the left brain and right brain. The left brain is necessary to produce an organized storyline that stays focused on evolving the plot. The right brain is the source of colourful characters, interesting scenes, and intriguing dialog. While the story can always be improved, there must come a time when the writer is complete and transfers the product into the hands of the reader. The reader is the ultimate arbiter of whether a book is successful. The reader is always right.
community having served on the local boards of the Boys and Girls Club and a federal credit union, on church leadership and creative teams, and on a parks and recreation advisory committee. When he’s not writing he works as a project management consultant supporting Federal project teams. John is a huge fan of Disney parks and University of Kentucky basketball. Visit his website at www.johnfordclayton.com.Find out more about Manipulated.
Q: What’s inside the mind of a political thriller author?
A: In our hyper-polarized 2018 political climate, where any discussion of politics can quickly turn toxic, my primary thought is, there must be a better way. This current partisan rancour can’t continue. We seem to be rapidly approaching a time where the country is either going to explode or find a way to heal itself. Manipulated explores an alternative reality where that healing process begins. It is an outlet to provide a glimmer of hope in what appears to be a hopeless situation. It dares to ask, what if we didn’t settle for two firmly entrenched political parties but instead forged a third path out of this abyss. What if?
Q: Tell us why readers should buy Manipulated.
A: The 2016 presidential election elicited raw emotions from many Americans. Okay, I already know what you’re thinking, “politics, no thank you!!” Believe me, I understand. For countless political observers the entire election process demonstrated the ugly underbelly of our country, regardless of which side of the political aisle you call home. Manipulated reimagines that election cycle.
Manipulated chronicles a 70-year clandestine effort to seize control of the United States at the foundational level. It's all happening right under the noses of an unsuspecting nation. The long-awaited scheme will come to fruition with the 2016 presidential
election. Everything is going according to plan, but then something happens. A new voice emerges. A strangely authentic candidate captures the fascination of the American people. But is it too late? Has the machine gotten too large to overcome? The stakes are high. The survival of the nation as we know it hangs in the balance.Q: What makes a good political thriller?
A: A political thriller must thread the needle of not being so far-fetched that it is unbelievable but far enough from reality that it is compelling. It must have a rapidly evolving storyline that demands the reader to ask, “what’s next?” It must have characters that the reader cares about, including those they love and those they want to strangle. In the end the author owes a debt to the reader’s investment of time paid off in the currency of an ending that leaves them moved, fulfilled, and satisfied.
Q: Where can readers find out more about you and your work?
A: My website www.johnfordclayton.conm provides information about me and my book. I am on social media at www.facebook.com/johnfordclayton and www.twitter.com/johnfordclayton.
Q: What has writing taught you?
A: Writing is hard. It requires energy, focus, and a stubborn commitment. It demands equal parts of the left brain and right brain. The left brain is necessary to produce an organized storyline that stays focused on evolving the plot. The right brain is the source of colourful characters, interesting scenes, and intriguing dialog. While the story can always be improved, there must come a time when the writer is complete and transfers the product into the hands of the reader. The reader is the ultimate arbiter of whether a book is successful. The reader is always right.
November 15, 2018
Talking Craft with Ray Sutherland, Author of ‘Secret Agent Angel’
Ray Sutherland is a Kentucky native who grew up on a farm outside of Bowling Green. He served in the Army, spent two years in Germany, received his B.A. in religion from Western Kentucky University, and his PhD in the Bible from Vanderbilt University. Ray has served of Professor of Biblical Studies at the University of North Carolina-Pembroke for over thirty years, pastored a small church for nine years, and is retired from the Army Reserve. He and his wife Regina live in North Carolina and have two sons and four grandchildren.
Website: raysutherland.com
INTERVIEW:
Q: Congratulations on the release of your latest book, Secret Agent Angel. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: Billy Graham said that angels are God’s secret agents and I decided to write the fictional adventures of one of those secret agent angels. I wrote it in the first person from the angel’s perspective somewhat along the lines of the secret agent and detective novels of the 50’s and 60’s by Raymond Chandler, Dashiell Hammett, Mickey Spillane, and Donald Hamilton, which were often told in first person. Samuel the angel comes to earth in human form to help persuade some people to make right decisions in crises. He visits an accountant who is tempted to steal. He goes along with two truckers who befriend an abused boy. He helps a war veteran find forgiveness of his former enemies. He helps some porters on their trip down the Ho Chi Minh trail. All of these things come together in a snowbound truck stop where a fire demon comes to destroy one man’s faith. Or his life. Forty years of angelic work all come together for that one confrontation.
Q: What do you think makes a good inspirational suspense? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: Suspense and inspiration, both of which are provided in “Secret Agent Angel.” Most importantly, it is a well-told story and highly entertaining. The suspense comes from the tense situations in which Samuel the angel and his companions find themselves. The inspiration comes from the people in the story learning about their spiritual talents and their ability to do what is right. Even the angel learns some things.Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I don’t work from a written outline but I certainly have a mental one. I planned out the opening, the major turning point and the ending, including the climax. Then I wrote the whole book with those plans in mind. I keep a detailed plan in mind for the next couple of episodes.
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:There are no real angels around for me to watch so I had to improvise what I thought about how an angel would act. There are a few short accounts in the Bible about angel’s appearing, but they are very short of details. Much more helpful was the apocryphal/deutero-canonical book of Tobit which features an angel appearing as a human, so I relied on that account fairly heavily. But I had to use a lot of imagination.
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 have known some people very much like the angel’s opponents in the story. So the villains are composites of people I have known.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I mostly used my own reaction as a guide. If an episode excited and entertained me, I kept at it. If it didn’t, I didn’t write it and found another way which I found to be exciting and entertaining.
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: A standard writers’ adage is to write what you know and in Secret Agent Angel, I followed that advice. I haven’t yet met any real angels, but most of the situations in which Samuel the secret agent angel finds himself are very similar to things I have done in my own life. I was assigned to tanks in the army. My first job was loading and unloading trucks. The owner of the truck company also owned a truck stop, so I spent some time in it and other truck stops as well. I have visited many hospitals in the course of my pastoral duties. All of those settings appeared in the novel. One part which does not come from my own experience is the chapter about porters on the Ho Chi Minh trail just before the Tet offensive. I had to do a lot of research for that, but I enjoyed that challenge.
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:The theme that the spirit world is at work in our world is that is one thing that I have seen in my own life and experience. I had that theme firmly in mind when I started the book. That God is at work around us is as much an underlying assumption of the book as it is a theme. It is very much present in my next book, a historical novel about King David, the biblical king of Israel.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A:Editing is an absolute necessity, both self-editing and outside editing. Editing can be done in such a way as to be a problem with creativity, but I did not have that problem. My editor at Black Opal, Faith, did an excellent job and was very helpful.
Q: What three things, in your opinion, make a successful novelist?
A:Reading widely and learning from great writers is mandatory. Being persistent. Keep at the writing and finish the project. Write the book, then prepare the manuscript for submission. Be persistent in submitting it. Every writer gets rejection. Get over it and send it out again. And again. And again. Constant improvement is a necessity. Learn as you go. Figure out what works. Learn to self-edit. Like any job, writing requires certain skills and attributes. Learn them, use them, and keep getting better.
Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. Thoughts?
A:Homework was forced drudgery and basically useless, so I seldom did it, especially over Christmas vacation. Writing is work but it is enjoyable work. It is only forced on me by myself.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A:Read great books, classics and current. Learn how the masters wrote, then find your own style. Dictionaries, use a good thesaurus, and follow Heinlein’s rules which are in the next question and answer.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Robert A. Heinlein said it best. His Five Rules for Writers:
You must write.
You must finish what you write.
You must refrain from rewriting, except to editorial order.
You must put the work on the market.
You must keep the work on the market until it is sold.
He is right and I can give no better advice.
October 31, 2018
On the Spotlight: The Sicilian Woman's Daughter by Linda Lo Scuro
Genre: Mystery/Women’s Fiction
Author: Linda Lo Scuro
Publisher:
Sparkling Books
Purchase link:
Follow the author:
About The Sicilian Woman’s Daughter
When the novel opens, Maria, the novel’s protagonist is living a charmed and comfortable life with her husband, banker Humphrey and children, in London. The
daughter of Sicilian immigrants, Maria turned her back on her origins during her teens to fully embrace the English way of life.
Despite her troubled and humble childhood, Maria, through her intelligence, beauty and sheer determination, triumphantly works her way up to join the upper middle-class of British society. But when a minor incident awakens feelings of revenge in her, Maria is forced to confront–and examine—her past.
As she delves deeper into her mother
’s family history, a murky past unravels—and Maria is swept up in a deadly and dangerous mire of vendetta. Will Maria’s carefully-constructed, seemingly-idyllic life unravel? Expect the unexpected in this outstanding new mystery….
The Sicilian Woman’s Daughter
is a brilliantly-plotted, exceedingly well-told tale. Novelist Linda Lo Scuro delivers a confident and captivating tale brimming with tantalizing twists, turns, and surprise, a to-die-for plot, and realistic, multi-dimensional characters. Thoughtful and thought-provoking, rich and riveting, The Sicilian Woman’s Daughter is destined to stay with readers long after the final page is turned.
On the Spotlight: The Sicilian Woman's Daughter by Linda Lo Scuro
The Sicilian Woman's DaughterGenre: Mystery/Women’s Fiction
Author: Linda Lo Scuro
Publisher: Sparkling Books
https://www.sparklingbooks.com/
Purchase link:
https://www.sparklingbooks.com/the_si...
Follow the author:
Twitter / Facebook
About The Sicilian Woman’s Daughter
When the novel opens, Maria, the novel’s protagonist is living a charmed and comfortable life with her husband, banker Humphrey and children, in London. The daughter of Sicilian immigrants, Maria turned her back on her origins during her teens to fully embrace the English way of life.
Despite her troubled and humble childhood, Maria, through her intelligence, beauty and sheer determination, triumphantly works her way up to join the upper middle-class of British society. But when a minor incident awakens feelings of revenge in her, Maria is forced to confront–and examine—her past.
As she delves deeper into her mother’s family history, a murky past unravels—and Maria is swept up in a deadly and dangerous mire of vendetta. Will Maria’s carefully-constructed, seemingly-idyllic life unravel? Expect the unexpected in this outstanding new mystery….
The Sicilian Woman’s Daughter is a brilliantly-plotted, exceedingly well-told tale. Novelist Linda Lo Scuro delivers a confident and captivating tale brimming with tantalizing twists, turns, and surprise, a to-die-for plot, and realistic, multi-dimensional characters. Thoughtful and thought-provoking, rich and riveting, The Sicilian Woman’s Daughter is destined to stay with readers long after the final page is turned.
PROLOGUE
Rumour had it that Ziuzza, my grandmother’s sister, on my mother’s side, carried a gun in her apron pocket – both at home and when she went out. She wore her apron back-to-front, resulting in the pocket being propped up against her belly. She kept her right hand poised there, between her dress and apron as if she had bellyache. I had noticed this suspicious behaviour when on holiday in Sicily with my family when I was twelve. At that stage, never could I have imagined that she was concealing a gun, while she stood there in my grandmother’s kitchen watching me have breakfast. I never saw her sitting down. She brought us thick fresh milk, containing a cow’s hair or two, in the early mornings and often stayed to chat.
She had a dog, Rocco, white and brown, which she tied to a wooden stake in my grandmother’s stable downstairs. It was a lively animal, snapping at whoever passed it, jumping and yapping. The mules, the rightful inhabitants of the stable, were out in the campagna with my grandfather from the break of dawn each day.
A tight silver bun stood proudly on Ziuzza’s head. Her frowning face always deadly serious. Fierce, even. An overly tanned and wrinkled face. Skin as thick as cows’ hide. Contrastingly, her eyes were of the sharpest blue – squinting as she stared, as if viewing me through thick fog. I was scared of her. Truly scared. And all the other women were frightened, too. You could tell by the way they spoke to her, gently and smiling. Careful not to upset her, always agreeing with her opinions. They toadied up to her well and proper. An inch away from grovelling.
And, I found out the rumours about the gun were true. Ziuzza would come and bake bread and cakes at my grandmother’s house because of the enormous stone oven in the garden. I helped carry wood to keep the flames alive. Did my bit. One day the sisters made some Sicilian cakes called cuddureddi, meaning: ‘little ropes.’ They rolled the dough with their bare hands, into thick round lengths in the semblance of snakes. Using a sharp knife, they then sliced the snake-shape in half, longways, spread the lower half of the butchered snake with home-made fig jam. They put the snake together again, slashed it into chunks. Then the chunks were dealt with one-by-one and manipulated into little ropes by pinching them forcefully into shape with their nimble fingers.
As Ziuzza bent over to wipe her mouth on the corner of her pinafore, I caught a glimpse of her gun. I was sitting at the table sprinkling the first trayful of cuddureddi with sugar. No doubt about it. It was there in Ziuzza’s big inside pocket of her pinafore. While I was looking at the bulge, she caught me out. We exchanged glances, then our eyes locked. She narrowed her hooded eyelids into slits and crunched up her face. I blinked a few times, then looked around for some more wood to replenish the oven, grabbed a few logs and vanished into the garden.
After she received a sickening threat, Rocco’s bloodied paws were posted to her in a box, she, like her dog, came to a violent end. Ziuzza was shot in her back, in broad daylight, by someone riding by on a Vespa. People with line of sight, from their windows to the body, hurried to close their shutters. Nobody saw who it was. Nobody heard the gunshots, though the road was a main artery from one end of The Village to the other. And nobody called a doctor. It would be taking sides. Which you certainly didn’t want to do. Added to that was the fact that Ziuzza at that moment was on the losing side. She was left to bleed to death in the road like an animal. It wasn’t until the dustcart came round that they removed her body because it couldn’t get by. But nobody commented, it was as if they were removing a big piece of rubbish. It was nothing to them. But instead of throwing it away, they took the body to her home. Nobody was in. So they brought it to my grandmother’s house instead.
This was the lowest point in our family’s history. With time, though, Ziuzza managed to triumph through her son, Old Cushi, who began the escalation. And, later, her grandson, Young Cushi, completed it by becoming the undisputed boss of our village, of the region, and beyond. But the transition was not easy. A bloody feud ensued. Lives were lost on both sides. Some might know who Ziuzza’s enemies were. I didn’t get an inkling. Most of the information I came across was from listening to what the grown-ups in our family were saying. And they never mentioned her rivals by name. Some faceless entity fighting for control of the area.
This is just one of the episodes I remember from our holidays in Sicily. There are many more. Every three years, I went to Sicily with my parents. Those I remember were when I was nine, twelve, fifteen and eighteen. The last time we went my mother was ill and we travelled by plane. All the other times we travelled by train because poverty accompanied us wherever we went. I think we had some kind of subsidy from the Italian Consulate in the UK for the train fare. It was a three-day-two-night expedition. I remember setting out from Victoria Station carrying three days’ supply of food and wine with us. Especially stuck in my mind was the food: lasagne, roast chicken, cheese, loaves of bread. We’d have
plates, cutlery, glasses, and an assortment of towels with us. At every transfer all this baggage had to be carried on to the next stage. No wheels on cases in those days. Then we’d get the ferry from Dover to Calais, and so began the first long stretch through France, Switzerland, until we finally pulled into Milan Station. Where our connection to Sicily was after a seven-hour wait.
We used to sleep on the waiting-room benches, though it was daytime, until someone complained about the space we were taking up. The Italian northerners had a great disdain for southern Italians. They saw us as muck, rolled their eyes at us, insulted us openly calling us “terroni”, meaning: “those who haven’t evolved from the soil.” Even though I was young, I noticed it, and felt like a second category being – a child of a minor god. There was the civilised world and then there was us. My parents didn’t answer back. And it was probably the time when I came closest to feeling sorry for them. For us.
The journey all the way down to the tip of Italy – the toe of the boot – was excruciating. The heat in the train unbearable. When there was water in the stinking toilets, we gave ourselves a cursory wipe with flannels. Sometimes we used water in bottles. Every time we stopped at a station, my father would ask people on the platforms to fill our bottles. Then came the crossing of the Strait of Messina. At Villa San Giovanni, the train was broken into fragments of three coaches and loaded into the dark belly of the ferry. My mother wouldn’t leave the train for fear of thieves taking our miserable belongings, until the ferry left mainland Italy. While my father and I went up on the deck to take in the view. But we had orders to go back down to the train as soon as the ferry left. Then I’d go up again with my mother. She became emotional when Sicily was well in sight. She would become ecstatic. Talk to any passengers who’d listen to her.
Some totally ignored her. She’d wave to people on passing ferries. Laughing and, surprisingly, being nice to me.
Reassembled together again, the train would crawl at a tortoise’s pace along the Sicilian one-track countryside railway, under the sweltering heat. Even peasants who were travelling within Sicily moved compartment when they got a whiff of us. Another event that excited my mother was when the train stopped at a level crossing. A man got out of his van, brought a crate of lemons to our train and started selling them to the passengers hanging out of the windows. My mother bought a big bag full and gave me one to suck saying it would quench my thirst. Another man came along selling white straw handbags with fringes, and she bought me one.
By the time we reached The Village our bags of food stank to high heaven and so did we.
Author: Linda Lo Scuro
Publisher: Sparkling Books
https://www.sparklingbooks.com/
Purchase link:
https://www.sparklingbooks.com/the_si...
Follow the author:
Twitter / Facebook
About The Sicilian Woman’s Daughter
When the novel opens, Maria, the novel’s protagonist is living a charmed and comfortable life with her husband, banker Humphrey and children, in London. The daughter of Sicilian immigrants, Maria turned her back on her origins during her teens to fully embrace the English way of life.
Despite her troubled and humble childhood, Maria, through her intelligence, beauty and sheer determination, triumphantly works her way up to join the upper middle-class of British society. But when a minor incident awakens feelings of revenge in her, Maria is forced to confront–and examine—her past.
As she delves deeper into her mother’s family history, a murky past unravels—and Maria is swept up in a deadly and dangerous mire of vendetta. Will Maria’s carefully-constructed, seemingly-idyllic life unravel? Expect the unexpected in this outstanding new mystery….
The Sicilian Woman’s Daughter is a brilliantly-plotted, exceedingly well-told tale. Novelist Linda Lo Scuro delivers a confident and captivating tale brimming with tantalizing twists, turns, and surprise, a to-die-for plot, and realistic, multi-dimensional characters. Thoughtful and thought-provoking, rich and riveting, The Sicilian Woman’s Daughter is destined to stay with readers long after the final page is turned.
PROLOGUE
Rumour had it that Ziuzza, my grandmother’s sister, on my mother’s side, carried a gun in her apron pocket – both at home and when she went out. She wore her apron back-to-front, resulting in the pocket being propped up against her belly. She kept her right hand poised there, between her dress and apron as if she had bellyache. I had noticed this suspicious behaviour when on holiday in Sicily with my family when I was twelve. At that stage, never could I have imagined that she was concealing a gun, while she stood there in my grandmother’s kitchen watching me have breakfast. I never saw her sitting down. She brought us thick fresh milk, containing a cow’s hair or two, in the early mornings and often stayed to chat.
She had a dog, Rocco, white and brown, which she tied to a wooden stake in my grandmother’s stable downstairs. It was a lively animal, snapping at whoever passed it, jumping and yapping. The mules, the rightful inhabitants of the stable, were out in the campagna with my grandfather from the break of dawn each day.
A tight silver bun stood proudly on Ziuzza’s head. Her frowning face always deadly serious. Fierce, even. An overly tanned and wrinkled face. Skin as thick as cows’ hide. Contrastingly, her eyes were of the sharpest blue – squinting as she stared, as if viewing me through thick fog. I was scared of her. Truly scared. And all the other women were frightened, too. You could tell by the way they spoke to her, gently and smiling. Careful not to upset her, always agreeing with her opinions. They toadied up to her well and proper. An inch away from grovelling.
And, I found out the rumours about the gun were true. Ziuzza would come and bake bread and cakes at my grandmother’s house because of the enormous stone oven in the garden. I helped carry wood to keep the flames alive. Did my bit. One day the sisters made some Sicilian cakes called cuddureddi, meaning: ‘little ropes.’ They rolled the dough with their bare hands, into thick round lengths in the semblance of snakes. Using a sharp knife, they then sliced the snake-shape in half, longways, spread the lower half of the butchered snake with home-made fig jam. They put the snake together again, slashed it into chunks. Then the chunks were dealt with one-by-one and manipulated into little ropes by pinching them forcefully into shape with their nimble fingers.
As Ziuzza bent over to wipe her mouth on the corner of her pinafore, I caught a glimpse of her gun. I was sitting at the table sprinkling the first trayful of cuddureddi with sugar. No doubt about it. It was there in Ziuzza’s big inside pocket of her pinafore. While I was looking at the bulge, she caught me out. We exchanged glances, then our eyes locked. She narrowed her hooded eyelids into slits and crunched up her face. I blinked a few times, then looked around for some more wood to replenish the oven, grabbed a few logs and vanished into the garden.
After she received a sickening threat, Rocco’s bloodied paws were posted to her in a box, she, like her dog, came to a violent end. Ziuzza was shot in her back, in broad daylight, by someone riding by on a Vespa. People with line of sight, from their windows to the body, hurried to close their shutters. Nobody saw who it was. Nobody heard the gunshots, though the road was a main artery from one end of The Village to the other. And nobody called a doctor. It would be taking sides. Which you certainly didn’t want to do. Added to that was the fact that Ziuzza at that moment was on the losing side. She was left to bleed to death in the road like an animal. It wasn’t until the dustcart came round that they removed her body because it couldn’t get by. But nobody commented, it was as if they were removing a big piece of rubbish. It was nothing to them. But instead of throwing it away, they took the body to her home. Nobody was in. So they brought it to my grandmother’s house instead.
This was the lowest point in our family’s history. With time, though, Ziuzza managed to triumph through her son, Old Cushi, who began the escalation. And, later, her grandson, Young Cushi, completed it by becoming the undisputed boss of our village, of the region, and beyond. But the transition was not easy. A bloody feud ensued. Lives were lost on both sides. Some might know who Ziuzza’s enemies were. I didn’t get an inkling. Most of the information I came across was from listening to what the grown-ups in our family were saying. And they never mentioned her rivals by name. Some faceless entity fighting for control of the area.
This is just one of the episodes I remember from our holidays in Sicily. There are many more. Every three years, I went to Sicily with my parents. Those I remember were when I was nine, twelve, fifteen and eighteen. The last time we went my mother was ill and we travelled by plane. All the other times we travelled by train because poverty accompanied us wherever we went. I think we had some kind of subsidy from the Italian Consulate in the UK for the train fare. It was a three-day-two-night expedition. I remember setting out from Victoria Station carrying three days’ supply of food and wine with us. Especially stuck in my mind was the food: lasagne, roast chicken, cheese, loaves of bread. We’d have
plates, cutlery, glasses, and an assortment of towels with us. At every transfer all this baggage had to be carried on to the next stage. No wheels on cases in those days. Then we’d get the ferry from Dover to Calais, and so began the first long stretch through France, Switzerland, until we finally pulled into Milan Station. Where our connection to Sicily was after a seven-hour wait.
We used to sleep on the waiting-room benches, though it was daytime, until someone complained about the space we were taking up. The Italian northerners had a great disdain for southern Italians. They saw us as muck, rolled their eyes at us, insulted us openly calling us “terroni”, meaning: “those who haven’t evolved from the soil.” Even though I was young, I noticed it, and felt like a second category being – a child of a minor god. There was the civilised world and then there was us. My parents didn’t answer back. And it was probably the time when I came closest to feeling sorry for them. For us.
The journey all the way down to the tip of Italy – the toe of the boot – was excruciating. The heat in the train unbearable. When there was water in the stinking toilets, we gave ourselves a cursory wipe with flannels. Sometimes we used water in bottles. Every time we stopped at a station, my father would ask people on the platforms to fill our bottles. Then came the crossing of the Strait of Messina. At Villa San Giovanni, the train was broken into fragments of three coaches and loaded into the dark belly of the ferry. My mother wouldn’t leave the train for fear of thieves taking our miserable belongings, until the ferry left mainland Italy. While my father and I went up on the deck to take in the view. But we had orders to go back down to the train as soon as the ferry left. Then I’d go up again with my mother. She became emotional when Sicily was well in sight. She would become ecstatic. Talk to any passengers who’d listen to her.
Some totally ignored her. She’d wave to people on passing ferries. Laughing and, surprisingly, being nice to me.
Reassembled together again, the train would crawl at a tortoise’s pace along the Sicilian one-track countryside railway, under the sweltering heat. Even peasants who were travelling within Sicily moved compartment when they got a whiff of us. Another event that excited my mother was when the train stopped at a level crossing. A man got out of his van, brought a crate of lemons to our train and started selling them to the passengers hanging out of the windows. My mother bought a big bag full and gave me one to suck saying it would quench my thirst. Another man came along selling white straw handbags with fringes, and she bought me one.
By the time we reached The Village our bags of food stank to high heaven and so did we.
October 15, 2018
Meet Author Team Rosemary & Larry Mild
Rosemary and Larry coauthor the popular Paco & Molly Mysteries and the Dan & Rivka Sherman Mysteries—and most recently, Unto the Third Generation, A Novella of the Future. They call Honolulu home, where they cherish time with their children and grandchildren. The Milds are members of Mystery Writers of America, Sisters in Crime, and Hawaii Fiction Writers. Find out more about their books on their website.
The local paper was full of hurricane news
and we thought Hurricane Iniki would make a great start for this sequel to Cry
Ohana. It was then a matter of drawing a plot from the next generation of Cry
Ohana characters. The orphaned boy came out of a later discussion.
2. Are any of
the characters in HONOLULU HEAT based on people you know?
No one character in this series is intended
as anyone we know; however, all our characters are composites of people we’ve met. We feel the plot dictates
the roles we cast in our stories—whatever is needed.
3. Why do you
think Hawaii makes such a great setting for a mystery novel?
There is a fascination and a number of
dreams associated with these islands, situated in the most isolated place on
earth in the middle of the Pacific Ocean. Palm trees, pineapples, and hula
dancers add to them. The population mix, their diverse cultures, and rich legends
provide grist for mystery’s mill.
Noah Wong is an adopted Hawaiian teen, who
after a troublesome—yet loving— upbringing,
finds himself teetering on both
sides of the law. He is complex, idealistic, lovable, and devoted.
5. HONOLULU HEAT is an exciting and suspenseful
tale. What is your secret to keeping readers in suspense?
We keep shuttling between
counter-characters with diverse points-of-view and goals. We reinforce our
suspense with sensory atmospheres, threatening and destabilizing environments
that amplify anxiety and fear, play on human frailties, and employ elements
that promote time and space competitions with harm to the loser.
6a . Do you know
how a book is going to end before you start writing?
In general we know where the book is
going, but upon further thoughts and developments, it sometimes comes as a
complete and mostly welcome surprise.
6b . What is your process?
Once we have talked out the plot seed.
Larry, being the more devious of the two, writes a ten- to fifteen-page
statement of work and uses it as a guide to writing the entire first draft.
Then Rosemary takes it through a second draft with much discussion between drafts.
7. Which do you
enjoy more—creating the plots or developing the characters? Why?
Devious Larry is more plot oriented and
Rosemary is more detail and people oriented, so Larry casts the skeletal
characters and scenes, while Rosemary puts all the fine touches on everything.
She is the one who provides color and personality. Mostly, we respect each
others decisions.
8. Do you have a title in mind before you start
writing, or does the title come later?
Honolulu is situated between the Pacific
Ocean and the Koolau Mountains, so we started with the working title, Between
the Mountains and the Great Sea. But, as time went on, and the book
grew, we felt that it wasn’t strong enough. We wanted HONOLULU in the
title and eventually added the word HEAT, so we came to HONOLULU
HEAT, Between the Mountains and the Great Sea.
9. Do you have
other books in the works? What is next
in the queue?
All kinds of great stuff!
We’re working on two collections of short stories; a collection of Rosemary’s
personal essays; Larry’s autobiography; and a textbook on writing the mystery
novel. We just haven’t decided which is next, but each of these projects has
made significant progress so far.
One of our story collections
is a series called “Copper and Goldie,” set in Honolulu. Mysterical-E,
the wonderful quarterly on-line mystery magazine, has already published eight,
with four more coming. “Copper” is Sam Nahoe, a disabled former HPD detective
who took a bullet in his spine in the line of duty. He drives a Checker Cab,
now has his private investigator’s license, and works with a partner who has
gorgeous russet-blond hair—a golden retriever!
September 26, 2018
Talking Craft with Margaret Mizushima, Author of the Timber Creek K-9 Mysteries
Margaret Mizushima is the author of the critically acclaimed Timber Creek K-9 Mysteries. Her books have garnered a Reader’s Favorite gold medal and have been listed as finalists in the RT Reviewers’ Choice Awards, the Colorado Book Awards, and the International Book Awards. Margaret serves on the board for the Rocky Mountain chapter of Mystery Writers of America, and she lives in Colorado where she assists her husband with their veterinary practice and Angus cattle herd. She can be found on Facebook/AuthorMargaretMizushima, on Twitter @margmizu, on Instagram at margmizu, and on her website at www.margaretmizushima.com.Q: Congratulations on the release of your latest book, Burning Ridge. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: Burning Ridge is the fourth book in the Timber Creek K-9 series, and it’s an action-packed adventure featuring Deputy Mattie Cobb, her dog Robo, and local veterinarian Cole Walker. When Cole and his two daughters find partial human remains up on Redstone Ridge, a beautiful place in the Colorado mountain wilderness, Mattie and Robo are called to investigate. After Robo finds a man’s burned body, Mattie soon realizes that she has close personal ties to the victim and she is determined to learn the truth behind his death. But the perpetrator has other plans, and Mattie finds herself the target of a sadistic killer. Cole and Robo search for the missing Mattie while a blazing forest fire threatens them all.
The plot for Burning Ridge came to me while I was writing Hunting Hour, the episode that comes before this one in the series. This villain sprang from Mattie’s past to destroy everything she once believed to be true about herself, and I couldn’t wait to finish book three so that I could get started on book four.
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: I’ll list what I believe to be the top three elements from the ones I enjoy in a good mystery. First of all, you must have likeable and compelling characters. That doesn’t necessarily mean that they’re good people, though most of my favorite characters have depth and goodness at their core, but the reader needs to be able to relate to and root for the protagonists in the story. Second, you need a good puzzle. It helps if the plot has twists that the reader didn’t see coming, but it’s even more important that clues are laid down that the reader can follow along with the investigator. And third, you should have an interesting setting that can be shaped to set tone and sometimes act as a barrier or even an antagonist to help develop you protagonist’s character arc. Setting itself can aid or impede a character’s progress in solving the mystery. I’m sure others might think differently to answer this question, but this is the way I see it.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I like to start with a lacey outline, one that has plenty of holes in it. As I write, these holes need to get filled in, but at least the outline gives me a sense of where I’m going. Sometimes I write out the outline, and sometimes I simply use a plotting board broken up into a grid that represents chapters. I can then post sticky notes on each space to tag what’s going to happen and what clues I want to plant. I’m trying this last method with book five, and so far I really like it.
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: I have two main protagonists, Deputy Mattie Cobb and veterinarian Cole Walker. And I shouldn’t forget Mattie’s K-9 partner; he’s important too, but I would call him a strong secondary character. Mattie is a tough woman who grew up in foster homes after her mother abandoned her and her brother when she was six, while Cole is recently divorced after his wife left and he’s in the throes of learning how to be a single parent and still handle his busy veterinary practice. I use a written character profile to first develop my protagonists, and then I flesh out their personalities by assigning each one a type on the Enneagram, an ancient system that reflects how different people view their worlds. This way I can identify exactly which character traits I want to bring out in scene and I can predict how my characters will react under different circumstances. This is the first time I’ve used the system, and it’s given me lovely results. (For more information, you can go to an online bookseller and search for books on The Enneagram.)
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 like to set up my villain’s goals and motivations from the beginning. Sometimes I like to make it so that Mattie shares similar goals, so that she can relate to the villain, which is what sparked the creation of the bad guy in Burning Ridge. But by the time the story evolved, he morphed into someone so twisted that there was no way Mattie could relate to him.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: Bestselling author Jeffery Deaver says to eliminate all the parts in your novel that a reader might want to skip. I like that, although it’s not necessarily specific. On my plotting board, I try to keep the action going by moving through a variety of dog-action scenes, veterinary work, and interviews with lots of dialogue. I like to keep my chapters short (about 10 pages) and use that white space (shorter paragraphs sprinkled with dialogue). I also use beta readers who give me feedback regarding scenes that move too slowly or provide unnecessary information.
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: Ah…seems we might agree on setting being an important element! I chose an outdoor setting in the Rocky Mountains because of the challenges it brings to the story. The setting also reflects on the people who populate the book: rugged folks who love nature, animals, and are open toward others. In Burning Ridge, a charred body is found in a beautiful spot in the wilderness area where they have to pack in on horseback or hike to investigate the crime. And in fact, Mattie’s fear of horses plays into the mystery as well. And of course, the forest fire that builds toward the book’s climax creates physical and emotional challenges for the characters as well as tension for the reader.
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: I almost always know the themes for each book before I begin. Burning Ridge is about family and all the forms that might take, including those members who don’t share your bloodline. It’s a theme that is woven into all of the series episodes in various forms, because finding her family and having her own family are two of Mattie’s heart’s desires. And since Cole’s wife has withdrawn from him and his two daughters, he’s working hard to reshape his family and give his children a loving home. Now…wouldn’t it be great if these two could get together?
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: This is a good question. Craft and art intermingle during the writing of a manuscript’s rough draft. Art can continue to flourish during the editing process, too, if you have the right editor. A professional editor who is experienced with the development of mysteries can be worth his/her weight in gold. Working with the right critique group can also help, but I’ve found that it’s important to work with others who are writing within the mystery genre when creating that initial draft. Otherwise, it’s very easy to take a wrong turn.
Q: What three things, in your opinion, make a successful novelist?
A: The ability to sit in isolation for hours at the keyboard is a must. Yes, it’s possible to write at a coffee shop or other social venue, but in the end, a writer must go inside her own head to get those words onto the page. Persistence is a second quality that a writer needs to have in order to achieve publication. You must persist in finishing what you start, and you must be able to persist during countless revisions in order to elevate your work to the best it can be. And finally, you need to have a thick skin. This applies to the critique process, the editorial process, and the review process after publication, that time when “Aunt Rosie” tells everyone that she doesn’t like your work.
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: I agree to a certain extent. When writing a first draft, I write just about every day. I’m a fairly slow writer, so I shoot for 1000 words in my manuscript each morning in order to finish a draft and still have time to revise and polish before meeting my deadline. I save my day job and other writing duties for the afternoon. During the writing process it is like having homework, but I expect I will actually retire someday and I won’t be writing novels for the rest of my life. Then again, I might be surprised.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: The annual Colorado Gold writing conference in Denver and the Pike’s Peak Writers Conference in Colorado Springs have been extremely helpful in terms of writing workshops, networking with other writers, and meeting my agent and publisher. I have two shelves of resource books in my office and too many to list here, but I’ve used repeatedly the Donald Maass books for Writing the Breakout Novel, and the Debra Dixon book GMC: Goal, Motivation, and Conflict.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: In the beginning, tapping into the flow of writing can be a heady experience. Enjoy it, but also remember that you must finish what you start, even if that means plodding along at times. You can always revise bad writing, but you can’t revise a blank page.
September 11, 2018
Talking Craft with Historical Mystery Author Marty Ambrose
Marty Ambrose has been a writer most of her life, consumed with the world of literature whether teaching English at Florida Southwestern State College or creating her own fiction. Her writing career has spanned almost fifteen years, with eight published novels for Avalon Books, Kensington Books, Thomas & Mercer—and, now, Severn House.
Two years ago, Marty had the opportunity to apply for a grant that took her to Geneva and Florence to research a new creative direction that builds on her interest in the Romantic poets: historical fiction. Her new book, Claire’s Last Secret, combines memoir and mystery in a genre-bending narrative of the Byron/Shelley “haunted summer,” with Claire Clairmont, as the protagonist/sleuth—the “almost famous” member of the group. The novel spans two eras played out against the backdrop of nineteenth-century Italy and is the first of a trilogy.
Marty lives on an island in Southwest Florida with her husband, former news-anchor, Jim McLaughlin. They are planning a three-week trip to Italy this fall to attend a book festival and research the second book, A Shadowed Fate. Luckily, Jim is fluent in Italian and shares her love of history and literature. Their German shepherd, Mango, has to stay home.
INTERVIEW:
Q: Congratulations on the release of your latest book, Claire’s Last Secret. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: This historical fiction is a new twist on a famous event (the “haunted summer” of 1816 when the Bryon/Shelley circle lived in Geneva and Mary Shelley’s novel, Frankenstein, was conceived). I have always been interested in the “unknown voice” of women in historical fiction. We see so many great literary figures through the lens of history and fame, but their contemporaries often saw them very differently. When I wrote Claire’s Last Secret, I chose to narrate it from the perspective of Mary’s stepsister, Claire Clairmont. She outlived the other members of the group by many decades and had the perspective of age and experience when she later recalled the events of her youth. I found her an incredibly intriguing person in her own right and was inspired to write the book because I felt like her “voice” hadn’t been heard yet.
Q: What do you think makes a good historical fiction? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: First of all, I think my book is a little difficult to narrow because it’s a bit of a genre-bending novel—partly memoir, partly historical fiction, partly women’s fiction. I wanted to bring in all of these elements. But if I had to narrow it, I would say it’s historical fiction.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I had most of the plot in my head before I started, but I always write the first hundred pages, then go back, revise, and re-work the plot. This process gives me both structure and creative freedom when I write.
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 protagonist is Claire Clairmont, Mary Shelley’s step-sister. What I find interesting about her is that we see her at two stages in her life: when she’s seventeen during the summer of 1816 and when she’s 75, living in Florence, Italy, during 1873 as a somewhat impoverished ex-patriot. This was quite a challenge for me as a writer because her “young” voice is very different from her “mature” voice; she’s an older and wiser woman in much of the book, but still so influenced by what happened to her in her younger days. I’ve always been keenly interested in the Byron/Shelley circle, but I had to complete a lot more research on Claire. She was a remarkable but rather elusive person to develop as a character.
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 have an antagonist and a villain; the former was part of the Byron/Shelley circle—John Polidori who wrote The Vampire. Without giving away too much, he appears to be the villain for much of the novel but, in fact, the villain is a fictional character whom I added to Claire’s life. Again, I did quite a bit of research on Polidori, including a study of his journal and novel. It was quite a challenge to “tweak” these real-life characters in a work of fiction!
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I decided to use a dual narrative structure in this novel (Claire at two stages in her life), but the narrative threads connect to each other. The mystery of one time can be solved only in another time, which I hope keeps the reader moving along. One practical tip: I always end each chapter with some unresolved tension that keeps the reader flipping the pages; it could be an appearance of a new character, a sudden realization, or some sense of danger. Don’t “tidy-up” chapters or finish the narrative thread until the actual end of the story!
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: I adore setting, but I struggle with descriptive language, so I know I always have to work on this aspect. In Claire’s Last Secret, the settings are Geneva in 1816 and Florence in 1873. I had to visit (such a trial!) both of these magnificent cities, and scout out specific places that would serve as backdrop for my novel. For example, Byron and Shelley sailed around Lake Geneva in 1816 and stopped at Castle Chillon, which is woven into a scene in my book, with an added fictional element. I visited the site and was able to (hopefully) make it come alive in terms of sensory descriptions. I think the little details make it come to life, such as the sound of waves lapping against the walls at Chillon, the dampness of the dungeon, and the expansiveness of the courtyard.
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: I knew the theme would be about the interconnectedness of life and how one person can risk everything for the truth. I’ve never really covered these themes before, but they have been on my mind for some time as I’ve reflected on how our world seems to be unfolding and how we have to cultivate our own personal bravery.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: I think craft and art are intermingled in writing. As I write, I need to be in the creative flow, but I must also be ruthless in editing my own work. As T.S. Eliot said, “There is no good writing, only good revision.” I truly believe that. I just wait to be ruthless on my own writing until I have a hundred pages on paper.
Q: What three things, in your opinion, make a successful novelist?
A: First of all, a writer has to simply write. I often hear people say that they would love to write a book, but they never seem to get started. You just have to sit down and work at the keyboard! Secondly, a writer has to understand that publishing is a business. You must use every tool that you would use as an employee in a contemporary workplace: Be professional, disciplined, and digitally-savvy. Those qualities will always reflect positively on you as a writer. Lastly, you must learn to accept criticism from editors, critics, and readers. You work in a creative field and it has a strong subjective element. More specifically, some people will like your work, others not so much. It’s okay if you’re writing what you love!
Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. Thoughts?
A: This is so true. As a write, you are always researching, writing, or editing. It never stops—just like when you were in school. You have to love it.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: My advice that I give to new writers is to attend conferences that cover the type of writing that you want to do. I always learn something new, and I have met some amazing people who later became friends and/or part of my publishing journey. I attend Sleuthfest every year, and I’m a member of several organizations, such as The Historical Novel Society and Novelists’ Inc., that provide such helpful resources. Attend every workshop that you can!
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Enjoy the magic! You need to learn about the craft to structure a chapter or develop a character, but then you must write the book that comes from deep inside. It’s your story and your dream. Let that part of you as a writer shine through. And keep writing!
Two years ago, Marty had the opportunity to apply for a grant that took her to Geneva and Florence to research a new creative direction that builds on her interest in the Romantic poets: historical fiction. Her new book, Claire’s Last Secret, combines memoir and mystery in a genre-bending narrative of the Byron/Shelley “haunted summer,” with Claire Clairmont, as the protagonist/sleuth—the “almost famous” member of the group. The novel spans two eras played out against the backdrop of nineteenth-century Italy and is the first of a trilogy.Marty lives on an island in Southwest Florida with her husband, former news-anchor, Jim McLaughlin. They are planning a three-week trip to Italy this fall to attend a book festival and research the second book, A Shadowed Fate. Luckily, Jim is fluent in Italian and shares her love of history and literature. Their German shepherd, Mango, has to stay home.
INTERVIEW:
Q: Congratulations on the release of your latest book, Claire’s Last Secret. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: This historical fiction is a new twist on a famous event (the “haunted summer” of 1816 when the Bryon/Shelley circle lived in Geneva and Mary Shelley’s novel, Frankenstein, was conceived). I have always been interested in the “unknown voice” of women in historical fiction. We see so many great literary figures through the lens of history and fame, but their contemporaries often saw them very differently. When I wrote Claire’s Last Secret, I chose to narrate it from the perspective of Mary’s stepsister, Claire Clairmont. She outlived the other members of the group by many decades and had the perspective of age and experience when she later recalled the events of her youth. I found her an incredibly intriguing person in her own right and was inspired to write the book because I felt like her “voice” hadn’t been heard yet.
Q: What do you think makes a good historical fiction? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: First of all, I think my book is a little difficult to narrow because it’s a bit of a genre-bending novel—partly memoir, partly historical fiction, partly women’s fiction. I wanted to bring in all of these elements. But if I had to narrow it, I would say it’s historical fiction.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I had most of the plot in my head before I started, but I always write the first hundred pages, then go back, revise, and re-work the plot. This process gives me both structure and creative freedom when I write.
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 protagonist is Claire Clairmont, Mary Shelley’s step-sister. What I find interesting about her is that we see her at two stages in her life: when she’s seventeen during the summer of 1816 and when she’s 75, living in Florence, Italy, during 1873 as a somewhat impoverished ex-patriot. This was quite a challenge for me as a writer because her “young” voice is very different from her “mature” voice; she’s an older and wiser woman in much of the book, but still so influenced by what happened to her in her younger days. I’ve always been keenly interested in the Byron/Shelley circle, but I had to complete a lot more research on Claire. She was a remarkable but rather elusive person to develop as a character.
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 have an antagonist and a villain; the former was part of the Byron/Shelley circle—John Polidori who wrote The Vampire. Without giving away too much, he appears to be the villain for much of the novel but, in fact, the villain is a fictional character whom I added to Claire’s life. Again, I did quite a bit of research on Polidori, including a study of his journal and novel. It was quite a challenge to “tweak” these real-life characters in a work of fiction!
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I decided to use a dual narrative structure in this novel (Claire at two stages in her life), but the narrative threads connect to each other. The mystery of one time can be solved only in another time, which I hope keeps the reader moving along. One practical tip: I always end each chapter with some unresolved tension that keeps the reader flipping the pages; it could be an appearance of a new character, a sudden realization, or some sense of danger. Don’t “tidy-up” chapters or finish the narrative thread until the actual end of the story!
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: I adore setting, but I struggle with descriptive language, so I know I always have to work on this aspect. In Claire’s Last Secret, the settings are Geneva in 1816 and Florence in 1873. I had to visit (such a trial!) both of these magnificent cities, and scout out specific places that would serve as backdrop for my novel. For example, Byron and Shelley sailed around Lake Geneva in 1816 and stopped at Castle Chillon, which is woven into a scene in my book, with an added fictional element. I visited the site and was able to (hopefully) make it come alive in terms of sensory descriptions. I think the little details make it come to life, such as the sound of waves lapping against the walls at Chillon, the dampness of the dungeon, and the expansiveness of the courtyard.
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: I knew the theme would be about the interconnectedness of life and how one person can risk everything for the truth. I’ve never really covered these themes before, but they have been on my mind for some time as I’ve reflected on how our world seems to be unfolding and how we have to cultivate our own personal bravery.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: I think craft and art are intermingled in writing. As I write, I need to be in the creative flow, but I must also be ruthless in editing my own work. As T.S. Eliot said, “There is no good writing, only good revision.” I truly believe that. I just wait to be ruthless on my own writing until I have a hundred pages on paper.
Q: What three things, in your opinion, make a successful novelist?
A: First of all, a writer has to simply write. I often hear people say that they would love to write a book, but they never seem to get started. You just have to sit down and work at the keyboard! Secondly, a writer has to understand that publishing is a business. You must use every tool that you would use as an employee in a contemporary workplace: Be professional, disciplined, and digitally-savvy. Those qualities will always reflect positively on you as a writer. Lastly, you must learn to accept criticism from editors, critics, and readers. You work in a creative field and it has a strong subjective element. More specifically, some people will like your work, others not so much. It’s okay if you’re writing what you love!
Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. Thoughts?
A: This is so true. As a write, you are always researching, writing, or editing. It never stops—just like when you were in school. You have to love it.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: My advice that I give to new writers is to attend conferences that cover the type of writing that you want to do. I always learn something new, and I have met some amazing people who later became friends and/or part of my publishing journey. I attend Sleuthfest every year, and I’m a member of several organizations, such as The Historical Novel Society and Novelists’ Inc., that provide such helpful resources. Attend every workshop that you can!
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Enjoy the magic! You need to learn about the craft to structure a chapter or develop a character, but then you must write the book that comes from deep inside. It’s your story and your dream. Let that part of you as a writer shine through. And keep writing!
August 9, 2018
Talking Craft with Mystery Author Verlin Darrow
Verlin Darrow is currently a psychotherapist who lives with his psychotherapist wife in the woods near the Monterey Bay in northern California. They diagnose each other as necessary. Verlin is a former professional volleyball player (in Italy), unsuccessful country-western singer/songwriter, import store owner, and assistant guru in a small, benign spiritual organization. Before bowing to the need for higher education, a much younger Verlin ran a punch press in a sheet metal factory, drove a taxi, worked as a night janitor, shoveled asphalt on a road crew, and installed wood flooring. He missed being blown up by Mt. St. Helens by ten minutes, survived the 1985 Mexico City earthquake (8 on the Richter scale), and (so far) has successfully weathered his own internal disasters.Book: Blood and Wisdom
Website: www.verlindarrow.com
Amazon: https://www.amazon.com/author/verlindarrow
INTERVIEW:
Q: Congratulations on the release of your latest book, Blood and Wisdom. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: Here’s a blurby description: When Private Investigator Karl Gatlin takes on Aria Piper’s case, it was no more than a threat—phone calls warning Aria to either “stop doing Satan’s work” or meet an untimely demise. But a few hours later, a headless John Doe bobs up in the wishing well at Aria’s New Age spiritual center near Santa Cruz. Aria had ideas about who could be harassing her, but the appearance of a dismembered body makes for a real game changer. And what Karl Gatlin initially thought was a fairly innocuous case turns out to be anything but.
Dispatching former rugby superstar and Maori friend John Ratu to protect Aria, Karl and his hacker assistant Matt are free to investigate a ruthless pastor, a money launderer on the run, some sketchy members of Aria’s flock, and warring drug gangs. With his dog Larry as a wingman, Karl uncovers a broad swath of corruption, identity theft, blackmail, and more murders. But nothing is as it seems, and as the investigation heats up, Karl is framed, chased, and forced to dive into the freezing water of the Monterey Bay to escape a sniper.
Against the backdrop of a ticking clock, Karl races to find answers. But more murders only mean more questions—and Karl is forced to make an impossible choice when it turns out Aria’s secret may be the most harrowing of all.
Blood and Wisdom fell out of me once I got going—telling me what sort of novel it wanted to be. The reason I sat down to see what would happen if I began a PI mystery was that the genre draws on my strengths—plotting, dialogue, and understanding people. The themes are simply the things that matter most to me.
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: Well, obviously, an important element is managing the mysterious/suspense element so the surprises make sense in hindsight, even though they weren’t discernible at the time. Another feature of a successful mystery is appropriate pacing. It’s easy to go too fast when plot is driving a genre, and it’s also easy to bog down in exposition when a complex story can’t stand on its own. Lastly, I need to care about what happens to the main characters, which usually means I need to like them. In real life, I don’t necessarily enjoy being around people who are mixed-up in crime and violence, so an author has to do some work here.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I’m a fairly extreme example of a seat-of-the-pants plotter. I start with one major event and a small cast of potential characters. In Blood and Wisdom, a body is discovered on the property of a spiritual teacher’s compound, and there’s a PI who gets involved. That’s all I started with. From there, one thing leads to another, often driven by dialogue that seems to fall out of the characters’ mouths. Everyone gradually defines themselves as I write myself into and then out of dilemmas and seeming dead ends. I’m at my most creative when I’ve put myself directly behind the eight ball.
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: Karl embodies a lot of the same traits as myself, which is handy. I’m psychological-minded, and by virtue of writing suspense, I also see the world as a profusion of tangled power cords that require sorting and deciphering. So I created a protagonist who thinks the way I do—up to a point. He’s ignorant about a lot of metaphysical stuff that I’m well-versed in, but I still remember what it was like for me to stumble onto it. I’ve never done stand-alone character sketches. My imagination is a counter-puncher, not an initiator.
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: More than one reprehensible character lurks in the pages of Blood and Wisdom, and they all stem from real experience. As an experienced psychotherapist, I’ve worked with, heard about, or ran from narcissists, sociopaths, and psychotic people. My villains, I think, come across as real as a result.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I think that employing dialogue that announces something intriguing is a good tool for creating a cliffhanger chapter ending. In a PI mystery, too, you need periodic action, and this needs to be something original, or at least interesting, aside from how it moves the plot forward. I think it’s also important to write a series of mysteries within the big mystery--small puzzles that get worked out gradually. The reader needs to yearn for answers on a regular basis.
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: This is a weak spot for me in a rough draft. Since I’m working on the fly to develop characters and resolve the plot, I don’t do much with setting besides naming it, so I need to go back and flesh it out later. Even then, I have to work hard at this. I have trouble imagining detailed settings (I’m hopeless when I try to write science fiction), so I adapt places I’ve spent time in, and try to focus on the sensory experiences available there.
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: The same themes sneak into all my books, even when I try to keep them out--how people change. What underlies ordinary reality? Why do people commit crimes? How does love develop out of trauma? I set out to write a straight PI mystery, but my damned characters kept injecting extra depth into everything.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: No, I’ve never experienced good editing interfering with the creative process--quite the opposite, actually. Any book that becomes more readable, more coherent, and tighter serves creativity better.
I don’t feel I’ve ever crossed over from craft to art, personally. And that’s fine with me. I’m a big fan of craft.
Q: What three things, in your opinion, make a successful novelist?
A: Perseverance, insight, and craft.
Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. Thoughts?
A: Yup. It’s a curse and a blessing--like everything else. The difference between my happiness quotient when I’m engrossed in a project or I’m not is marked. I need to write to make my life work. If I were designing myself, would I choose this scenario? Probably not. But I could say that about tons of things, and were I completely in charge, in the long run, I’m sure I’d be a big mess.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: I’ve mostly worked out things on my own, by writing a lot of manuscripts, the majority of which were unmarketble--for good reason.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Trust your subconscious. It knows more than you do about some aspects of writing, and it has your best interests at heart.
