Linda Lovely's Blog, page 3
September 17, 2016
South Carolina Settings—Novel Atmospheres
While I’m not a native Southerner, I’ve called South Carolina home for decades, living in the Lowcountry for 13 years and the Upstate for 15 years. It’s no surprise that I’ve capitalized on these atmosphere-rich regions as settings for two of my published novels. Two of my works in progress also feature these appealing locales. With Neighbors Like These, a third Marley Clark mystery, returns to Dear Island, while my new humorous mystery series is set on a cheese-goat farm near Clemson.
But don’t bother consulting a map to pinpoint where my heroines and heroes hang their hats. There is no Dear Island—the private barrier island terrorized by a pun-loving murderer in Dear Killer. Nor is there a town of Shelby, home to fictional Blue Ridge University, the troubled campus threatened by home-grown terrorists in Dead Hunt. The private island and the college town are inventions. Here’s why.
I write mysteries, suspense and thrillers. Ergo bad things happen. People die. Killers elude authorities. Developers are sometimes greedy. Public officials may lie or cheat. Deputies are occasionally crooked. University administrators may be clueless. Suffice it to say that unsavory, if not downright despicable, antagonists flourish in my novels.
I need a cast of smart, unscrupulous characters to weave my mysteries and challenge my heroines and heroes. What I don’t need is a lawsuit. Also I don’t want to irk residents of a real community. I’m loath to suggest there might be bad apples among the law enforcement officers in an actual county. And I’m not about to poke fun at administrators serving an accredited university. That’s why I’ve given make-believe names to the institutions, companies, towns and counties populated with such characters.
Yet I still try to faithfully capture each region’s beauty and majesty as well as what can become frightening elements if my protagonists are alone, lost, or being pursued by ruthless villains. I hope this balance works.
Using fictional locations with the local region’s flavor also gives me handy latitude. Since my fictional Dear Island is a composite of several barrier islands, I could play with the geographic puzzle pieces—golf courses, canals, marinas, marshland, and beaches—and anchor them anywhere I wished within the island’s confines. That means they’re ideally situated to serve my plot. I did take care, however, to offer readers a variety of touchstones—references to neighboring Beaufort, Hilton Head and Parris Island—to ground them within the Lowcountry.
In Dead Hunt my imaginary university’s students reside in Leeds County, another invention. Yet I made certain the campus was a comfortable drive from Greenville, Clemson University, and the Jocassee Gorges mountain wilderness, which serves as an enchanting and scary backdrop for my heroine and hero when terrorists are gunning for them in the dead of night.
I love to set my books in places where I can close my eyes and recall exact moments in time. Paddling a kayak in the calm of an ocean inlet and hearing the cries of seagulls and smelling the acrid aroma of the marsh. Hiking a mountain trail and listening to the gurgle of a rushing stream and inhaling the scent of crushed pine needles in the shadowy twilight of the dense forest.
While my place names may be make believe, my South Carolina settings are as real as my most vivid memories allow.
But don’t bother consulting a map to pinpoint where my heroines and heroes hang their hats. There is no Dear Island—the private barrier island terrorized by a pun-loving murderer in Dear Killer. Nor is there a town of Shelby, home to fictional Blue Ridge University, the troubled campus threatened by home-grown terrorists in Dead Hunt. The private island and the college town are inventions. Here’s why.I write mysteries, suspense and thrillers. Ergo bad things happen. People die. Killers elude authorities. Developers are sometimes greedy. Public officials may lie or cheat. Deputies are occasionally crooked. University administrators may be clueless. Suffice it to say that unsavory, if not downright despicable, antagonists flourish in my novels.
I need a cast of smart, unscrupulous characters to weave my mysteries and challenge my heroines and heroes. What I don’t need is a lawsuit. Also I don’t want to irk residents of a real community. I’m loath to suggest there might be bad apples among the law enforcement officers in an actual county. And I’m not about to poke fun at administrators serving an accredited university. That’s why I’ve given make-believe names to the institutions, companies, towns and counties populated with such characters. 
Yet I still try to faithfully capture each region’s beauty and majesty as well as what can become frightening elements if my protagonists are alone, lost, or being pursued by ruthless villains. I hope this balance works. Using fictional locations with the local region’s flavor also gives me handy latitude. Since my fictional Dear Island is a composite of several barrier islands, I could play with the geographic puzzle pieces—golf courses, canals, marinas, marshland, and beaches—and anchor them anywhere I wished within the island’s confines. That means they’re ideally situated to serve my plot. I did take care, however, to offer readers a variety of touchstones—references to neighboring Beaufort, Hilton Head and Parris Island—to ground them within the Lowcountry.
In Dead Hunt my imaginary university’s students reside in Leeds County, another invention. Yet I made certain the campus was a comfortable drive from Greenville, Clemson University, and the Jocassee Gorges mountain wilderness, which serves as an enchanting and scary backdrop for my heroine and hero when terrorists are gunning for them in the dead of night.I love to set my books in places where I can close my eyes and recall exact moments in time. Paddling a kayak in the calm of an ocean inlet and hearing the cries of seagulls and smelling the acrid aroma of the marsh. Hiking a mountain trail and listening to the gurgle of a rushing stream and inhaling the scent of crushed pine needles in the shadowy twilight of the dense forest.
While my place names may be make believe, my South Carolina settings are as real as my most vivid memories allow.
August 28, 2016
Maligned Comfort Food & Fond Memories
By Linda Lovely
I consider almost all foods a comfort. I LOVE food—including items from every section of the food pyramid. Broccoli and Brussel sprouts. Turkey and gravy. Potatoes au gratin. Chocolate chip cookies. Any flavor of ice cream.
But topping my list of comfort foods are two oft-maligned entrees that grace American (well, at least, Midwest) dinner tables—tuna noodle casserole and meatloaf. Both made frequent appearances on our plates when I was growing up. These foods are tops because they bring back fond memories . (Okay, I liked how they tasted, too. I don’t have a sophisticated palate.)
Let’s begin with tuna noodle casserole. Cost, simplicity, and the ability to reheat leftovers made this a go-to favorite for my working mother. The fond memories come from all the different recipes and ingredients we tried to add variety. As I recall the starter version had canned tuna, egg noodles, frozen peas, mushroom soup, and breadcrumbs. Later iterations featured potato chips, corn flakes, fried onions, green peppers, corn, carrots, onions, pimentos, and cheese. The winner? A casserole we baked in a bread pan so it resembled a meatloaf (more on that later) and could slice when cold. Cold was my favorite!
I can’t share an actual recipe as I’m not sure we ever wrote one down. But, if I were to make it today (and I might, despite my husband’s avowed aversion to any form of tuna-noodle casserole), I’d cook and drain a package of elbow macaroni, chop and sauté a an onion and a (sweet) red pepper, drain a couple cans of tuna, and stir all the ingredients together in a big bowl. Then I’d make a thick cheese sauce with milk, flour and a combo of Velveeta and shredded cheddar. Mix and pour into a couple of bread pans, top with buttered bread crumbs and bake. Yum.
Now it’s time to put meatloaf in the spotlight. When I think of meatloaf, I always recall our annual family vacations. Each summer Mom drove us from Keokuk, Iowa, to Spirit Lake, Iowa, where we visited her brother (my uncle) and his family. Mom liked to start out at five a.m. to avoid some of the heat of the day. She always packed meatloaf sandwiches for our “lunch.” I’m not sure if we ever made it past the Keokuk city limits before my sister and I started asking for meatloaf sandwiches—slathered with ketchup, of course.
Mom was convinced that tomato juice and eggs made meatloaf “tough.” So her version was held together with milk and cracker crumbs, kneaded together by hand. She also used a combo of ground beef, pork and veal (it wasn’t that expensive then). I still make meatloaf three or four times a year, though these days the meat tends to be ground turkey, and I use breadcrumbs and tomato juice/sauce, an egg, chopped green peppers, celery, mushrooms & onions, basil and oregano. No recipe. My cooking is like my plotting. Seat of the pants. I also have experimented with meatless vegan versions and when I decide on a winner. I'll publish it when my new humorous mystery is published. It features a vegan chef and her smart-mouthed aunt, a confirmed carnivore, who often trade barbs about their dietary preferences,
What comfort foods bring back good memories for you? Do you still cook/eat them?
Time to quit writing, I’m suddenly hungry.
I consider almost all foods a comfort. I LOVE food—including items from every section of the food pyramid. Broccoli and Brussel sprouts. Turkey and gravy. Potatoes au gratin. Chocolate chip cookies. Any flavor of ice cream.
But topping my list of comfort foods are two oft-maligned entrees that grace American (well, at least, Midwest) dinner tables—tuna noodle casserole and meatloaf. Both made frequent appearances on our plates when I was growing up. These foods are tops because they bring back fond memories . (Okay, I liked how they tasted, too. I don’t have a sophisticated palate.)
Let’s begin with tuna noodle casserole. Cost, simplicity, and the ability to reheat leftovers made this a go-to favorite for my working mother. The fond memories come from all the different recipes and ingredients we tried to add variety. As I recall the starter version had canned tuna, egg noodles, frozen peas, mushroom soup, and breadcrumbs. Later iterations featured potato chips, corn flakes, fried onions, green peppers, corn, carrots, onions, pimentos, and cheese. The winner? A casserole we baked in a bread pan so it resembled a meatloaf (more on that later) and could slice when cold. Cold was my favorite!
I can’t share an actual recipe as I’m not sure we ever wrote one down. But, if I were to make it today (and I might, despite my husband’s avowed aversion to any form of tuna-noodle casserole), I’d cook and drain a package of elbow macaroni, chop and sauté a an onion and a (sweet) red pepper, drain a couple cans of tuna, and stir all the ingredients together in a big bowl. Then I’d make a thick cheese sauce with milk, flour and a combo of Velveeta and shredded cheddar. Mix and pour into a couple of bread pans, top with buttered bread crumbs and bake. Yum.Now it’s time to put meatloaf in the spotlight. When I think of meatloaf, I always recall our annual family vacations. Each summer Mom drove us from Keokuk, Iowa, to Spirit Lake, Iowa, where we visited her brother (my uncle) and his family. Mom liked to start out at five a.m. to avoid some of the heat of the day. She always packed meatloaf sandwiches for our “lunch.” I’m not sure if we ever made it past the Keokuk city limits before my sister and I started asking for meatloaf sandwiches—slathered with ketchup, of course.
Mom was convinced that tomato juice and eggs made meatloaf “tough.” So her version was held together with milk and cracker crumbs, kneaded together by hand. She also used a combo of ground beef, pork and veal (it wasn’t that expensive then). I still make meatloaf three or four times a year, though these days the meat tends to be ground turkey, and I use breadcrumbs and tomato juice/sauce, an egg, chopped green peppers, celery, mushrooms & onions, basil and oregano. No recipe. My cooking is like my plotting. Seat of the pants. I also have experimented with meatless vegan versions and when I decide on a winner. I'll publish it when my new humorous mystery is published. It features a vegan chef and her smart-mouthed aunt, a confirmed carnivore, who often trade barbs about their dietary preferences,
What comfort foods bring back good memories for you? Do you still cook/eat them?
Time to quit writing, I’m suddenly hungry.
September 14, 2015
Publishing—Who Has Your Back? Fellow Authors
By Linda LovelyLike it or not, technology has changed publishing forever. There are three tech enablers: digital books/readers, print-on-demand (POD), and social media. This isn’t news—at least to fellow authors. Anyone who wants to publish a book can do so. The gates have come crashing down.
The latest statistics indicate 800 new books are launched EVERY DAY!
From an author’s perspective, this is both good and bad news. Removal of the gates has provided new opportunities. It has also posed tough challenges. How can anyone find your new book when 799 others debut the same day?
A number of those 800 books are still published by “traditional” for-profit publishers that pay authors advances (sometimes) and royalties (always), and handle production details including editing, formatting, cover design, printing, distribution, sales and help with varying degrees of promotion. Having worked with traditional publishers, I must say they can make an author’s life much easier and allow you to concentrate on what you love—writing. However, unless you’re a star, the responsibility for promotion still falls squarely on your shoulders.
At the other end of the spectrum, independent authors—indies—publish their own books and personally handle (or hire out) production, sales, distribution, and even promotion chores. This means authors must spend hours tackling non-writing chores they may not enjoy, or spend money contracting for services without any assurance their sales will be sufficient to repay the investment. The upside is total control. Authors know they'll like their covers, because they're the only ones who approve them. They can tell stories and create heroes and heroines that don't fit comfortably in any traditional publishing niche.
These are but a few of the pros and cons of traditional and indie publishing. Perhaps that’s why many authors now take a hybrid approach: traditionally publishing some titles, independently publishing others.
Recently, a third publishing option—the author cooperative—has arisen. It offers advantages of both traditional and independent publishing. That’s why I just joined nineteen other authors as a member of the author coop, Windtree Press, the publisher of my latest novel, LIES: SECRETS CAN KILL. As soon as I have my digital rights back to two books in my Smart Women, Dumb Luck romantic thriller series, Windtree will publish those books as well.
What does a coop offer its authors? I can’t speak for all coops since I’m sure philosophies and services vary. However, here’s why I joined Windtree Press:Brand recognition. Our shared website www.windtreepress.com sells all of our books. Since I know and take pride in the quality of my fellow members' books, I'm thrilled to have Windtree Press play a role in my brand.My fellow authors have unique talents and knowledge and are willing to share. For example, one member handles podcasts, another managed the website, another takes charge of our newsletter. That helps each of us achieve our goals. We can cross promote our books on social media to gain new readers/fans.We can share the cost of resources such as access to new distribution channels or the savings from joint buying power, such as purchasing one hundred ISBN numbers at a time.While we’re committed to publishing at least one book each year with the coop, we retain our options to indie or traditionally publish titles when those options make sense. We lose no control. I’ve just begun this venture, but I have high hopes. Let me know what you think of the concept.
The latest statistics indicate 800 new books are launched EVERY DAY!
From an author’s perspective, this is both good and bad news. Removal of the gates has provided new opportunities. It has also posed tough challenges. How can anyone find your new book when 799 others debut the same day?
A number of those 800 books are still published by “traditional” for-profit publishers that pay authors advances (sometimes) and royalties (always), and handle production details including editing, formatting, cover design, printing, distribution, sales and help with varying degrees of promotion. Having worked with traditional publishers, I must say they can make an author’s life much easier and allow you to concentrate on what you love—writing. However, unless you’re a star, the responsibility for promotion still falls squarely on your shoulders.
At the other end of the spectrum, independent authors—indies—publish their own books and personally handle (or hire out) production, sales, distribution, and even promotion chores. This means authors must spend hours tackling non-writing chores they may not enjoy, or spend money contracting for services without any assurance their sales will be sufficient to repay the investment. The upside is total control. Authors know they'll like their covers, because they're the only ones who approve them. They can tell stories and create heroes and heroines that don't fit comfortably in any traditional publishing niche.
These are but a few of the pros and cons of traditional and indie publishing. Perhaps that’s why many authors now take a hybrid approach: traditionally publishing some titles, independently publishing others. Recently, a third publishing option—the author cooperative—has arisen. It offers advantages of both traditional and independent publishing. That’s why I just joined nineteen other authors as a member of the author coop, Windtree Press, the publisher of my latest novel, LIES: SECRETS CAN KILL. As soon as I have my digital rights back to two books in my Smart Women, Dumb Luck romantic thriller series, Windtree will publish those books as well.
What does a coop offer its authors? I can’t speak for all coops since I’m sure philosophies and services vary. However, here’s why I joined Windtree Press:Brand recognition. Our shared website www.windtreepress.com sells all of our books. Since I know and take pride in the quality of my fellow members' books, I'm thrilled to have Windtree Press play a role in my brand.My fellow authors have unique talents and knowledge and are willing to share. For example, one member handles podcasts, another managed the website, another takes charge of our newsletter. That helps each of us achieve our goals. We can cross promote our books on social media to gain new readers/fans.We can share the cost of resources such as access to new distribution channels or the savings from joint buying power, such as purchasing one hundred ISBN numbers at a time.While we’re committed to publishing at least one book each year with the coop, we retain our options to indie or traditionally publish titles when those options make sense. We lose no control. I’ve just begun this venture, but I have high hopes. Let me know what you think of the concept.
August 8, 2015
Writing Has Made Me Rich!
By Linda Lovely
Okay, no need for the IRS to start an audit. The meager author income reported on my tax return is unfortunately no lie. Nonetheless, researching mysteries and romantic suspense novels has made my life so much richer. Here is a small sampling of my experiences and encounters with fascinating folks I would never have met if it weren’t for my research and professional affiliations.
Writers’ Police Academy
The Writers’ Police Academy (WPA) takes top honors on my list of opportunities to gain experiences and meet people I would never, ever have encountered if I had not attended the WPA. In August, I’ll make my fourth visit to the Academy, where I’m a volunteer staffer, giving back to an organization that is dedicated to helping writers of crime fiction get it right (and have a lot of fun in the process).At the WPA, I have:· Searched a building with a SWAT team, carrying my own (unloaded) automatic rifle· Experienced the decision-making dilemmas police officers face in deciding when to fire in simulated real-life situations with hostages and armed threats. (I killed no civilians.)· Visited a burn site looking for signs of arson· Searched a wooded area for signs of a shallow grave· Learned self-defense tactics that work for women if they’re grabbed· Searched jail cells for contraband· Interviewed suspects and · Studied nasty bioweapon alternatives· Seen how dogs and robots would work to foil terrorists· Watched police divers retrieve underwater evidence· PLUS sat in classes presented to every type of law enforcement expert imaginable, from Secret Service, FBI and DEA agents to forensic psychologists, fraud and gang experts · What’s best? Many of the experts I met at the Academy and in my own backyard have been more than willing to help answer specific questions related to my manuscripts.· Retired Detective Lee Lofland, WPA founder, and Dr. Denene Lofland, who seems to know all there is to know about bio crimes, have become dear friends.
Sisters in Crime Closer to home, I meet fascinating folks every month at the Upstate SC Chapter of Sisters in Crime. Here are a few of our law enforcement-related guests:· An entertaining woman who heads her family’s bail bond company.· A psychic, considered empathic, clairaudient, claircognizant and sometimes clairvoyant. · A policeman who has spent nine years as a school resource officer.· Judges, public defenders, defense attorneys, DA.s and prosecutors.· Forensic crime scene and firearms specialists· A specialist in tracking computer and financial fraud.· The head of a group fighting domestic abuse and minor sex trafficking· A parole officer,
Road Trips & Phone Interviews Writing mysteries and romantic suspense also provides an excuse for road trips and conversations with some of the most interesting people outside of law enforcement. My most recent excursions have been to visit a goat cheese farm and a (legal) moonshine operation. I’ve also interviewed folks in my home town who are old enough to remember what it was like in 1938, when my novel LIES is set.
See what I mean about rich? I’m one Baby Boomer who believes there’s more to life than living an insulated life interacting only with people in your own age, ethnic, and income group.
Writers—what’s the most interesting research you’ve undertaken for a novel?
Okay, no need for the IRS to start an audit. The meager author income reported on my tax return is unfortunately no lie. Nonetheless, researching mysteries and romantic suspense novels has made my life so much richer. Here is a small sampling of my experiences and encounters with fascinating folks I would never have met if it weren’t for my research and professional affiliations.
Writers’ Police Academy
The Writers’ Police Academy (WPA) takes top honors on my list of opportunities to gain experiences and meet people I would never, ever have encountered if I had not attended the WPA. In August, I’ll make my fourth visit to the Academy, where I’m a volunteer staffer, giving back to an organization that is dedicated to helping writers of crime fiction get it right (and have a lot of fun in the process).At the WPA, I have:· Searched a building with a SWAT team, carrying my own (unloaded) automatic rifle· Experienced the decision-making dilemmas police officers face in deciding when to fire in simulated real-life situations with hostages and armed threats. (I killed no civilians.)· Visited a burn site looking for signs of arson· Searched a wooded area for signs of a shallow grave· Learned self-defense tactics that work for women if they’re grabbed· Searched jail cells for contraband· Interviewed suspects and · Studied nasty bioweapon alternatives· Seen how dogs and robots would work to foil terrorists· Watched police divers retrieve underwater evidence· PLUS sat in classes presented to every type of law enforcement expert imaginable, from Secret Service, FBI and DEA agents to forensic psychologists, fraud and gang experts · What’s best? Many of the experts I met at the Academy and in my own backyard have been more than willing to help answer specific questions related to my manuscripts.· Retired Detective Lee Lofland, WPA founder, and Dr. Denene Lofland, who seems to know all there is to know about bio crimes, have become dear friends.Sisters in Crime Closer to home, I meet fascinating folks every month at the Upstate SC Chapter of Sisters in Crime. Here are a few of our law enforcement-related guests:· An entertaining woman who heads her family’s bail bond company.· A psychic, considered empathic, clairaudient, claircognizant and sometimes clairvoyant. · A policeman who has spent nine years as a school resource officer.· Judges, public defenders, defense attorneys, DA.s and prosecutors.· Forensic crime scene and firearms specialists· A specialist in tracking computer and financial fraud.· The head of a group fighting domestic abuse and minor sex trafficking· A parole officer,
Road Trips & Phone Interviews Writing mysteries and romantic suspense also provides an excuse for road trips and conversations with some of the most interesting people outside of law enforcement. My most recent excursions have been to visit a goat cheese farm and a (legal) moonshine operation. I’ve also interviewed folks in my home town who are old enough to remember what it was like in 1938, when my novel LIES is set.
See what I mean about rich? I’m one Baby Boomer who believes there’s more to life than living an insulated life interacting only with people in your own age, ethnic, and income group.
Writers—what’s the most interesting research you’ve undertaken for a novel?
July 21, 2014
Blog Hop: Why I’m Glad I’m GADD
My thanks to Marni Graff (www.auntiemwrites.com) for inviting me to take part in this blog hop. Marni’s mystery series features Nora Tierney, an American children’s book author living in England. While contemporary, the series honors classic British mystery traditions. The three books published to date also give readers a chance to share the author’s love and detailed knowledge of Great Britain locales. THE BLUE VIRGIN takes place in Oxford and London, while THE GREEN REMAINS and THE SCARLET WENCHprovide a loving look at the Lake District. Marni’s books can be found on Amazon.com in trade paperback and ebook formats.It appears that I have a case of GADD—genre attention deficit disorder. I love to write (and read) traditional who-done-its, romantic suspense, historical thrillers and humorous cozy mysteries. I’ve now published--or have work-in-progress—in all of these genres. This isn’t the smart way to build a fan base. Conventional wisdom says I should focus in one area and build a brand so readers know what to expect when they pick up a novel by Linda Lovely. But my genre-hopping ways help keep my writing fresh, my plotting fun, and my little mind quite busy. Best of all, I enjoy the variety and the unique challenges each literary niche represents.
I currently have two series. My Marley Clark Mysteries—DEAR KILLERand NO WAKE ZONE—feature a kick-ass, 52-year-old heroine. The widow, a retired military intelligence officer, works part-time as a security guard on a private island in the South Carolina Lowcountry. A third book, WITH NEIGHBORS LIKE THESE, is slated for release late 2014.
My Smart Women, Dumb Luckromantic thriller series follows the action-packed and somewhat steamier adventures of a trio of friends. The three heroines have special skills and knowledge and are jump into the fray to help one another whenever loves, lives or reputations are on the line. DEAD LINE, set in Atlanta and Jamaica, focuses on Nexi Ketts, a forensic accountant. DEAD HUNT features Riley Reid, Director of Security for a university in Upstate South Carolina that’s facing a terrorist threat. DEAD CURE, the third novel, begins when Kate Johnson, a researcher, suspects her mentor may be murdering people for “the greater good.” Recently I’ve had a blast working with talented professional narrator, K.C. Cowan on audiobook versions of the novels in these series. DEAR KILLER, NO WAKE ZONE and DEAD LINE are available on Audible.com, iTunes and Amazon. DEAD HUNT will be available late fall.A journalism major in college, I’ve always made my living as a writer. Over the years, I’ve pretty much written whatever PR and advertising clients paid me to write—newsletters, radio ads, brochures, website copy, speeches, technical help manuals. Now I write what I love—fiction. In addition to the fiction projects listed above, I’ve finished a first draft of an historical thriller set in 1938 as well as plot outlines and opening chapters for four books in a humorous cozy mystery series. I’m keeping busy. Oh, and I’m a member of Sisters in Crime, Romance Writers of America, International Thriller Writers, and the South Carolina Writers Workshop (SCWW). I’m also a volunteer staffer for the wildly popular, sold-out Writers’ Police Academy to be held September 4-7, and I’m moderating an audiobook panel at the SCWW Conference in Myrtle Beach, SC, October 24-26. I’ve tagged Howard Lewis, an invaluable critique partner, to continue this blog hop on July 28th. Howard is the current president of our Upstate SC Chapter of Sisters in Crime and, if you visit his blog, you’ll discover he has a terrific sense of humor. He is currently working on a young adult fantasy. Here’s his blog address: http://howardglewis.wordpress.com/
I currently have two series. My Marley Clark Mysteries—DEAR KILLERand NO WAKE ZONE—feature a kick-ass, 52-year-old heroine. The widow, a retired military intelligence officer, works part-time as a security guard on a private island in the South Carolina Lowcountry. A third book, WITH NEIGHBORS LIKE THESE, is slated for release late 2014.
My Smart Women, Dumb Luckromantic thriller series follows the action-packed and somewhat steamier adventures of a trio of friends. The three heroines have special skills and knowledge and are jump into the fray to help one another whenever loves, lives or reputations are on the line. DEAD LINE, set in Atlanta and Jamaica, focuses on Nexi Ketts, a forensic accountant. DEAD HUNT features Riley Reid, Director of Security for a university in Upstate South Carolina that’s facing a terrorist threat. DEAD CURE, the third novel, begins when Kate Johnson, a researcher, suspects her mentor may be murdering people for “the greater good.” Recently I’ve had a blast working with talented professional narrator, K.C. Cowan on audiobook versions of the novels in these series. DEAR KILLER, NO WAKE ZONE and DEAD LINE are available on Audible.com, iTunes and Amazon. DEAD HUNT will be available late fall.A journalism major in college, I’ve always made my living as a writer. Over the years, I’ve pretty much written whatever PR and advertising clients paid me to write—newsletters, radio ads, brochures, website copy, speeches, technical help manuals. Now I write what I love—fiction. In addition to the fiction projects listed above, I’ve finished a first draft of an historical thriller set in 1938 as well as plot outlines and opening chapters for four books in a humorous cozy mystery series. I’m keeping busy. Oh, and I’m a member of Sisters in Crime, Romance Writers of America, International Thriller Writers, and the South Carolina Writers Workshop (SCWW). I’m also a volunteer staffer for the wildly popular, sold-out Writers’ Police Academy to be held September 4-7, and I’m moderating an audiobook panel at the SCWW Conference in Myrtle Beach, SC, October 24-26. I’ve tagged Howard Lewis, an invaluable critique partner, to continue this blog hop on July 28th. Howard is the current president of our Upstate SC Chapter of Sisters in Crime and, if you visit his blog, you’ll discover he has a terrific sense of humor. He is currently working on a young adult fantasy. Here’s his blog address: http://howardglewis.wordpress.com/ July 20, 2014
Brave, Stubborn or Plain Stupid— How To Keep a Smart Heroine Hopping Without Making Her Dumber than Dirt?
We’ve all seen it in the movies—especially suspense, mystery and action flicks, but occasionally romance as well. A director or screenwriter who’s into woman-in-jeopardy or woman-scorned mode allows a heroine to act in a manner that makes anyone with a lick of common sense roll her eyes.
We watch dumbfounded as a heroine descends into a spooky cellar where there’s no means of escape when she could just as easily have run through the front door to her car.
Or our heroine sees her fiancé kiss another woman and assumes he’s having an affair without bothering to ask him if the cute chick might be his cousin/sister/transvestite roommate.
Miscalculations, mistakes, misunderstandings. All play key roles in creating the dramatic situations, personal conflict, mystery and suspense that make for thrill-a-minute movies or fast-paced reads. BUT it’s the author’s job to make certain readers see a rationale for any action (or failure to act) that’s totally off-the-wall. Fortunately, such rationales come in a variety of flavors.
CLOSED-OFF OPTIONS.If you need your heroine to run into the woods in her bare feet or descend those creaky stairs to the basement, show us that her decision is the only one she can make due to circumstances beyond her control. Let her think of the best solution to the danger she faces, then have her realize that option’s been closed off. Have her test a window and find it’s nailed shut. Make her run to a back door only to see a snarling pit bull on the porch. Allow her to phone for help, only to discover her cell phone’s dead. (I might add here that the dead battery and/or lost signal may now border on cliché. Perhaps it’s time for the cell phone to fall in the toilet bowl?)
RISK-REWARD. Another approach might have a heroine fully realize her course of action is filled with frightening risks, yet believe a potential reward makes the risks worthwhile. For example, a woman fleeing a killer might be a tad more inclined to whisk away cobwebs to reach a dank cellar if she happens to recall that her grandfather hid a shotgun and shells in the dungeon-like darkness.
SELF-SACRIFICE. Sometimes we do things that would be described as stupid—such as intentionally put ourselves in the line of fire—in order to save a loved one. When this motive is clear, the action becomes heroic rather than dumb.
PHOBIAS. This option has been popular for a LONG time and needs to be used judiciously. A prime example is the fear of heights that prevents James Stewart from racing up the tower stairs in the movie Vertigo. I’m none too fond of heights myself (and neither is my heroine, Marley) but both of us can force ourselves to soldier upward if we’re given sufficient reason—like a killer with a gun. Nonetheless, a phobia that’s a well-developed part of a heroine’s personality can give her a reason to choose what might otherwise be the greater of two evils. For instance, someone with claustrophobia might choose to run rather than hide in a tiny cupboard.
PRIOR EXPERIENCE. A heroine’s past experiences also can prompt her to react in less than logical ways. A woman who divorced a cheating spouse who lied through his teeth about an affair may be less likely to give a new fiancé a chance to explain an innocent kiss.
TIME SHIFTS. The rapid pace of technology makes it increasingly difficult for authors to create situations in which heroines can’t simply let their fingers do the walking—with smart phones, burglar alarms, stun guns, etc.—to escape danger. Time shifts offer both high-tech and low-tech solutions to the problem. You can plunk your heroine in an era before cell phones came on the scene (a la Sue Grafton) or you can set your heroine in an apocalyptic future where technology has been wiped out. Then there’s also the high-tech alternative—create a future world in which your heroine and villains have weapons and defense options undreamed of today.
I’ve only touched on a few of the rationales authors can tap to help readers suspend disbelief. However, I believe an author’s best bet to avoid TSTL (too-stupid-to-live) traps is to have some beady-eyed critique partners read your manuscript. I know my crit partners always call me on the carpet when I allow my heroine or hero to venture into bozo land.
So, what is your biggest pet peeve when it comes to a heroine and illogical behavior? What rationales for illogical behavior do you believe work the best?
We watch dumbfounded as a heroine descends into a spooky cellar where there’s no means of escape when she could just as easily have run through the front door to her car.
Or our heroine sees her fiancé kiss another woman and assumes he’s having an affair without bothering to ask him if the cute chick might be his cousin/sister/transvestite roommate.
Miscalculations, mistakes, misunderstandings. All play key roles in creating the dramatic situations, personal conflict, mystery and suspense that make for thrill-a-minute movies or fast-paced reads. BUT it’s the author’s job to make certain readers see a rationale for any action (or failure to act) that’s totally off-the-wall. Fortunately, such rationales come in a variety of flavors.
CLOSED-OFF OPTIONS.If you need your heroine to run into the woods in her bare feet or descend those creaky stairs to the basement, show us that her decision is the only one she can make due to circumstances beyond her control. Let her think of the best solution to the danger she faces, then have her realize that option’s been closed off. Have her test a window and find it’s nailed shut. Make her run to a back door only to see a snarling pit bull on the porch. Allow her to phone for help, only to discover her cell phone’s dead. (I might add here that the dead battery and/or lost signal may now border on cliché. Perhaps it’s time for the cell phone to fall in the toilet bowl?)
RISK-REWARD. Another approach might have a heroine fully realize her course of action is filled with frightening risks, yet believe a potential reward makes the risks worthwhile. For example, a woman fleeing a killer might be a tad more inclined to whisk away cobwebs to reach a dank cellar if she happens to recall that her grandfather hid a shotgun and shells in the dungeon-like darkness.
SELF-SACRIFICE. Sometimes we do things that would be described as stupid—such as intentionally put ourselves in the line of fire—in order to save a loved one. When this motive is clear, the action becomes heroic rather than dumb.
PHOBIAS. This option has been popular for a LONG time and needs to be used judiciously. A prime example is the fear of heights that prevents James Stewart from racing up the tower stairs in the movie Vertigo. I’m none too fond of heights myself (and neither is my heroine, Marley) but both of us can force ourselves to soldier upward if we’re given sufficient reason—like a killer with a gun. Nonetheless, a phobia that’s a well-developed part of a heroine’s personality can give her a reason to choose what might otherwise be the greater of two evils. For instance, someone with claustrophobia might choose to run rather than hide in a tiny cupboard.
PRIOR EXPERIENCE. A heroine’s past experiences also can prompt her to react in less than logical ways. A woman who divorced a cheating spouse who lied through his teeth about an affair may be less likely to give a new fiancé a chance to explain an innocent kiss.
TIME SHIFTS. The rapid pace of technology makes it increasingly difficult for authors to create situations in which heroines can’t simply let their fingers do the walking—with smart phones, burglar alarms, stun guns, etc.—to escape danger. Time shifts offer both high-tech and low-tech solutions to the problem. You can plunk your heroine in an era before cell phones came on the scene (a la Sue Grafton) or you can set your heroine in an apocalyptic future where technology has been wiped out. Then there’s also the high-tech alternative—create a future world in which your heroine and villains have weapons and defense options undreamed of today.
I’ve only touched on a few of the rationales authors can tap to help readers suspend disbelief. However, I believe an author’s best bet to avoid TSTL (too-stupid-to-live) traps is to have some beady-eyed critique partners read your manuscript. I know my crit partners always call me on the carpet when I allow my heroine or hero to venture into bozo land.
So, what is your biggest pet peeve when it comes to a heroine and illogical behavior? What rationales for illogical behavior do you believe work the best?
July 1, 2013
4th of July Salute to Military Women as Heroines
“I’m a Stuart Woods fan. So when I started your book I figured you borrowed your heroine from his Holly Barker series. You know they’re both ex-military.”
Awhile back, I was teaching a course in a lifelong learning program when one of my students made this comment. I was flabbergasted. Though it had been a few years since I’d read any novels in Woods’ Holly Barker series, the remark troubled me. Had I unconsciously incorporated aspects of Holly Barker’s persona in my heroine, Marley Clark?
I asked a few questions. To my great relief, I quickly discovered the student predicated her “borrowing” comment solely on the fact that both literary heroines were retired military and were now involved in some fashion with law enforcement.
While I shrugged off this student’s comparison, it continued to bug me. In fact, I revisited Holly Barker to see if I’d forgotten other background or experience parallels. Nope. Holly was an MP who retired when the officer she accused of sexual harassment and rape was found not guilty. Now in her late thirties, Holly worked as a Florida police chief. In contrast, my character is a military intelligence officer and one-time Polish linguist, who retired from the Army shortly after her husband died. At age 52, Marley works part-time as a security guard on an island community in the South Carolina Lowcountry.
So why would anyone suggest there might be something derivative here? Would that student have thought Lee Child had “borrowed” Jack Reacher from John D. MacDonald’s Travis McGee series? Both of their characters are ex-military. In fact, it’s pretty tough to name a male detective in the mystery/thriller genre who hasn’t spent some time in a military uniform. Male ex-military ranks include Mickey Spillane’s Mike Hammer, Michael Connelly’s Harry Bosch, and Ross Macdonald’s Lew Archer to name a few.
Finally, I concluded that reading about women characters with military backgrounds was such an unusual occurrence for my student that this single commonality overshadowed the far more striking differences between the heroines. And that raised another interesting question: why are ex-military ladies such a rarity in popular fiction?
According to current statistics, the U.S. military counts more than 1.8 million women veterans. Today, 214,000 women account for more than 14 percent of all U.S. soldiers on activity duty.
While I didn’t serve in the military, Arlene, my best friend since kindergarten, did. Like my series heroine, Arlene is a retired military intelligence officer and a one-time Polish linguist. It’s no accident that Marley’s postings and career mirror Arlene’s. I’ve had the good fortune to meet many of Arlene’s Army friends. These ladies are smart, independent, witty, and, often, hold advanced college degrees. They are also physically fit, know how to use weapons, and understand tactics. In other words, they are IDEAL heroines for mysteries, thrillers and suspense novels.
Why don’t more female Army vets populate our novels? While I don’t have the statistics to back up my theory, I’m fairly certain that heroines in mystery/thriller/suspense genre heroines are far more likely to be cops (sans military background), lawyers, or medical examiners than veterans. Yet, women are minorities in these professions as well. Women account for 24 percent of the nation’s lawyers, 25 percent of our forensic pathologists, and an estimated 12 percent of all law enforcement jobs.
So what say you? What books have you read that feature ex-military or active-duty service women? Did you enjoy them? Is the time ripe for more women veterans to appear in our novels? Are literary heroines underrepresented (or overrepresented) in other professions? What career path would you most like to see a female sleuth follow in some future book?
Awhile back, I was teaching a course in a lifelong learning program when one of my students made this comment. I was flabbergasted. Though it had been a few years since I’d read any novels in Woods’ Holly Barker series, the remark troubled me. Had I unconsciously incorporated aspects of Holly Barker’s persona in my heroine, Marley Clark?
I asked a few questions. To my great relief, I quickly discovered the student predicated her “borrowing” comment solely on the fact that both literary heroines were retired military and were now involved in some fashion with law enforcement.
While I shrugged off this student’s comparison, it continued to bug me. In fact, I revisited Holly Barker to see if I’d forgotten other background or experience parallels. Nope. Holly was an MP who retired when the officer she accused of sexual harassment and rape was found not guilty. Now in her late thirties, Holly worked as a Florida police chief. In contrast, my character is a military intelligence officer and one-time Polish linguist, who retired from the Army shortly after her husband died. At age 52, Marley works part-time as a security guard on an island community in the South Carolina Lowcountry.
So why would anyone suggest there might be something derivative here? Would that student have thought Lee Child had “borrowed” Jack Reacher from John D. MacDonald’s Travis McGee series? Both of their characters are ex-military. In fact, it’s pretty tough to name a male detective in the mystery/thriller genre who hasn’t spent some time in a military uniform. Male ex-military ranks include Mickey Spillane’s Mike Hammer, Michael Connelly’s Harry Bosch, and Ross Macdonald’s Lew Archer to name a few.
Finally, I concluded that reading about women characters with military backgrounds was such an unusual occurrence for my student that this single commonality overshadowed the far more striking differences between the heroines. And that raised another interesting question: why are ex-military ladies such a rarity in popular fiction?
According to current statistics, the U.S. military counts more than 1.8 million women veterans. Today, 214,000 women account for more than 14 percent of all U.S. soldiers on activity duty.
While I didn’t serve in the military, Arlene, my best friend since kindergarten, did. Like my series heroine, Arlene is a retired military intelligence officer and a one-time Polish linguist. It’s no accident that Marley’s postings and career mirror Arlene’s. I’ve had the good fortune to meet many of Arlene’s Army friends. These ladies are smart, independent, witty, and, often, hold advanced college degrees. They are also physically fit, know how to use weapons, and understand tactics. In other words, they are IDEAL heroines for mysteries, thrillers and suspense novels.
Why don’t more female Army vets populate our novels? While I don’t have the statistics to back up my theory, I’m fairly certain that heroines in mystery/thriller/suspense genre heroines are far more likely to be cops (sans military background), lawyers, or medical examiners than veterans. Yet, women are minorities in these professions as well. Women account for 24 percent of the nation’s lawyers, 25 percent of our forensic pathologists, and an estimated 12 percent of all law enforcement jobs.
So what say you? What books have you read that feature ex-military or active-duty service women? Did you enjoy them? Is the time ripe for more women veterans to appear in our novels? Are literary heroines underrepresented (or overrepresented) in other professions? What career path would you most like to see a female sleuth follow in some future book?
June 6, 2013
Location, Location—Where To Set Your Story
By Linda Lovely
SC Lowcountry-Dear Killer SettingChoosing a setting for your story is more than a matter of window-dressing. It impacts:PLOT: Every location offers a unique cornucopia of potential challenges and resources. In a suspense/ thriller novel, location factors are often tightly woven into the plot fabric. Think Deliverance or Hunger Games. In a romance or drama, the setting’s social milieu influences plot by defining what behaviors are (or are not) acceptable. Think The Help. CHARACTERS: Setting also plays a role in defining characters—how they think, act, and talk. It would be very difficult to extract New Jersey’s “DNA” from the Stephanie Plum, Janet Evanovich’s loveable character. Even if your heroine is a stranger/newcomer to your setting, how she reacts to the “natives” and their customs will tell the reader a great deal about her character.
MOOD:
The scenery and weather peculiar to a location can set the mood throughout a book. Blue skies, oppressive heat, dense fog, numbing cold, tropical downpours, urban decay, unspoiled beaches—these are just a few of the many elements used to signal optimism or foreboding and communicate sadness or happiness.
SALES:
While selling books is seldom an author’s prime consideration in selecting a novel’s location, it is worth mentioning. People enjoy reading novels set in their hometowns or in places they’ve visited. Of course, there’s also a danger. Readers may be highly critical if a book’s descriptions fail to match memories or photographs.
I’ve published three books. I followed the “write what you know best” dictate in selecting the locations for both of my Marley Clark Mysteries (Dear Killer and No Wake Zone), set in the South Carolina Lowcountry and Spirit Lake/Okoboji, Iowa, respectively. I have intimate knowledge of both locations—people, geography, history, culture—and could weave key details into my plots.I changed tactics for my latest romantic thriller, Final Accounting, and set it in Jamaica—an island I’ve only visited. Despite a lack of detailed Jamaican knowledge, I couldn’t resist sending my characters there. Jamaica is a study in stark contrasts. Paradise and poverty. Lavish resorts and urban violence. Soaring mountains and deep, dark caves. These contrasts give an author everything she could ask for to make setting another character in the story—from fairytale beaches that provide perfect backdrops for a romantic embrace to steep mountain roads where danger seems to lurk around every corner (even when you’re not being chased by a determined assassin).Though similar contrasts can be found throughout the world (the U.S. included), Jamaica offered my readers a number of exotic and unexpected extras. Many Jamaican tourists never step foot outside all-inclusive, walled resorts. However, my husband and I had the advantage of being shown around the entire island by expert guides—my sister, Rita, and brother-in-law, Hank. They lived in Jamaica for seven years. Hank, an engineer, headed a major highway construction project, and his work took him to virtually every part of the island. During our visit, we accompanied Hank to a number of locations. On one sojourn we drove into the hinterlands in search of gravel pits. En route, we bought coconuts (but not the ganja/marijuana) offered by roadside entrepreneurs and ate jerk chicken at stands where one hoped the fiery spices killed germs. In Kingston, we marveled at the number of goats and machete-carrying pedestrians holding up traffic. Of course, we also ate at five-star mountain-top restaurants, visited ritzy resorts, and went for an unforgettable evening cruise on Jamaica’s bioluminescent bay. In Final Accounting, my heroine and hero visit many of these same places. They also descend into Dragon’s Throat, a fictitious cave modeled on real caves in the Cockpit region. Since I’m slightly claustrophobic and don’t like heights, I’m happy to report I didn’t rappel into a mile-deep cavern for a first-hand look. But I did try to capture what my characters experienced. How? Thank heaven for the Internet.Internet Research, Asking for Local HelpMy brother-in-law gave me the idea of using caves in my plot, suggesting they’d be “a great place to hide bodies.” His observation launched me on a research project back home, and I found the Jamaican Caves Organisation (JCO) and Ronald Stefan Stewart, JCO’s founder. After I viewed the JCO’s extensive library of cave exploration videos, I wrote a first draft of my cave scenes and sent them to Stefan for review. In my experience, individuals like Stefan are more than happy to share their expertise with authors. They’re willing to read relevant scenes to see if physical settings are portrayed correctly and to give their opinion on whether the dialect, dialogue and mannerisms of locals are true to life. Such resources may be just a Google, Tweet, Pinterest or Facebook post away. In my case, Stefan’s expertise was invaluable. He’s visited more than 250 caves and sinkholes in Jamaica and discovered more than 50 new ones, which he’s added to the nation’s Register. If there are any errors in my descriptions of the fictional Dragon’s Throat cave, caving, or the Cockpit region, rest assured the mistakes are mine. If you have any interest in caving and the JCO’s important conservation initiatives, please visit the JCO website: http://www.jamaicancaves.org/main.htm . 
Okoboji, Iowa-No Wake Zone Setting What my research taught me is that authors don’t have to personally visit every location included in a novel—if they commit to doing the research and asking for help. Writing fiction exercises the imagination. Taking our characters beyond our own geographic boundaries give us a chance to visit new, exciting worlds. Even if we never leave our computer screens.How/Where To Find InformationTalking in-person with residents of the selected area is an obvious starting point. However, there are many additional ways to glean information.· Contact Chambers of Commerce and search their websites for member organizations that might offer unique insights. Examples run the gamut from historic foundations and B&B owners to deep sea fishing charters and popular restaurants.· If your location is a vacation destination, contact travel agents and or local tour guides.· Search out and read relevant magazine articles and books (fiction and nonfiction, history and contemporary) for ideas.· Scan rosters of professional writer organizations to see if fellow members (or book sellers) reside in the area.· Try to establish contact with a librarian at a community or college library.· Ask for help on social networks and conduct searches on Google, Facebook, Pinterest and Goodreads.Research can be half the fun of writing a book. The only danger is that you may get so wrapped up in research you neglect your writing.
Have you written about a place you’ve never visited? Have you read a book that made an unfamiliar location seem so real you felt you’d spent time there? What are your favorite settings for novels?
About the Author: Linda Lovely was a journalism major in college and has always made her living as a writer, working predominately in public relations and advertising. She now focuses on writing stand-alone thrillers and the Marley Clark Mystery Series. For more information, visit her website: www.lindalovely.com.
SC Lowcountry-Dear Killer SettingChoosing a setting for your story is more than a matter of window-dressing. It impacts:PLOT: Every location offers a unique cornucopia of potential challenges and resources. In a suspense/ thriller novel, location factors are often tightly woven into the plot fabric. Think Deliverance or Hunger Games. In a romance or drama, the setting’s social milieu influences plot by defining what behaviors are (or are not) acceptable. Think The Help. CHARACTERS: Setting also plays a role in defining characters—how they think, act, and talk. It would be very difficult to extract New Jersey’s “DNA” from the Stephanie Plum, Janet Evanovich’s loveable character. Even if your heroine is a stranger/newcomer to your setting, how she reacts to the “natives” and their customs will tell the reader a great deal about her character.
MOOD:
The scenery and weather peculiar to a location can set the mood throughout a book. Blue skies, oppressive heat, dense fog, numbing cold, tropical downpours, urban decay, unspoiled beaches—these are just a few of the many elements used to signal optimism or foreboding and communicate sadness or happiness.
SALES:
While selling books is seldom an author’s prime consideration in selecting a novel’s location, it is worth mentioning. People enjoy reading novels set in their hometowns or in places they’ve visited. Of course, there’s also a danger. Readers may be highly critical if a book’s descriptions fail to match memories or photographs.
I’ve published three books. I followed the “write what you know best” dictate in selecting the locations for both of my Marley Clark Mysteries (Dear Killer and No Wake Zone), set in the South Carolina Lowcountry and Spirit Lake/Okoboji, Iowa, respectively. I have intimate knowledge of both locations—people, geography, history, culture—and could weave key details into my plots.I changed tactics for my latest romantic thriller, Final Accounting, and set it in Jamaica—an island I’ve only visited. Despite a lack of detailed Jamaican knowledge, I couldn’t resist sending my characters there. Jamaica is a study in stark contrasts. Paradise and poverty. Lavish resorts and urban violence. Soaring mountains and deep, dark caves. These contrasts give an author everything she could ask for to make setting another character in the story—from fairytale beaches that provide perfect backdrops for a romantic embrace to steep mountain roads where danger seems to lurk around every corner (even when you’re not being chased by a determined assassin).Though similar contrasts can be found throughout the world (the U.S. included), Jamaica offered my readers a number of exotic and unexpected extras. Many Jamaican tourists never step foot outside all-inclusive, walled resorts. However, my husband and I had the advantage of being shown around the entire island by expert guides—my sister, Rita, and brother-in-law, Hank. They lived in Jamaica for seven years. Hank, an engineer, headed a major highway construction project, and his work took him to virtually every part of the island. During our visit, we accompanied Hank to a number of locations. On one sojourn we drove into the hinterlands in search of gravel pits. En route, we bought coconuts (but not the ganja/marijuana) offered by roadside entrepreneurs and ate jerk chicken at stands where one hoped the fiery spices killed germs. In Kingston, we marveled at the number of goats and machete-carrying pedestrians holding up traffic. Of course, we also ate at five-star mountain-top restaurants, visited ritzy resorts, and went for an unforgettable evening cruise on Jamaica’s bioluminescent bay. In Final Accounting, my heroine and hero visit many of these same places. They also descend into Dragon’s Throat, a fictitious cave modeled on real caves in the Cockpit region. Since I’m slightly claustrophobic and don’t like heights, I’m happy to report I didn’t rappel into a mile-deep cavern for a first-hand look. But I did try to capture what my characters experienced. How? Thank heaven for the Internet.Internet Research, Asking for Local HelpMy brother-in-law gave me the idea of using caves in my plot, suggesting they’d be “a great place to hide bodies.” His observation launched me on a research project back home, and I found the Jamaican Caves Organisation (JCO) and Ronald Stefan Stewart, JCO’s founder. After I viewed the JCO’s extensive library of cave exploration videos, I wrote a first draft of my cave scenes and sent them to Stefan for review. In my experience, individuals like Stefan are more than happy to share their expertise with authors. They’re willing to read relevant scenes to see if physical settings are portrayed correctly and to give their opinion on whether the dialect, dialogue and mannerisms of locals are true to life. Such resources may be just a Google, Tweet, Pinterest or Facebook post away. In my case, Stefan’s expertise was invaluable. He’s visited more than 250 caves and sinkholes in Jamaica and discovered more than 50 new ones, which he’s added to the nation’s Register. If there are any errors in my descriptions of the fictional Dragon’s Throat cave, caving, or the Cockpit region, rest assured the mistakes are mine. If you have any interest in caving and the JCO’s important conservation initiatives, please visit the JCO website: http://www.jamaicancaves.org/main.htm .
Okoboji, Iowa-No Wake Zone Setting What my research taught me is that authors don’t have to personally visit every location included in a novel—if they commit to doing the research and asking for help. Writing fiction exercises the imagination. Taking our characters beyond our own geographic boundaries give us a chance to visit new, exciting worlds. Even if we never leave our computer screens.How/Where To Find InformationTalking in-person with residents of the selected area is an obvious starting point. However, there are many additional ways to glean information.· Contact Chambers of Commerce and search their websites for member organizations that might offer unique insights. Examples run the gamut from historic foundations and B&B owners to deep sea fishing charters and popular restaurants.· If your location is a vacation destination, contact travel agents and or local tour guides.· Search out and read relevant magazine articles and books (fiction and nonfiction, history and contemporary) for ideas.· Scan rosters of professional writer organizations to see if fellow members (or book sellers) reside in the area.· Try to establish contact with a librarian at a community or college library.· Ask for help on social networks and conduct searches on Google, Facebook, Pinterest and Goodreads.Research can be half the fun of writing a book. The only danger is that you may get so wrapped up in research you neglect your writing. Have you written about a place you’ve never visited? Have you read a book that made an unfamiliar location seem so real you felt you’d spent time there? What are your favorite settings for novels?
About the Author: Linda Lovely was a journalism major in college and has always made her living as a writer, working predominately in public relations and advertising. She now focuses on writing stand-alone thrillers and the Marley Clark Mystery Series. For more information, visit her website: www.lindalovely.com.
