Mayra Calvani's Blog, page 4
February 12, 2018
5 Questions with Travel Memoirist Joseph Davida
After a near death experience at age fifteen, Joseph Davida left his parents’ home and moved into Manhattan. Too young to get a “real” job, he started up what became one of the biggest weed delivery services in New York to support himself while he pursued his career as a musician and songwriter. For years he worked with some of the best musicians in the world, until a nervous breakdown brought his time in the music industry to an end. During this time he traveled the world before finally settling in Nashville, where he had two beautiful daughters and started a successful chain of retail stores. He now concentrates on being a good father, and actively plans for the coming revolution…while also working to get his many stories onto the page.Q: What’s inside the mind of a travel memoir author?
A: Oh man… A lot of things! The kinds of things that would probably make my mother very worried. Lately I’ve been trying to figure out a way to save the world. I see the future that my daughters will be inheriting, and it’s starting to look pretty bleak. But I do have hope. I feel like the current political landscape has woken a lot of people up to the fact that if we don’t get our act together pretty soon, it may become too late.
Q: Tell us why readers should buy “Traveling High and Tripping Hard”.
A: Well, it won’t be for everyone…but for anyone who appreciates all of the things that can be learned from making bad decisions, I think they can enjoy it. It’s a chance to travel to exotic places, and experience some things that most people would probably never want to personally subject themselves to. Also, it will hopefully make some people laugh.
Q: What makes a good travel memoir?
A: Something where the reader really feels like they are there with you. Whether they become inspired to visit the same places, or make a conscious decision to never wind up there, you want the reader to feel like they’ve experienced it. You want something that can take you on a journey that captures all of the joy and suffering that life has to offer, without creating any of the actual scars that come with it.
Q: Where can readers find out more about you and your work?
A: I’ve just started putting together a new website. Not sure of everything that will be on it yet, but the address is www.josephdavida.com .
Q: What has writing taught you?
A: That the process is hard. But if one person can read what I have written, and have a moment to escape from their own life—it will have all been worth it. After all of the years of debauchery and self-destruction, at least that’s what I’m trying to tell myself!
February 9, 2018
Talking Craft with Thriller Author Jody Gehrman
Jody Gehrman has authored eleven published novels and numerous plays for stage and screen. Her debut suspense novel, Watch Me, is published by St. Martin's Press. Her Young Adult novel, Babe in Boyland, won the International Reading Association’s Teen Choice Award and was optioned by the Disney Channel. Jody’s plays have been produced or had staged readings in Ashland, New York, SanFrancisco, Chicago and L.A. Her newest full-length, TribalLife in America, won 
the Ebell Playwrights Prize and will receive a staged reading at the historic Ebell Theater in Los Angeles. She and her partner David Wolf won the New Generation Playwrights Award for theirone-act, Jake Savage, Jungle P.I. She holds a Masters Degree in ProfessionalWriting from the University of Southern California and is a professor of Communications at Mendocino College in Northern California.
Q: Congratulations on the release of your latest book, Watch Me. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: Watch Me is a dark psychological suspense novel about a professor caught up in a dangerous relationship with her charming but psychotic student. Writing this book felt important and cathartic. “Watch Me” is a dare, a command, and a plea. I was trying to put into words an experience I think many women can relate to. We go from always being on display in our twenties and early thirties to suddenly feeling invisible. The minute we hit puberty we start to feel eyes on us; we get so used to that state, we unconsciously accept it as a law of nature. When all those eyes turn away from us, it’s as if we disappear. My protagonist is thirty-eight, divorced, emotionally bruised, and disappearing. That perfect storm makes her vulnerable to an obsessive sociopath. He may be dangerous, but at least he sees her.
Q: What do you think makes a good psychological suspense novel? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: I suppose this is painfully obvious, but it has to be suspenseful. The reader has to feel a sort of dread that’s at once scary and also weirdly pleasurable.
The second element is also somewhat obvious but worth mentioning: the nature of the suspense should be psychological. What that means to me is we’re drawn into each character’s secrets; we get to explore his or her dark side, and in doing so, we explore our own. The element of fear isn’t centered on the supernatural or jump-scares but rather the shadow side of human nature.
The third element I look for as a reader and strive to achieve as a writer is atmosphere. I love it when the world of the book is so palpable I can lose myself in it, no matter what’s going on in my real life.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I’m a playwright and a screenwriter in addition to my work as a novelist, so I’ve learned a lot about plotting from the screenwriting community. I’m a huge fan of the late great Blake Snyder’s book on screenplay structure and storytelling, Save the Cat. Once I got the basic idea for Watch Me I ran it through Snyder’s fifteen story beats. The overall premise came to me in a heated rush, but I was able to refine the various plotting elements by looking at it through the lens Snyder explains so beautifully. If you struggle with plotting I highly recommend his 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 actual writing? 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 book bounces between two very different voices—a writing professor and her protégé. It’s funny; since I’ve worked as a writing professor for two decades, I assumed her voice would dominate the book. Nobody was more surprised than me when her unhinged student took on a voice that just exploded on the page. I guess we all have a bit of crazy in us. I’ve discovered that taking on the point of view of a sociopath is both fascinating and weirdly therapeutic.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: The great thing about fiction is we get to fast-forward through the boring parts. I try to find the most dramatic, tense moments that will tell the story best.
In early drafts, it’s natural to avoid conflict to some extent. We get our characters into a tight spot, but we love them, so we want to make it easy for them to escape. In later drafts, my focus is on cutting off those escape routes and forcing the characters to sweat it out. I try to lose anything that slows the pace too much. I’m learning to put my beloved characters into impossibly tense situations and then, just when I can barely stand it, I turn the screws just a little more.
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 love weather. It sounds cliché, but sprinkling a scene with just the right wind or rain or sun really can add to the tension. I’m also very olfactory. Smells play an important part in my books. It’s one of the most powerful senses when it comes to connecting with emotion. If I could write a novel with scratch-and-sniff pages that would awesome : )
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 idea that people—especially women—feel invisible after a certain age is central to this book. It’s what makes my protagonist vulnerable to a dangerous stalker. This is something I’ve thought about for years, but wasn’t able to express until now.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: I do think that’s possible, especially if you’re working with an editor who doesn’t fully get your vision. Both my agent and my editor were so completely on board with this book, though, I never worried about that. They saw ways to make it better, but the fundamental bones of the book remained unchanged.
Many writers, myself included, want to please everyone. This can be dangerous. I caution my writing students to sift through the feedback they receive with an open mind, but only act on the notes that truly resonate. The longer you do this work, the clearer you get about which voices to listen to and which ones to ignore.
Q: What three things, in your opinion, make a successful novelist?
A: Perseverance, audacity, but most of all a deep love of the work itself.
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 guess that’s sort of true. I loved being a student, so I guess it makes sense that I’d want nonstop homework forever.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: Blake Snyder’s Save the Cat is my Bible.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: It’s important to surround yourself with people who take your work as a writer seriously. Authors have enough rejection and ridicule to contend with in the public sphere; there’s no need to invite the same sort of energy into your home.
the Ebell Playwrights Prize and will receive a staged reading at the historic Ebell Theater in Los Angeles. She and her partner David Wolf won the New Generation Playwrights Award for theirone-act, Jake Savage, Jungle P.I. She holds a Masters Degree in ProfessionalWriting from the University of Southern California and is a professor of Communications at Mendocino College in Northern California.Q: Congratulations on the release of your latest book, Watch Me. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: Watch Me is a dark psychological suspense novel about a professor caught up in a dangerous relationship with her charming but psychotic student. Writing this book felt important and cathartic. “Watch Me” is a dare, a command, and a plea. I was trying to put into words an experience I think many women can relate to. We go from always being on display in our twenties and early thirties to suddenly feeling invisible. The minute we hit puberty we start to feel eyes on us; we get so used to that state, we unconsciously accept it as a law of nature. When all those eyes turn away from us, it’s as if we disappear. My protagonist is thirty-eight, divorced, emotionally bruised, and disappearing. That perfect storm makes her vulnerable to an obsessive sociopath. He may be dangerous, but at least he sees her.
Q: What do you think makes a good psychological suspense novel? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: I suppose this is painfully obvious, but it has to be suspenseful. The reader has to feel a sort of dread that’s at once scary and also weirdly pleasurable.The second element is also somewhat obvious but worth mentioning: the nature of the suspense should be psychological. What that means to me is we’re drawn into each character’s secrets; we get to explore his or her dark side, and in doing so, we explore our own. The element of fear isn’t centered on the supernatural or jump-scares but rather the shadow side of human nature.
The third element I look for as a reader and strive to achieve as a writer is atmosphere. I love it when the world of the book is so palpable I can lose myself in it, no matter what’s going on in my real life.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I’m a playwright and a screenwriter in addition to my work as a novelist, so I’ve learned a lot about plotting from the screenwriting community. I’m a huge fan of the late great Blake Snyder’s book on screenplay structure and storytelling, Save the Cat. Once I got the basic idea for Watch Me I ran it through Snyder’s fifteen story beats. The overall premise came to me in a heated rush, but I was able to refine the various plotting elements by looking at it through the lens Snyder explains so beautifully. If you struggle with plotting I highly recommend his 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 actual writing? 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 book bounces between two very different voices—a writing professor and her protégé. It’s funny; since I’ve worked as a writing professor for two decades, I assumed her voice would dominate the book. Nobody was more surprised than me when her unhinged student took on a voice that just exploded on the page. I guess we all have a bit of crazy in us. I’ve discovered that taking on the point of view of a sociopath is both fascinating and weirdly therapeutic.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: The great thing about fiction is we get to fast-forward through the boring parts. I try to find the most dramatic, tense moments that will tell the story best.
In early drafts, it’s natural to avoid conflict to some extent. We get our characters into a tight spot, but we love them, so we want to make it easy for them to escape. In later drafts, my focus is on cutting off those escape routes and forcing the characters to sweat it out. I try to lose anything that slows the pace too much. I’m learning to put my beloved characters into impossibly tense situations and then, just when I can barely stand it, I turn the screws just a little more.
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 love weather. It sounds cliché, but sprinkling a scene with just the right wind or rain or sun really can add to the tension. I’m also very olfactory. Smells play an important part in my books. It’s one of the most powerful senses when it comes to connecting with emotion. If I could write a novel with scratch-and-sniff pages that would awesome : )
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 idea that people—especially women—feel invisible after a certain age is central to this book. It’s what makes my protagonist vulnerable to a dangerous stalker. This is something I’ve thought about for years, but wasn’t able to express until now.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: I do think that’s possible, especially if you’re working with an editor who doesn’t fully get your vision. Both my agent and my editor were so completely on board with this book, though, I never worried about that. They saw ways to make it better, but the fundamental bones of the book remained unchanged.
Many writers, myself included, want to please everyone. This can be dangerous. I caution my writing students to sift through the feedback they receive with an open mind, but only act on the notes that truly resonate. The longer you do this work, the clearer you get about which voices to listen to and which ones to ignore.
Q: What three things, in your opinion, make a successful novelist?
A: Perseverance, audacity, but most of all a deep love of the work itself.
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 guess that’s sort of true. I loved being a student, so I guess it makes sense that I’d want nonstop homework forever.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: Blake Snyder’s Save the Cat is my Bible.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: It’s important to surround yourself with people who take your work as a writer seriously. Authors have enough rejection and ridicule to contend with in the public sphere; there’s no need to invite the same sort of energy into your home.
January 31, 2018
Talking Craft with Author M. J. Joseph
Born and raised in Florida, M.J. Joseph maintains membership in the English Goethe Society, the Siegfried Sassoon Society and other literary associations. He is a supporter-member of the Society for the Study of Southern Literature, as well as an Associate of Lincoln Cathedral. Prior to retiring, Joseph enjoyed a lengthy and rewarding career with an industrial firm where he served as CEO and managed the company’s merger with a larger international corporation. He divides his time between Europe and his home on Florida’s northern coast. M.J. Joseph and his wife Ann have two children and reside in Florida.Q: Congratulations on the release of your latest book, The Lübecker. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: First, The Lübecker may be regarded as a work of historical fiction, set primarily in the American South, Western Europe and the Middle East between 1882 through 1915. It is structured upon individual narratives of a merchant’s son from the Hanseatic German city of Lübeck and an American doctor’s daughter and their families. While the mythos of the book is not confined to any particular age, the story utilizes the milieu’s erumpent social, religious and intellectual issues and the political dynamics roiling nineteenth-century Europe and the Near-East, finally culminating in World War I.
I was motivated to write The Lübecker as a result of my interest in the life and work of Lou Andreas-Salome, philosophical and religious considerations, my family history and the incredible variegation of conflict and changes in nineteenth-century Europe and the Ottoman Middle East.
Q: What do you think makes a good novel? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?A: Frankly, I enjoy a wide range of fiction, where elements of plot, character, intellectual challenge and pace are given varying degrees of dominance, depending on the author’s preferences, ability and discernment. I do really enjoy reading novels utilizing demanding plot structures, well-developed characters and ideas.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: Developing the book was challenging, as I conceived it as the first book of four to convey a story. The Lübecker was designed to steep the reader’s imagination in the arc of the narratives, the characters and their fates, while preserving a good deal of the story’s depth for the next three books, some told from points of view of individual characters.
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 approached the development of both protagonists, remember, there are two, very distinct narratives, by concentrating on the development of important, ancillary characters, especially those whose points of view will carry the story in the subsequent books. This enabled me to sketch the protagonists as responses to the developed characters and shape them as I moved them within the narratives.
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: Nearly all the important characters, and some minor characters, were conceived to represent archetypal concepts and very basic, elemental forces. The villains were not exceptional in this and in executing some of the period’s most proscribed immoral and illegal behaviors, they were given context within the looming conflicts that would eventually inform the story.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: Because great weight was given to the development of the book’s protagonists and main ancillary characters, the story was moved along in part by carefully timing the reintroduction of the narratives, building latent elements into the story and bringing the protagonists into the same conflict.
A tip: don’t hurry.
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 Lübecker moves in its action among several different settings, each reflecting the milieu and the progress of the Bildungsromane of the protagonists.
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: Yes, I began the project by defining the theme.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: Editing, at least for me, is an essential part of inspiring and nourishing creativity. The initial creative thrust provides an edifice to build a story upon, but, for me, exploiting it editorially allows the formation of more ideas and images to bring the project to fuller realization.
Q: What three things, in your opinion, make a successful novelist?
A: Three, very fundamental requirements to be a successful novelist are: an intense fascination with words and language, erudition and the ability and willingness to devote a sufficient amount of time to writing.
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: Fiction-writing, at least in my case, is fundamentally a very selfish exercise, done only to meet my own self-imposed requirements. I believe that I understand what the author means by “homework”, but I just don’t relate to the statement very well.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: I would urge any writer to seek-out and explore websites and periodicals offered by literary societies representing the work of authors they appreciate. Reading short-form work available in popular magazines and popular, formulaic, relatively short novels is useful to anyone seeking to improve their ability to render ideas clearly, explicate plot and develop a style. Finally, I would recommend spending time auditing literature classes at a local community college, college or university, and participating in any discussion groups that might attend the courses.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: I really believe that everyone has a book in them, and those who wish to bring their books forward must find that the act of writing their book is sufficiently fulfilling. The author must be prepared to accept the idea that, perhaps, their book will have value and interest only to later generations who happen to find the banker’s box into which the author proudly committed it, unpublished.
January 12, 2018
Talking Craft with AA Freda
AA Freda is an award-winning author. He’s written several novels with a third to be released in the first half of 2018. His first novel, Goodbye Rudy Kazoody, an award winner, is a coming of age work about a group of teenagers growing up in a New York City neighborhood during the early 1960's was acclaimed by the critics. His second piece and just released, A Police Action is another coming of age story about two confused young adults caught up during the free love and Vietnam era of the late 1960's. The inspiration for his books are always his lifelong experiences and people he’s met along the way.
Freda was born in Italy but grew up in New York City and now resides in Easton, CT, a suburb of New York City that offers him a tranquil environment that allows him to keep his finger on the pulse of the city he loves so much. A graduate of Bernard Baruch College at the City University in New York, he has served as an adjunct professor at the Fashion Institute of Technology in NYC. Freda also served in Vietnam the subject matter of A Police Action. In addition to writing, in his spare time, Freda enjoys fishing, hiking, climbing and shooting pool.
Q: Congratulations on the release of your latest book, A Police Action. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: My book is about two young people starting out and trying to make sense of their lives. Complicating the process is a small war going on in Southeast Asia involving some two million soldiers. A war that our country, for political reasons, refused to even call a war. A Police Action is what our government called this illegal war.
The story details the conflict that these two young adults faced with the war and societies conventions. Sex, living alone, abortions, death and love are all brought out in this story. Can these two-people overcome these life and death situations and manage to hold on to each other? Can they find the love and fulfillment in their lives that they are seeking?
Q: What do you think makes a good Coming of Age/Historical? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: There are several elements important in my genre. The first and foremost are the characters. As young adults, you need to capture the complexity of the thinking in a young mind. I need to get the reader to think as a young person would. The historical part of my genre has a twofold importance. The first is to be absolutely accurate of the facts. The second is to make sure you take the reader to that time and place. Have them see clearly the era that the story is trying to convey.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: The story is almost semi-biographical so the plotting came easy. Making sure I did not get caught up in the history was the hard part. I wanted to be certain that the character’s personalities were brought out in 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 actual writing?
A: This took a little doing and several rewrites. Since the protagonist is a smart, talented individual, but for all intent in purpose was a loser wandering around life aimlessly. I wanted to make sure I gave the reader the right blend of that contrast.
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 villain in the form of a Sergeant represents a metaphor. A symbol of the deception that authority, government and military was inflicting on common folks.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: To keep all my stories exciting and have the reader engaged, I always narrow my chapters to mini-sub plots and stories. Similar to a television serial. Never forgetting, however that each chapter has a job to lead the reader to a main plot or story line.
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: In this particular instance, it was easy for me to write about the setting. Having fought in the Vietnam war it was simply reaching back into my memory bank and putting it into writing.
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: No, I knew from the start the theme of A Police Action. The foolishness of the war and the effect it had on unsuspecting young people of usually poor back ground. Ordinary people who had values and ideals that may no longer exist.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: The craft and art separate with the editing in my opinion. The editor wants to make sure the story moves at a certain pace. The writer on the other hand would like to paint the reader a picture. Editing, while a key component in publishing, can certainly the creativity of the writer.
Q: What three things, in your opinion, make a successful novelist?
A: First would be honesty. Don’t try to fool the reader. Paint the picture correctly.
Second is to be a story teller. Make sure the story you write about is interesting and engaging.
The third is to never forget that writing is not about the author, it is about the reader. The book will be around long after the author is gone.
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: There is truth to that. But it’s nice homework. Not toiling gruesome assignments or subject matters.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: No workshops but I can cite at least three teachers that encouraged me to write. These teachers provided me with positive attitude to continue to write. An attitude that I still maintain today.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: First, whatever you do, keep writing. Don’t ever get discouraged. If your work doesn’t come out right, go back and fix the errors but don’t give up. Be honest with yourself and your writing. We all can improve our craft. Athletes practice non-stop to get better. Writers should do the same.
Freda was born in Italy but grew up in New York City and now resides in Easton, CT, a suburb of New York City that offers him a tranquil environment that allows him to keep his finger on the pulse of the city he loves so much. A graduate of Bernard Baruch College at the City University in New York, he has served as an adjunct professor at the Fashion Institute of Technology in NYC. Freda also served in Vietnam the subject matter of A Police Action. In addition to writing, in his spare time, Freda enjoys fishing, hiking, climbing and shooting pool.Q: Congratulations on the release of your latest book, A Police Action. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: My book is about two young people starting out and trying to make sense of their lives. Complicating the process is a small war going on in Southeast Asia involving some two million soldiers. A war that our country, for political reasons, refused to even call a war. A Police Action is what our government called this illegal war.
The story details the conflict that these two young adults faced with the war and societies conventions. Sex, living alone, abortions, death and love are all brought out in this story. Can these two-people overcome these life and death situations and manage to hold on to each other? Can they find the love and fulfillment in their lives that they are seeking?
Q: What do you think makes a good Coming of Age/Historical? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: There are several elements important in my genre. The first and foremost are the characters. As young adults, you need to capture the complexity of the thinking in a young mind. I need to get the reader to think as a young person would. The historical part of my genre has a twofold importance. The first is to be absolutely accurate of the facts. The second is to make sure you take the reader to that time and place. Have them see clearly the era that the story is trying to convey.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?A: The story is almost semi-biographical so the plotting came easy. Making sure I did not get caught up in the history was the hard part. I wanted to be certain that the character’s personalities were brought out in 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 actual writing?
A: This took a little doing and several rewrites. Since the protagonist is a smart, talented individual, but for all intent in purpose was a loser wandering around life aimlessly. I wanted to make sure I gave the reader the right blend of that contrast.
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 villain in the form of a Sergeant represents a metaphor. A symbol of the deception that authority, government and military was inflicting on common folks.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: To keep all my stories exciting and have the reader engaged, I always narrow my chapters to mini-sub plots and stories. Similar to a television serial. Never forgetting, however that each chapter has a job to lead the reader to a main plot or story line.
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: In this particular instance, it was easy for me to write about the setting. Having fought in the Vietnam war it was simply reaching back into my memory bank and putting it into writing.
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: No, I knew from the start the theme of A Police Action. The foolishness of the war and the effect it had on unsuspecting young people of usually poor back ground. Ordinary people who had values and ideals that may no longer exist.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: The craft and art separate with the editing in my opinion. The editor wants to make sure the story moves at a certain pace. The writer on the other hand would like to paint the reader a picture. Editing, while a key component in publishing, can certainly the creativity of the writer.
Q: What three things, in your opinion, make a successful novelist?
A: First would be honesty. Don’t try to fool the reader. Paint the picture correctly.
Second is to be a story teller. Make sure the story you write about is interesting and engaging.
The third is to never forget that writing is not about the author, it is about the reader. The book will be around long after the author is gone.
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: There is truth to that. But it’s nice homework. Not toiling gruesome assignments or subject matters.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: No workshops but I can cite at least three teachers that encouraged me to write. These teachers provided me with positive attitude to continue to write. An attitude that I still maintain today.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: First, whatever you do, keep writing. Don’t ever get discouraged. If your work doesn’t come out right, go back and fix the errors but don’t give up. Be honest with yourself and your writing. We all can improve our craft. Athletes practice non-stop to get better. Writers should do the same.
December 15, 2017
Win a signed hardcover copy of 'Mama Graciela's Secret'
Dear Readers,
Enter my Goodreads giveaway for a chance to win a signed hardcover copy of my latest children's picture book!
Enter my Goodreads giveaway for a chance to win a signed hardcover copy of my latest children's picture book!
November 16, 2017
New release: ‘A Deadly Eclair’ by Daryl Wood Gerber
National best-selling author Daryl Wood Gerber delivers an irresistible tale in A Deadly Éclair. Brimming with the ingredients of a winning recipe—a to-die-for setting, a captivating cast of characters, fabulous French bistro fare, and sumptuous suspense—A Deadly Éclair marks the advent of a mouthwatering new mystery series.
About A Deadly Éclair: It’s always been Mimi Rousseau’s dream to open her own bistro, but it seems beyond her grasp since she’s been chased back home to Nouvelle Vie in Napa Valley by her late husband’s tremendous debt. But when Mimi’s best friend Jorianne James introduces her to Bryan Baker, an entrepreneur who invests in promising prospects, Mimi’s dream becomes a reality and Bistro Rousseau is born. Now, working the bistro and inn until she’s able to pay it off and call it her own, Mimi is throwing the inn’s first wedding ever.
This wedding will be the talk of the town, as celebrity talk show host Angelica Edmonton, daughter of Bryan’s half-brother, Edison, has chosen the inn as the perfect venue for her extravagant nuptials. Anxious, Mimi is sure things are going to turn south—especially when Edison gets drunk and rowdy at the out-of-towners’ dinner—but by the evening, things begin to look up again. That is until morning rolls around, and Bryan is found dead at the bistro with an éclair stuffed in his mouth. And the fingers point at Mimi, whose entire loan is forgiven if Bryan dies.
Now it’s up to Mimi to clear her name and get to the bottom of things before the killer turns up the heat again. Murder, after all, is not a good addition to any menu….
This wedding will be the talk of the town, as celebrity talk show host Angelica Edmonton, daughter of Bryan’s half-brother, Edison, has chosen the inn as the perfect venue for her extravagant nuptials. Anxious, Mimi is sure things are going to turn south—especially when Edison gets drunk and rowdy at the out-of-towners’ dinner—but by the evening, things begin to look up again. That is until morning rolls around, and Bryan is found dead at the bistro with an éclair stuffed in his mouth. And the fingers point at Mimi, whose entire loan is forgiven if Bryan dies.
Now it’s up to Mimi to clear her name and get to the bottom of things before the killer turns up the heat again. Murder, after all, is not a good addition to any menu….
A fresh, fun, and fantastic French Bistro tale, A Deadly Éclair is peppered with charm, wit, and swoon-worthy recipes. This clever culinary cozy will delight with its tantalizing twists and turns, sizzling storyline, and masterful plotting. A delicious, decadent and delectable new mystery, A Deadly Éclair is resplendent with flavor, spice, and zest. Written by a true master of the cozy mystery, A Deadly Éclair is a tale to be devoured.
Find out more on Amazon!
Agatha Award-winning Daryl Wood Gerber is best known for her nationally bestselling Cookbook Nook Mysteries as well as the Cheese Shop Mysteries, which she pens as Avery Aames. Daryl has also penned two stand-alone suspense novels, Day of Secrets and Girl on the Run. Fun tidbit: as an actress, Daryl appeared in “Murder, She Wrote.” She loves to cook, and she has a frisky Goldendoodle named Sparky who keeps her in line. Visit Daryl Wood Gerber online at: www.darylwoodgerber.com
November 14, 2017
Talking Craft with Thriller Author Sheila Lowe
Like her fictional character Claudia Rose, Sheila Lowe is a real-life forensic handwriting expert who testifies in court cases. Mom to a tattoo artist and a former rock star, she lives in Ventura with Lexie the Very Bad Cat, where she writes the award-winning Forensic Handwriting mystery series. Despite sharing living space with a cat, however, Sheila’s books are decidedly non-cozy.Q: Congratulations on the release of your latest book, WRITTEN OFF. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: In the dead of winter, handwriting expert Claudia Rose journeys to Maine to retrieve a manuscript about convicted female serial killer, Roxanne Becker. In her search for the manuscript, written by Professor Madeleine Maynard, who was, herself, brutally murdered, Claudia stumbles upon a shocking secret: explosive research about a group of mentally unstable grad students, selected for a special project, and dubbed “Maynard’s Maniacs.” Was Madeleine conducting research that was at best, unprofessional—and at worst, downright harmful, and potentially dangerous? Could that unorthodox research have turned deadly?
Swept up in the mystery of Madeleine’s life—and death—Claudia soon realizes that Madeleine left behind more questions than answers, and no shortage of suspects. Seems the professor’s personal life yields a number of persons who might have wanted her dead—and her academic success and personal fortune clearly made her the envy of fellow faculty members. The University anticipates being the beneficiary of Madeline’s estate—but that seems in question when a charming stranger, claiming to be Madeleine’s nephew, turns up brandishing a new will.
The local police chief prevails upon Claudia to travel into town to examine the newly produced, handwritten will. Rushing back to Madeleine’s isolated house to escape an impending storm, Claudia becomes trapped in a blizzard. With a killer.
Q: What do you think makes a good psychological suspense/mystery?
A: I’ve heard it said that there are three rules to mystery writing, but nobody knows what they are. Still, there are certain conventions a mystery/psychological suspense writer is supposed to follow. Unlike thrillers, which are plot-driven, the genre in which I write is more character-driven, so character development is one of the three most important elements. Your reader has to form a bond with your characters, even the villain, to understand what motivates them to do what they do. Plotting, of course, is just as important. The rule is to start as far into the story as possible. Don’t let back story, which can be sprinkled throughout, bog you down and lose the reader’s interest early on. Third, tension on every page keeps things moving, but doesn’t have to be huge drama. There are numerous ways to ratchet up the tension, including conflict between characters, raising the stakes—I once attended a seminar given by well-known agent, Donald Maas, who basically told us, make the situation as bad as you can for your protagonist. Then make it worse. Then make it even worse. Then make it as bad as it can possibly be. For me, that’s a bit more tension than I want to feel, but you get the idea.
Q: How did you go about plotting your story?
A: I’ve tried working without an outline before and ended up meandering around until I realized my deadline was looming and I only had five chapters done. Panicked, I sat down and wrote the outline and it got moving. Good thing I did, as I discovered in the middle of the book that what I had planned for the ending needed to happen right then. I had to find a new ending. With Written Off, I spent a lot of time thinking about it, made some notes, explored the new characters’ backgrounds quite thoroughly, and then outlined each scene before I started the actual writing. I liked doing it that way, as I really got to know the characters in a deeper way.
Q: Tell us something interesting about your protagonist and how you developed him or her. A: I started writing my series in 1997, but the first book, Poison Pen, was not published until 2007. Obviously, I was a lot younger then, and so was my protagonist, Claudia Rose. She’s still in her early forties, while I have ‘progressed.’ I did write a detailed character sketch for all of the main characters, including Claudia, Joel Jovanic, the homicide detective who becomes her romantic partner (now fiancé), and her two close friends, family law attorney Kelly Brennan, and psychologist Dr. Zebediah Gold.
Q: In the same light, how did you create your antagonist or villain?
A: Over the seven books I’ve written in the series, I’ve always tried to pay as close attention to the antagonist as the good guys. In Written Off, there is quite a large pool of suspects, and as mentioned above, I got to know them well before beginning to write. As a handwriting analyst, understanding personality is my career, and part of that is being familiar with different personality typologies. I particularly like the Enneagram, so I figured out which Ennea-type each character was, which immediately gave me a lot of information about them.
Q: How did you keep your narrative exciting throughout the novel?
A: I may have already answered that to some degree when I wrote about tension on every page. Giving some (or all) characters a secret they need to protect, putting the protagonist in jeopardy, but making sure that every situation is plausible. Unfortunately, there are some real-life situations that, if we read them in a book, we would say, “that would never happen!” There’s a careful balance between what a reader will accept and what is real. Having said all that, it’s important to give the reader something to dig into early on. Because my stories are psychological suspense, which means they unwind over the course of the book, I sometimes use a prologue that shows the crime at the beginning and promises the reader a whodunit to solve. One other thing—sometimes there are coincidences in life. We can rarely get away with them in fiction.
Q: Setting is also quite important and in many cases, it becomes like a character itself.
A: Written Off takes place in Maine, which is a place I would love to visit, but so far have not. I do have friends who live there, though, who were helpful in answering my questions. I also found some great youtube videos of Maine in a blizzard, and even though I couldn’t feel the freezing air or the biting wind, watching them helped me imagine the sensations. In my work as a forensic handwriting expert I have visited two prisons, one being the Chowchilla Women’s facility, so for the scene that takes place in a prison I had an idea of the flavor. However, every facility is different. I am grateful for the contact made with Amanda Woolford, director of the Women’s Center at the Maine prison facility. She not only answered all my questions, she sent me photos of the interior and the women inmates in their uniforms (which were different from what I imagined). She kindly read the book after it was finished, to ensure I’d got it all right.
Q: Did you know the theme(s) of your novel from the start?
A: Not from the start, but as I got close to the end of Written Off, I realized that this time, the theme had to do with what happens to children who had a bad start. This is loosely related to an overall theme that an interviewer pointed out to me in my last book: mothers and daughters. This makes perfect sense because, due to her religious beliefs, I have no relationship with own mother, and have to not seen her since 2000 when she surprised me by attending my daughter’s funeral. That’s the other half of the equation. My daughter was the victim in a murder-suicide. I had not realized that these experiences had seeped through into my mystery series.
Q: Where does craft end and art begin?
A: Dashiell Hammett once said that he could edit a book down to one line if given the opportunity. Editing is the part of writing that I love the best. For me, that’s when I get to fill out the story and the characters, expand on dialogue and ruthlessly prune away the stuff people don’t read (to paraphrase another famous mystery writer, Elmore Leonard). I edit in two ways: the first thing is to go over what I wrote in my last session, editing until I’m satisfied before moving forward. I do that over and over and over throughout the book. When it’s finished, I send it off to the publisher for a first read, with the caveat that while the editor is reading it, I will continue tweaking, tweaking, and tweaking some more. After I get the editorial comments and comments from a couple of beta readers, I edit the whole thing again. Then my publisher reads it again and hopefully, will be happy with it. I would keep editing until it went to press if she would let me. And, btw, before I send it to the publisher, I first work with an independent editor at my own expense, to make sure that substantively, it makes sense.
Q: What three things, in your opinion, make a successful novelist?
A: That’s a hard question to answer. A lot of it is luck and who you know. There are some successful novelists whose books I have read and wonder…why?! And there are some writers who have not been published, but whose books should be required reading. So, the answer is, I don’t know. You asked my opinion: First learn your craft. I started out not knowing what I was doing, which is why I wasn’t getting published. I started working with a friend who had successfully published a bunch of novels with Random House, and that helped a lot. I also read about forty books on writing, some specifically on mystery writing, publishing, and marketing. I then retained an editor who came highly recommended and was proficient in mystery. And with every rejection, I worked harder. Note, I had seven different agents, none of whom sold any of my books. But that’s another story.
Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life.
A: I think it’s true. If you’re a writer, you’re a researcher, and that the fun in it.
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: Too many to name. One of my favorite books is Self-Editing for Fiction Writers by Rennie Brown. It’s important to join organizations such as Mystery Writers of America, International Thriller Writers, and/or Sisters in Crime if you’re writing in the mystery genre, and Romance Writers of America if you’re a romance writer. There are at least fifteen conventions a year where you’ll not only learn better writing skills, you’ll meet good agents and publicists who are looking for clients. You will also get to network with people just like you, who can commiserate and celebrate about whatever level you have achieved.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Getting published can be a heartbreaking business, but if you’re a writer, you have to write. It’s one thing if you write just for fun, as one of my good friends does. He doesn’t care how many books he sells, he just enjoys the process. But if you want to be published and succeed, it takes a strong commitment, not only to writing the book, but to getting it published, whether you have a publisher or you do it yourself, and then marketing it. In my experience doing it both ways, even the big publishing houses do little-to-almost-no marketing for midlist authors—most of the money goes into promoting the big names. So, be prepared to put time, effort, and some money into publicizing your work. And of course, first make sure your work is ready for publication, which means working with an independent editor. That’s an investment and not a small one, but I believe it is vital to your success.
October 12, 2017
Talking Craft with Anna del Mar, Author of 'The Guardian'
Amazon Bestselling author Anna del Mar writes hot, smart romances that soothe the soul, challenge the mind, and satisfy the heart. Her stories focus on strong heroines struggling to find their place in the world and the brave, sexy, kickass heroes who defy their limits to protect the women they love. A Georgetown University graduate, Anna enjoys traveling, hiking, skiing, and the sea. Writing is her addiction, her drug of choice, and what she wants to do all the time. The extraordinary men and women she met during her years as a Navy wife inspire the fabulous heroes and heroines at the center of her stories. When she stays put—which doesn’t happen very often—she splits her time between Colorado and Florida, where she lives with her indulgent husband and a very opinionated cat.Anna loves to hear from her readers. Connect with Anna at:
Annadelmar.com
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INTERVIEW:
Q: Congratulations on the release of your latest book, The Guardian. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: Sure! The Guardian is the story of Matthias Hawking, an ex-SEAL turned game warden, engaged in a fierce battle to end poaching in Africa. When Jade Romo, a beautiful, stubborn, fiery journalist defies the poachers, Matthias will do everything in his power to protect the woman who has captured his heart.
The Guardian was born during a holiday in Africa. It was supposed to be a no-laptop, no-writing vacation. But I get a lot of inspiration from my trips and this one was packed with inspiration. Tanzania is an amazing country. And who could resist the magnificent Serengeti as the backdrop for an epic love story?
Q: What do you think makes a good romantic suspense? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: I think a good romantic suspense novel has to have a strong, twisting plot, an awesome setting and smart, clever, conflicted characters who defy terrible odds and evolve to challenge and love each other throughout the story. The stakes must be high, that’s a big one for me, with issues that matter in and out of bed, to each person, but also to all of us, to the human race. Oh, and a sweet, happy ending. That’s key for me. That’s more than three things, isn’t it? I’m smiling.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: This is one of those cases where reality laid out the storyline for me. There have been so many cases of major poaching documented in the press. When I was traveling in Africa, several of these cases were in the news. The threats that Matthias and Jade confronted in The Guardian are very real.
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: Matthias Hawking’s character is based on a number of real ex-special forces operators that have collaborated with the global fight against poaching. Matthias’s skill set as an ex-Seal fit neatly into the storyline. As to Jade Romo, in her own words, she’s what happens when you meld Anthony Bourdain with Nat Geo and add heaping spoon of attitude to the mix.
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: To create my villains, I read the African papers, scoured the news about the world of poaching’s principals, and talked to the people on the ground. My story is completely fictional and yet, regretfully, similar things happen all too often, for real.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I kept a quick pace and made sure the plot twisted in a few key places. I also peppered the story with clues and details that came together at the end. It helped that both Matthias and Jade were so action-oriented. Neither one was willing to take a backseat to the action. Both of them were in the middle of everything.
The conflict between them helped and so did their competitive natures. Some of the best, most exciting scenes in this novel are exactly that. In this case, creating an action-adventure male/female alpha pair was the perfect fit for the plot. Their romance fed on the action scenes in such a way that their respective skill sets came through. Jade learned to trust Matthias and respect his competencies and Matthias loved Jade as she was, a hurricane wearing boots.
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: Well, let’s face it. My setting was incredible and so well suited to showcase the characters in this story. Africa is an amazing continent. Tanzania blew me away. The Serengeti—come on!—the Serengeti is the third character in The Guardian. It offered infinite opportunities to the writer in me. The landscape, the wildlife, the people, I used it all to offer what I hope is a vivid, breathtaking background. In my mind, the Serengeti was an epic setting for an epic love story. In fact, if you’d like to see the images that inspired many of the pivotal scenes in The Guardian, click here to see my pictures of Africa.
Q: Did you know the themes of your novel from the start or is this something you discovered after completing the first draft? Are these themes recurrent in your other work?
A: I’m very passionate about my heroes. I love to write about my amazing wounded warriors, who rise from the ashes like mythological Phoenixes. In The Guardian, I carried through the theme, which by the way, also implies that the experience of being wounded, challenged, and defied by life itself is something that we all share as human beings. It’s not about physical wounds. It’s about psychological wounds.
In that way, both Matthias and Jade are wounded warriors, even though neither one of them is likely to recognize themselves as such. The idea of sex and love as healing elements is pivotal as well. Most importantly is the recognition that we are all wounded beings in one way or another. My wounded warriors teach us about the courage of healing through taking on the ultimate risk: love.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: Writing is a craft and an art. The story demands both. A technically proficient novel without art reads like an instruction manual without a soul. An artistic work of fiction is unreadable when the writer neglects the craft. The novelist must be an artist and a technician of the craft at the same time.
As to editing, I think it’s always meant to be a force of good to the story. The problem ensues when editing becomes a way of censorship to the author. Self-editing can be particularly murderous to the creative flow, especially to a new, inexperienced author. The obvious prescription to overcome that is writing. You write now, and you edit later.
I’m also a huge fan of professional editing. I think an experienced, capable, professional editor offers the best and fastest opportunity to polish a manuscript. Notice the adjectives here, experienced, capable, professional. I would add to that the right editor is also genre-specific, meaning that she or he is in touch with your market and readers. Unfortunately, there are some editors out there who do not meet those parameters. They can do some damage, especially to a new writer’s confidence. I know a good editor when I see one. She or he seeks to build, not to destroy.
Q: What three things, in your opinion, make a successful novelist?
A: Guts, insight, and perseverance. Guts, because you’ve got to be able to stand for yourself, advocate for your stories, and defy the odds. Insight because you must offer more to your readers than what’s already out there, which—by the way—it’s a lot! And perseverance because you’ve got to be able to stick with it for the long term if you’re going to succeed as a novelist.
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 hated doing homework when I was in school. I love writing.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Writing is an act of love. I’ve been saying that for a while. Writing is also an act of faith, I’d like to add, because—well—it just is.
October 10, 2017
Talking Craft with Mark S. Bacon, Author of ‘Desert Kill Switch’
Mark S. Bacon began his career as a southern California newspaper police reporter, one of his crime stories becoming key evidence in a murder case that spanned decades.After working for two newspapers, he moved to advertising and marketing when he became a copywriter for Knott’s Berry Farm, the large theme park down the freeway from Disneyland, and later for a Los Angeles advertising agency.
Before turning to fiction, Bacon wrote business books including Do-It-yourself Direct Marketing, printed in four languages and three editions, named best business book of the year by Library Journal, and selected by the Book of the Month Club and two other book clubs. His articles have appeared in the Washington Post, Cleveland Plain Dealer, San Antonio Express News, Denver Post, and many other publications. Most recently he was a correspondent for the San Francisco Chronicle.
Desert Kill Switch is the second book in the Nostalgia City mystery series that began with Death in Nostalgia City, an award winner at the 2015 San Francisco Book Festival.
Bacon is the author of flash fiction mystery books including, Cops, Crooks and Other Stories in 100 Words. He taught journalism as a member of the adjunct faculty at Cal Poly University – Pomona, University of Redlands, and the University of Nevada - Reno. He earned an MA in mass media from UNLV and a BA in journalism from Fresno State.
Q: Congratulations on the release of your latest book, Desert Kill Switch . To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?
A: On an empty desert road, stressed-out ex-cop Lyle Deming finds a bullet-riddled body next to a mint-condition 1970s Pontiac Firebird. When he returns to the scene with sheriff’s deputies: no car, no body. Does the answer lie in Nostalgia City where Lyle works? The Arizona retro theme park re-creates—in every detail—an entire small town from the early 1970s. It’s complete with period cars, clothes, music, hairstyles, food, shops, fads, restaurants—the works.
Lyle swapped his job as a Phoenix homicide detective for a cab in Nostalgia City when the anxieties and disappointments of police work nearly pushed him over the edge.
Nostalgia City VP Kate Sorensen, a former college basketball star, is in Nevada on park business when she gets mixed up with a sleazy Las Vegas auto dealer who puts hidden “kill switches” and GPS trackers in cars he sells—mainly to low-income buyers. Miss a payment—sometimes by as little as a few days—and your car is dead. Maybe you are, too.
When Kate’s accused of murder in Reno, Lyle arrives to help his blonde, not-quite-girlfriend and they plow through a deadly tangle of suspects and motives. Kate and Lyle hit one dead end after another as they struggle to exonerate Kate, catch a blackmailer, save a witness’s life, and help find the missing corpse.What compelled me to create Nostalgia City goes back to one of my early jobs as a writer. I’ve always been a mystery fan and when I worked at Knott’s Berry Farm I thought a theme park would be a great setting for a murder mystery—especially at night. While working at Knott’s I saw, from behind the scenes, what it takes to make a large theme park work—and what could happen if things went wrong. Scary.
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: The answer to the first question depends on who you ask. Raymond Chandler, creator of Philip Marlowe, thought that many British mysteries, such as those that take place at a manor house in the country, lack interest. You have to read to the end of a cozy mystery, he said, to find anything exciting.
I don’t completely agree, but here’s my take on mysteries. I love to read novels filled with a multiplicity of clues and puzzles to solve—stories that appeal to the head. But I appreciate mysteries that move quickly, are filled with suspenseful action and keep you guessing about the safety of the protagonist—thus appealing to the heart. To me, a good mystery must appeal to both the head and the heart. That’s what I try to do with my novels.
That’s an outline view. The guts of a good mystery must include believable characters—I prefer sympathetic protagonists—and a challenging story. Add to that realistic, entertaining dialog. Entertainment is a critical element, but it’s one of those eye-of-the-beholder concepts. Some people get bored reading interviews with suspect after supect, others want the detective to move ahead ploddingly, examining every clue and every witness with a critical eye.
Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: I plot my books piece by piece and don’t start writing until I have many pages of notes including a plot outline and summary of each character’s personality, manner of speaking and goals in the story. I know some writers just start somewhere and say their characters move the story along as they go. My characters move the story along because I tell them what they’re going to do ahead of time.
That said, many of what I think are the best plot twists or complications occur to me as I’m in the middle of writing. If so, things change. I may have to back up and rewrite, add a new character or whatever is necessary. But I have the main story arch, and lots of details, written before I start chapter one.
This is the way I construct a complex mystery (or two) and have all the pieces fit together logically. I think many readers analyze the plot along with my protagonists. I want to play fair with them and not bring in some murderer or major clue toward the end, without giving clues or foreshadowing earlier.
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: As I mentioned, I do various types of character profiles before I begin. I did much more for my two protagonists when I wrote the first book. Kate Sorensen, for example, is a combination of several people I’ve known. She’s a former college basketball star, a six-foot-two-and-a-half- inch tall USC grad. She’s also a corporate vice president of public relations. My youngest daughter played college basketball for four years. She excelled at the game, played with passion and led her team to many last-second victories. But she was a point guard and nearly a head shorter than Kate. Some of Kate’s abilities to deal with pressure comes from my experience watching my daughter. A little insight on being a six-foot-plus woman comes from listening to her teammates.
Some of the executive women I’ve worked with contributed to Kate’s personality. Like Kate, they had to be the best at what they did in order to succeed in male-dominated fields. Kate’s height poses another challenge, both personally and professionally and I explore that in this second book in the series, taking inspiration from a combination of sources.
I spent even more time on my other protagonist, Lyle Deming. Anxious is his default setting. He left the police department under a cloud of accusations of mental illness. Actually, he’s not crazy, even though he talks to himself aloud and wears a rubber band on his wrist for stress. I did lots research into anxiety-related disorders as I was creating Lyle. I combined that with other experience early from in my career covering the police beat as a newspaper reporter.
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: You can’t tell much about the villain in a mystery without giving away the secret. Let’s pick Al Busick as my example. He’s an antagonist, but not really the main bad guy in the story. He’s devious, self-centered and lacking in business ethics. But he’s also a self-made man who started at the bottom in the car business and worked his way up. I explore his personality not only through his actions and words, but in how others describe him.
Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I designed the point of view structure I use in each book with suspense and reader interest in mind. Lyle and Kate are each POV characters and I alternate them. So in one chapter Lyle may be getting into trouble or about to uncover an important clue, then I switch to a Kate chapter. The reader has to wait to find out what happened to Lyle. My chapters are also short, so the story moves apace. My first book, Death in Nostalgia City, had 74 chapters in 300 pages.
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: Nostalgia City is a 1970s town. Everything from the look of a J.J. Newberry store to the sound of a Linda Ronstadt rock song blaring out of a record store is designed to impart a retro feel. The characters communicate without the use of cell phones—unheard of in the ’70s. The cars cruising the streets include Oldsmobiles and Plymouths, marques that ended decades ago.
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 value of the past, the role it should play in the present and present-moment living are recurring themes. The concept of nostalgia, while the main attraction for the Arizona theme park, can be a burden. I will continue to examine this as the series progresses.
Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: Of course editing can destroy creativity, but most professional editing is not designed to gut a story but to make it better. Every good writer craves editing. Every good writer can learn from editors. I learn every time my work is edited.
In every job I’ve had, I worked with editors, whether they were called city editors, creative directors, or something else. Writers need editors. Period.
Q: What three things, in your opinion, make a successful novelist?
A: The same things that make a successful novel make a successful novelist: characterization, plot and setting.
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: At first I thought this sounded screwy. Seems to characterize the occupation as a life sentence. I suppose the homework could be the constant revision of a piece of writing until you’re absolutely satisfied it’s the best. Or it could be homework when you read for pleasure but actually analyze the writing to see what you can learn from it. Maybe there’s something to this. But writing is about words, about passion for words and for communicating. Could you turn it off? Possibly, but why would you do that?
Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: I’ve read a lot of books on how to organize and write a novel. Many are useful, particularly The Successful Novelist by mystery writer David Morrell. The best book I’ve read on writing, one that shows simple yet effective techniques for telling a story, is The Art and Craft of Feature Writing by William E. Blundell.
Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: If you want to be a writer, you must be a reader.
On the Spotlight: LIVIN’: From the Amsterdam Red Light to the African Bush, by Frankie Hogan
Title: LIVIN’: From the Amsterdam Red Light to the African BushGenre: non fiction
Author: Frankie Hogan
Website: www.livintravelbook.com
Publisher: Wharton Reed
Find out more on Amazon
About the Book: In spite of a lifelong passion for travel, author Frankie Hogan admits that he often fell victim to “life getting in the way” until he decided, once and for all, to stop giving in to easy excuses, stop yielding to the reasons not to—and stop the cycle of procrastinating, putting off and waiting for the right time, the right circumstances, and the right companions. It was time, Frankie decided, to get out there and see the world, to take in the history, nature and nightlife of places far away from home. It was time to get out of his own way and travel—really travel—to off-the-beaten-path, exotic, far-flung destinations. And Hogan, a South Philly native and streetwise everyman, did just that. Livin’ is the story of the ride, the road, and the reward.
A travel guide like no other, Livin’ presents a first person look at the joys, the wonders, and the occasional woes of busting out of the comfort zone and seeing the world. A tale told by a tour guide like no other—the affable, outspoken, and hilariously observant Frankie Hogan, Livin’ is part memoir, part adventure story, part unconventional travel guide, part laugh-out-loud narrative and totally irresistible. Consider what would happen if you traveled the world with a Charles Bukowski-Jack Kerouac hybrid leading the way, and you will get a sense of what this tantalizing tome has to offer…
Unfiltered, uncensored, and unapologetic, Livin’ takes readers beyond the glossy brochures and postcards and lays bare the good, the bad, and the ugly. A memoir that celebrates wanderlust (with its fair share of both wandering and lust) Livin’ is vibrant and vivid, irreverent and inspiring, uproariously ribald but abundantly real.
Come along for the ride as Hogan leads a tour from Egypt to South Africa, Amsterdam to Vietnam, Peru to Cambodia, India, China and more. Livin’ is a larger-than-life tale about taking chances, conquering fears, taking the road less traveled and rolling with the punches. A book that could inspire even the most steadfast homebody to hit the road, Livin’ is a journey in itself.
A hell of a storyteller with one hell of a story to tell, Frankie Hogan pulls no punches in this refreshingly candid narrative. Eminently readable and wholly unforgettable, Livin’ charms with its friendly, conversational tone and mesmerizes with its fascinating accounts of some of the most enviable travel destinations in the world. Moreover, Livin’ comes alive with Hogan’s colorful observations, joie de vivre, unmistakable wit and keen eye for the comical, the sublime, and the absurd. Quite simply, Livin’ is a real trip.
About the Author: Frankie Hogan is an American writer, director and filmmaker. He is founder and principal partner of Corner Prophets Production Company, a film production company. A native of South Philadelphia’s Grays Ferry neighborhood, Hogan lives in Los Angeles. Livin’ is Hogan’s first book—a book he wrote in hopes of inspiring others to stop making excuses, and make their dreams of travel a reality.
Excerpt:
As noon approached, we split into different groups, depending on which optional tours were scheduled that afternoon. Two of our group, Austin and Brett, stayed put. They had chosen to bungee jump from the Victoria Falls Bridge between Zimbabwe and Zambia, with the falls as the backdrop. We watched one of the jumpers, and I give them credit; it takes balls. Not that I would have been against jumping myself, but I had a scheduling conflict. I was joining with the bulk of the group downtown to visit a local craft village. We walked the outdoor markets for an hour. There was good haggling to be done. However, the locals dealt in US dollars, and that priced up even local crafts. I was glad I had made it down to the market to meet some locals, but I was also glad I had done most of my shopping in South Africa. When I ventured back to our pick-up location, I ran into Laura and Luis. Laura was our group’s lone Mexican woman (who usually took longer than the rest of us to get through border control). She had brought her nephew Luis with her on the trip. Luis was wise for his age, wide-eyed eleven-year-old who had a look of amazement almost everywhere we went.
“Frank, I am glad to find you,” she blurted out while I (self-deprecatingly) wondered why.
She had booked the falls helicopter ride, which didn’t allow children younger than teens. That’s right. It was babysitting time. Really, it was no big deal. He was a great kid. “No problema,” I assured her. She was relieved when she hopped on a bus to the chopper helipad. Luis, Tom (who was sick from malaria meds), Singh, and I hopped another bus back to the lodge.
We let Tom limp back to his room and sleep it off (poor guy). Now where to take the kid and what to do? What does the responsible adult decide? To the bar and poker table! All right, all right, I kid. It wasn’t a bar, per se. We took him to the outdoor deck of the main cabin that overlooked the watering hole. Singh and I grabbed a beer and ordered Luis a ginger ale, and we all looked down at a family of impala. The kid was right at home too. With a genuine fascination, he recited facts about impala. You came to the right place, Luis. I was no slouch on animal behavior, and Singh knew his shit too. This was a Nat Geo kind of table. We circled around and traded different animal facts for the first half hour. We took out binoculars and my camera long lens and looked for hidden gems in the bush. Luis took out the deck of cards he had bought at the market. We decided to have a go at a game of poker. We played a few hands and then he balked at the fact that we had nothing to bet with.
“Okay, let’s play for dollars,” I dared him.
His grin grew wide and he immediately accepted. I was dealt two pairs and chuckled to myself.
“How much you bet?” I taunted him a bit.
“Five dollars,” he proclaimed.
“Are you sure?” I teased.
He confirmed with a nod, I agreed, and he laid down four of a kind. He gave me a coy grin.
“All right, no more games for money,” I said.
Hustled by an eleven-year-old. Singh had a good laugh. We then went down to the deck below and watched as swarms of vultures circled overhead. The hotel held a daily vulture feeding that the giant birds must have timed, as over fifty of them seemed to come from nowhere ten minutes before a staff member brought a tray of meat to the lower level. Their size and wingspan took center stage as they flocked to the kill. When Laura returned, I promised Luis I’d get him his money when we all grouped back up. He was on his way to an elephant-ride safari but was envious of where I was going, which was another place he was too young to visit. My optional tour for the afternoon was a lion walk.
When I first booked the lion walk, I had preconceived notions. The main attraction for me was to be out in the bush, in the lions’ territory, and hiking with the future kings of the joint. Another assumption was that they would be future kings. I believed the lions on the lion walk would be knee-high youngsters. Maybe a hundred pounds, but far from fully grown. This might have been reinforced by online pics of the walk. My walk proved half of those assumptions incorrect. Lilly, Singh, and Sharon joined me as our bus picked up tourists and volunteers. Some of the volunteers were there on summer holidays from their universities. Man, to have your shit together that young. First clue of the reality when we arrived was the safety talk and precautions. The guide passed out indemnity forms and basic legal paperwork.
“Here is where we sign our life away,” I joked.
“Yes, death by lion is now your choice,” the guide agreed. He went over safety tips. “We have teenage lions right now, and as those of you who are parents know, teenagers can switch their moods very fast.”
The humor by the guides on this tour was tip-top.
“Let’s keep you safe. The lions are the leaders here. You are now a part of their pride. Never walk in front of them. Keep behind their back legs. If they stop to scratch or lie down or go to the bathroom, you stop.
Do not pass them. You will receive walking sticks. If a lion makes eye contact with you and then approaches you face-on, take your stick, hold it out at arm’s length, and say ‘No!'” he continued.
We chuckled a bit. He did too but then concluded, “They know this word. But if a lion decides you are a meal, it will be hard to stop him.” His face was serious now. “Stay safe. We want you to be safe. There will be a gunman leading our group. This gunman is for other wild animals, not our lions. We are here for the preservation of these animals, not to become their food.”
It was a good reminder of the pecking order. Let’s do this.
