KN Magazine: Articles
5 Tips to Understanding Genre in the Publishing Industry / Sydney Mathieu
Genre can be a tricky subject for authors. What categories of genre exist? Which one should I choose for my book? What if I’ve already decided on my book’s genre, but someone else disagrees? Does it even matter at all?
From most writers’ perspectives, the genre is secondary to writing the book they have in their head. Authors write books based on their ideas for character and plot—and that’s absolutely normal. However, genre becomes important when an author begins looking for an agent, finding a publisher, or starting a publicity campaign
Genre gives you a way to find an agent and gives agents a way to pitch books to publishers. Many publishers and divisions of publishers (imprints) specialize in publishing specific genres, and agents often have better connections with publishers in certain genres. Some agents specialize in children’s books, some mysteries, some romances. When you are trying to find an agent to work on your book, it’s helpful to know what kind of book you’ve written so that you can choose the best agent. When an agent specializing in your genre matches you with a publisher, you can be assured that the publisher will have a team of editors, publicists, and designers with a great understanding of how to produce a novel in your genre. This specialized approach ensures your title matches reader expectations.
Readers decide to read books based on their genre labels. Readers are used to books being categorized by genre, and each of those categories means something to a reader. For instance, a cozy mystery isn’t going to have gratuitous violence, and a thriller isn’t going to be a slow-paced character study. This makes it easy for readers who like certain types of books to easily decide if the book is right for them. This may seem like it simply narrows the audience and pushes people away, but it actually helps readers who will like your book find it, read it, and hopefully review it. There’s no benefit to having a reader who likes thrillers but hates cozy mysteries read a cozy mystery just to trash it on Goodreads because it wasn’t at all what they expected.
Your publicity and marketing teams can better target your market. There are plenty of publications (like Killer Nashville) that focus on single genres or groups of similar genres. If your book is incorrectly categorized or nebulously labeled “contemporary fiction” without further specificity (if further specificity is appropriate for your title), your publicity team may find it hard to convince niche genre outlets to cover the book, thereby missing a huge sector of your potential audience.
But my book is a “literary novel.” Some authors finish their books completely convinced they know the genre: literary. This may or may not be true, but more importantly, it’s typically not the complete truth. For instance, “Pride and Prejudice” is a literary novel, but it’s also a novel with a strong romance. “1984” is a literary novel, but it’s also a dystopian novel. These kinds of subcategorizations help your publicity team find readers. Unless you’re already established as a literary author, that label typically comes after one of your titles has gone through vetting by readers and publishing professionals who have declared your work “literary.” Most books and authors don’t start at that point; they grow to it.
Trust the professionals helping you. Sometimes authors write books, and they really just don’t know what genre it’s in. That’s 100 percent okay. That’s what your agent, editors, and publisher are for. They can help you either decide what genre it is or shape it into a genre that it’s already trending toward. Of course, not every book is going to perfectly fit into a single genre, and that’s okay. If you’re aware of how your book compares to similar titles, it can even be a unique distinction. It’s okay to write a “cozy mystery that’s a little edgier than usual” or a “dystopian novel with a private investigator–style mystery.”
At the end of the day, a genre isn’t “what your book is.” Instead, it’s a tool for editors, publicists, and readers to describe your book to others to ensure that the readers who will love the book find it, and that’s what every author wants!
Sydney Mathieu is a digital marketing expert who creates innovative campaigns for author and publisher clients for JKS Communications. She is a well-respected book publicist with a graphic design background that makes authors' visual promotions and social media pop. She focuses much of her time on promoting authors through social media, Amazon SEO, Goodreads support, and creatively getting promotional material into the hands of tastemakers.
(To become a Killer Nashville Guest Columnist, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Joseph Borden and publisher/editorial director Clay Stafford for their assistance in putting together this week’s editorial.
Killer Nashville Interview with Sara Blaedel
Sara Blaedel is the author of the #1 international bestselling series featuring Detective Louise Rick. Recently, Ms. Blaedel took a bit of time out of her busy schedule to answer a few questions for Killer Nashville about The Undertaker's Daughter, the first novel in her new triology. Thanks to Bree Goodchild for conducting this interview.
Clay Stafford
Founder of Killer Nashville
An Interview with Sara Blaedel
by Bree Goodchild
KN: The reader is taken through the process of being a funeral director as Ilka experiences it; from picking up the body to embalming, reconstruction and makeup to the funeral itself. What kind of research methods did you utilize to create this sense of realism for your character?
SB: Research is an essential part of my writing process. It always has been, and that only intensifies as the years and titles go by. I place absolute importance on achieving authenticity. Readers are clever and savvy; they know their stuff and aren’t going to buy into anything (in this genre) that doesn’t ring true or feel possible.
As has been the case with all of my books, my research for The Undertaker’s Daughter entailed everything from reading to traveling to becoming an apprentice. When I decided to use the US as the setting for the first time, I studied the various regions until I zeroed in on Racine, Wisconsin, a city which has the nation’s largest number of Danish-Americans and Danish immigrants. I dug into the funeral home industry in the States, comparing and contrasting its laws and regulations and traditions to those in Denmark. I was really struck by how differently this extremely sensitive and reverent work is handled from one country to another. I was fascinated to learn that there are varying laws even from one state to another within the US.
I spent weeks in Racine, living amongst and getting to know the lovely people there and how they navigate. What a wonderful experience- I can’t wait to visit again. I was incredibly fortunate to be able to intern at a funeral home, which proved enlightening, compelling, and so informative.
KN: Ilka seems to miss bits of information and the subtleties of interaction between other characters. What was your thinking behind this dramatic decision?
SB: I’m so glad you caught this. Ilka is a newcomer to the US; this is her first time visiting the country. A Danish citizen, she’s an outsider when she arrives in Racine, and she’s alone and dealing with a death in the family. Being out of her element in so many ways, she struggles, at first, as anyone would, to keep up and to understand the nuances of another language and culture.
KN: Ilka seems more of an observer than a detective in this book - compared to Louise Rick. What was the creative process behind developing Ilka’s character?
That’s an interesting question. Ilka is absolutely more of an observer; at least at first. She’s not a detective. When we meet her, she’s leading a quiet and modest life as a school photographer. She is summoned to the States after the death of her long-estranged father, an undertaker, who lived and worked in Racine. Ilka, while trying to tend to her father’s estate, business, and tax issues, takes some time to try to connect with the man she barely remembers. It is while she is living in Racine and laboring in her father’s funeral home that Ilka finds herself needing to search for information and dig for clues. She’s, at most, an amateur sleuth, with no expertise or experience in detective work.
KN: Reading this book, I was surprised when at the end I did not experience the sense of closure between Ilka and her father as expected. Can you talk about what you hoped readers would get out of The Undertaker’s Daughter?
That’s another fascinating question. The Undertaker’s Daughter is the first in a trilogy, and so, while I had intended to bring to completion many of the storylines in this book, full closure wasn’t part of the plan. Yet.
For me, this series is about familial relationship and the bond between fathers and daughters. It’s about second chances and the many ways in which we can start again. It’s about the ways secrets and lies can devastate, and how love and acceptance, and the truth can be so redeeming.
KN: Do you see this as the beginning of a new thriller series, like Louise Rick, or a stand-alone?
The Undertaker’s Daughter is the first in a trilogy. All three volumes will be set in the States, which is a super exciting first for me.
Many thanks to Sara Blaedel for so graciously taking time to answer our questions and to Caitlin Mulrooney-Lyski from Grand Central Publishing for facilitating this interview.
Killer Nashville Interview with Alan Bradley
Alan Bradley is the New York Times bestselling author of the award-winning Flavia de Luce mystery series. His first novel, The Sweetness at the Bottom of the Pie received the Crime Writers' Association Debut Dagger Award, the Agatha Award, the Barry Award, the Dilys Award, the Arthur Ellis Award, the Macavity Award and the Spotted Owl Award. Recently, Mr. Bradley took a bit of time out of his busy schedule to answer a few questions for Killer Nashville. The author discusses his protagonist and the unique choices made in creating her, his writing process, and offers advice to those who—like Bradley—began their writing careers a little later in the game. Thanks to Liz Gatterer for conducting this interview.
Enjoy!
A Killer Nashville Interview
with
ALAN BRADLEY
KN: When I first looked at the press release for The Grave’s a Fine and Private Place and saw that the story was about a 12-year-old girl, I assumed this was a children’s book, or a middle-grade book and was intrigued that was not how it was categorized. Who do you write your books for?
I write my books for people who are interested in the same kind of things I’m interested in. I dote on curiosities and wonder, and I have been accused of possessing a magpie mind. Fortunately, there are vast numbers of readers of all ages who share my enthusiasms. I have heard of a four-year-old girl who insists upon having the books read aloud to her, then acting them out with herself as Flavia, her father as Dogger, and her mother as Mrs. Mullet.
KN: I must admit, I am a new Flavia fan. I enjoyed The Grave’s a Fine and Private Place so much I have now binge read/listened to the entire series from the beginning. By the way, the narrator, Jayne Entwistle is just fantastic! There is an incredible amount of information in each book. How long does it take to research one of your books? Do you squirrel away factoids for use “at some point” or is it a more focused practice?
Yes, Jayne is incredible. I recently had the opportunity of speaking to her “live” during an internet broadcast. I think we were both in tears of laughter and recognition!
Some of the facts in the Flavia books are titbits I’ve been saving up for years, while others come to light during research. Because I’m a great fan of ancient and outdated reference books, it’s often harder to decide what to leave out than what to put in. In general, it takes about nine months to a year to write each book, a substantial amount of which is research. It’s not always easy to find out, for instance, what the weather was like in England at a certain hour of a certain day in 1952, or whether the 10:32 from Waterloo ran on Sundays in November.
KN: I have read at first you thought this would be a six-book series, and then a ten-book series. Well, The Grave’s a Fine and Private Place is book 9… Is book 10 in the works? Will that be the end of the series? (Please say no) Are there any plans for your next series?
In spite of reports to the contrary, I’m presently working on a tenth book. Beyond that? I don’t know. I’m sure my lovely publishers would be happy to continue, but, as Sherlock once so wisely remarked, “It is a capital mistake to theorize in advance of the facts.”
KN: Although the character of Flavia de Luce has certainly developed over the series, she has not really aged. She was 11 in Book 1: The Sweetness at the Bottom of the Pie and now in Book 9: The Grave’s a Fine and Private Place she is 12. It has been quite a year for the young girl! Is Flavia destined to be a pre-adolescent forever?
Flavia at 18, for instance, would be a completely different person than she is now, and perhaps not half so interesting. At any rate, there’s still much to be told about her present circumstances, and I’ve never been one for rushing things.
KN: As an author that really began to write in earnest after retirement and who published an award-winning novel after 70, what advice or words of encouragement (or words of warning) would you give to others who are just beginning their writing later in the game?
First of all, my heartiest congratulations to anyone who manages to get published at 60 and beyond! At that age, it seems unlikely that you’ll be changed: your life will be, but you won’t.
My best advice would be, as has been said so many times before, never give up. I was once told that real success takes ten years, but in my case, it took fifteen. To summarize: apply bottom to chair, write, and keep writing.
As Philip Van Doren Stern (author of the book that inspired the film “It’s a Wonderful Life”) once said, “The only thing that’s important is the manuscript. All the rest is just bubbles on the horse-piss.
Many thanks to Alan Bradley for taking time to answer our questions and to Sharon Propson from Random House Publishing for facilitating this interview.
Stacking Your Positivity Deck: Ten Tips For Finishing Your Mystery / Bryan E. Robinson
We all need a healthy dose of reality. But what happens when the cold, hard facts of disappointment and failure start to overshadow the moments of happiness and victory? Can you make your own silver linings? This week’s guest blogger, author, professor, and psychotherapist Bryan Robinson, has known considerable success, but even his past triumphs and accolades weren’t enough to defeat debilitating self-doubt. He had to develop an entirely new set of tactics to get him through, and he’s here to teach you how to soldier on.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Stacking Your Positivity Deck:
Ten Tips For Finishing Your Mystery
By Bryan E. Robinson
When you started writing on a regular basis, did you think being an author would answer all your prayers, and you’d live happily ever after? Did you dream your book would be on bookstore shelves beside Lee Child, James Patterson, or Heather Graham? That it would hit number one on the bestsellers list and garner all the literary awards? That Steven Spielberg would beat down your door to sign your screenplay?
I did.
Were you perplexed to discover that nightmares come with the territory? Did an agent’s bludgeoning rejection, a publisher’s blast of disparagement, blistering reviews, no-shows at bookstore signings, deadline pressures, agonizing writer’s block, zero award nominations, and your own seismic rumble of self-doubt besiege you? And are you still waiting for Hollywood to call?
I am.
After dashed dreams, do you still love to write? If you have ink in your blood like me, you have to write. That’s what successful writers do. We persevere through literary storms, albeit bruised, bereft, and beleaguered. I’ve seen them: writers frazzled from publishing’s frenetic pace, spirits dead from unfulfilled hopes and stressful career demands. Empty shells, comatose, like zombies moving among the living.
I was one of them.
In the still and lonely hours before dawn, I plopped into the armchair, elbows digging into the knees of my ripped jeans. I dropped my head into my hands, grabbed a fistful of hair, and wept. That’s right. This grown man cried. After finishing my best mystery yet, or so I had thought, an editor I’d hired tore the plot to shreds. Rewrite after rewrite, dead-end after dead-end, confusion and frustration mired me. I wailed at the clock and shook my fist at the heavens, cursing, slamming things. Still, at every turn, I met one roadblock after another. Distraught, I didn’t know what else to do.
But cry.
Keep in mind, this wasn’t my first book. I had written thirty-five nonfiction and fiction books, tons of magazine and journal articles, blogs, and book chapters. I even won a few writing awards along the way. But I had never encountered that degree of writer’s hell. Those of us who are aspiring scribes know the publishing world is brutal—full of meteoric challenges, constant negativity, major setbacks, and devastating letdowns. Agents say the number one key to writing success—even more important than good writing—is perseverance, dogged determination in the face of disappointment.
One cruel fact of becoming a published author is that the mind’s negativity has a longer shelf life than positivity. I’ll bet you remember where you were on 9/11 but not the following week. Scientists say the brain is like Velcro for negative experiences and Teflon for positive ones to keep us out of harm’s way. It takes three positive thoughts to offset one negative thought. No wonder it’s difficult to remain hopeful and persevere in a publishing career bombarded with the same bad-news bias that keeps us safe.
But here’s the good news: Grass grows through concrete. When negativity strikes, you can bounce back by overriding your negative knee-jerk reactions and stacking your positivity deck. You can underestimate writing threats and overestimate writing possibilities with the same tried-and-true tips that have helped me navigate the ups-and-downs of a tumultuous publishing world, break free from the clutches of writing woes, and finish that murder mystery from hell:
1. Focus on the upside of downside situations. “I’ve hit a wall with my novel’s ending” becomes “Other than the ending, I’ve completed my novel and gotten promising feedback.”
2. Pinpoint opportunities contained in negative writing events. Ask, “How can I make this situation work to my advantage? Can I find something positive in it? What can I manage or overcome in this instance?”
3. Frame setbacks as lessons to learn, not failures to endure. Ask what you can learn from difficult writing outcomes and use them as stepping-stones, instead of roadblocks.
4. Broaden your scope. Look beyond rejection, put on your wide-angle lens, and let your love of writing steer you beyond the gloom.
5. Be chancy. Take small risks in new situations instead of predicting negative outcomes before giving them a try. “If I agree to be on a panel at Killer Nashville, I might fall flat on my face” becomes “If I participate on a panel, I might get to network with other writers and promote my murder mystery.”
6. Avoid blowing situations out of proportion. Don’t let one negative experience rule your whole life pattern: “I didn’t sell my novel, so now I’ll never be a published author” becomes “I didn’t sell the novel, but there are many more pathways to getting it published.”
7. Focus on the solution, not the problem. You’ll feel more empowered to cope with writing’s curveballs when you step away from the problem and brainstorm a wide range of possibilities.
8. Practice positive self-talk. After big writing letdowns, underscore your triumphs and high-five your “tallcomings” instead of bludgeoning yourself with your “shortcomings.”
9. Hang out with positive people. Optimism is contagious. When you surround yourself with optimistic people, positivity rubs off.
10. Strive to see the fresh starts contained in your losses. Every time you get up just one more time than you fall, your perseverance increases the likelihood of propelling your mystery to the top of the charts.
Bryan E. Robinson is a novelist, psychotherapist, and Professor Emeritus at the University of North Carolina at Charlotte. He has authored thirty-five nonfiction books that have been translated into thirteen languages. His debut novel, Limestone Gumption: A Brad Pope and Sisterfriends Mystery won multiple awards, and his work has been featured on every major television network. He maintains a private clinical practice in Asheville, North Carolina, and resides in the Blue Ridge Mountains. He has completed the sequel to Limestone Gumption, She’ll Be KILLING Round the Mountain, and is working on the third installment, Michael Row the BODY Ashore. Visit his website: www.bryanrobinsonnovels.com or email him at info@bryanrobinsonnovels.com
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Stacking Your Positivity Deck: Ten Tips For Finishing Your Mystery / Bryan E. Robinson
We all need a healthy dose of reality. But what happens when the cold, hard facts of disappointment and failure start to overshadow the moments of happiness and victory? Can you make your own silver linings? This week’s guest blogger, author, professor, and psychotherapist Bryan Robinson, has known considerable success, but even his past triumphs and accolades weren’t enough to defeat debilitating self-doubt. He had to develop an entirely new set of tactics to get him through, and he’s here to teach you how to soldier on.Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Stacking Your Positivity Deck:
Ten Tips For Finishing Your Mystery
By Bryan E. Robinson
When you started writing on a regular basis, did you think being an author would answer all your prayers, and you’d live happily ever after? Did you dream your book would be on bookstore shelves beside Lee Child, James Patterson, or Heather Graham? That it would hit number one on the bestsellers list and garner all the literary awards? That Steven Spielberg would beat down your door to sign your screenplay?
I did.
Were you perplexed to discover that nightmares come with the territory? Did an agent’s bludgeoning rejection, a publisher’s blast of disparagement, blistering reviews, no-shows at bookstore signings, deadline pressures, agonizing writer’s block, zero award nominations, and your own seismic rumble of self-doubt besiege you? And are you still waiting for Hollywood to call?
I am.
After dashed dreams, do you still love to write? If you have ink in your blood like me, you have to write. That’s what successful writers do. We persevere through literary storms, albeit bruised, bereft, and beleaguered. I’ve seen them: writers frazzled from publishing’s frenetic pace, spirits dead from unfulfilled hopes and stressful career demands. Empty shells, comatose, like zombies moving among the living.
I was one of them.
In the still and lonely hours before dawn, I plopped into the armchair, elbows digging into the knees of my ripped jeans. I dropped my head into my hands, grabbed a fistful of hair, and wept. That’s right. This grown man cried. After finishing my best mystery yet, or so I had thought, an editor I’d hired tore the plot to shreds. Rewrite after rewrite, dead-end after dead-end, confusion and frustration mired me. I wailed at the clock and shook my fist at the heavens, cursing, slamming things. Still, at every turn, I met one roadblock after another. Distraught, I didn’t know what else to do.
But cry.
Keep in mind, this wasn’t my first book. I had written thirty-five nonfiction and fiction books, tons of magazine and journal articles, blogs, and book chapters. I even won a few writing awards along the way. But I had never encountered that degree of writer’s hell. Those of us who are aspiring scribes know the publishing world is brutal—full of meteoric challenges, constant negativity, major setbacks, and devastating letdowns. Agents say the number one key to writing success—even more important than good writing—is perseverance, dogged determination in the face of disappointment.
One cruel fact of becoming a published author is that the mind’s negativity has a longer shelf life than positivity. I’ll bet you remember where you were on 9/11 but not the following week. Scientists say the brain is like Velcro for negative experiences and Teflon for positive ones to keep us out of harm’s way. It takes three positive thoughts to offset one negative thought. No wonder it’s difficult to remain hopeful and persevere in a publishing career bombarded with the same bad-news bias that keeps us safe.
But here’s the good news: Grass grows through concrete. When negativity strikes, you can bounce back by overriding your negative knee-jerk reactions and stacking your positivity deck. You can underestimate writing threats and overestimate writing possibilities with the same tried-and-true tips that have helped me navigate the ups-and-downs of a tumultuous publishing world, break free from the clutches of writing woes, and finish that murder mystery from hell:
1. Focus on the upside of downside situations. “I’ve hit a wall with my novel’s ending” becomes “Other than the ending, I’ve completed my novel and gotten promising feedback.”
2. Pinpoint opportunities contained in negative writing events. Ask, “How can I make this situation work to my advantage? Can I find something positive in it? What can I manage or overcome in this instance?”
3. Frame setbacks as lessons to learn, not failures to endure. Ask what you can learn from difficult writing outcomes and use them as stepping-stones, instead of roadblocks.
4. Broaden your scope. Look beyond rejection, put on your wide-angle lens, and let your love of writing steer you beyond the gloom.
5. Be chancy. Take small risks in new situations instead of predicting negative outcomes before giving them a try. “If I agree to be on a panel at Killer Nashville, I might fall flat on my face” becomes “If I participate on a panel, I might get to network with other writers and promote my murder mystery.”
6. Avoid blowing situations out of proportion. Don’t let one negative experience rule your whole life pattern: “I didn’t sell my novel, so now I’ll never be a published author” becomes “I didn’t sell the novel, but there are many more pathways to getting it published.”
7. Focus on the solution, not the problem. You’ll feel more empowered to cope with writing’s curveballs when you step away from the problem and brainstorm a wide range of possibilities.
8. Practice positive self-talk. After big writing letdowns, underscore your triumphs and high-five your “tallcomings” instead of bludgeoning yourself with your “shortcomings.”
9. Hang out with positive people. Optimism is contagious. When you surround yourself with optimistic people, positivity rubs off.
10. Strive to see the fresh starts contained in your losses. Every time you get up just one more time than you fall, your perseverance increases the likelihood of propelling your mystery to the top of the charts.
Bryan E. Robinson is a novelist, psychotherapist, and Professor Emeritus at the University of North Carolina at Charlotte. He has authored thirty-five nonfiction books that have been translated into thirteen languages. His debut novel, Limestone Gumption: A Brad Pope and Sisterfriends Mystery won multiple awards, and his work has been featured on every major television network. He maintains a private clinical practice in Asheville, North Carolina, and resides in the Blue Ridge Mountains. He has completed the sequel to Limestone Gumption, She’ll Be KILLING Round the Mountain, and is working on the third installment, Michael Row the BODY Ashore. Visit his website: www.bryanrobinsonnovels.com or email him at info@bryanrobinsonnovels.com
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Stacking Your Positivity Deck: Ten Tips For Finishing Your Mystery / Bryan E. Robinson
We all need a healthy dose of reality. But what happens when the cold, hard facts of disappointment and failure start to overshadow the moments of happiness and victory? Can you make your own silver linings? This week’s guest blogger, author, professor, and psychotherapist Bryan Robinson, has known considerable success, but even his past triumphs and accolades weren’t enough to defeat debilitating self-doubt. He had to develop an entirely new set of tactics to get him through, and he’s here to teach you how to soldier on.Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Stacking Your Positivity Deck:
Ten Tips For Finishing Your Mystery
By Bryan E. Robinson
When you started writing on a regular basis, did you think being an author would answer all your prayers, and you’d live happily ever after? Did you dream your book would be on bookstore shelves beside Lee Child, James Patterson, or Heather Graham? That it would hit number one on the bestsellers list and garner all the literary awards? That Steven Spielberg would beat down your door to sign your screenplay?
I did.
Were you perplexed to discover that nightmares come with the territory? Did an agent’s bludgeoning rejection, a publisher’s blast of disparagement, blistering reviews, no-shows at bookstore signings, deadline pressures, agonizing writer’s block, zero award nominations, and your own seismic rumble of self-doubt besiege you? And are you still waiting for Hollywood to call?
I am.
After dashed dreams, do you still love to write? If you have ink in your blood like me, you have to write. That’s what successful writers do. We persevere through literary storms, albeit bruised, bereft, and beleaguered. I’ve seen them: writers frazzled from publishing’s frenetic pace, spirits dead from unfulfilled hopes and stressful career demands. Empty shells, comatose, like zombies moving among the living.
I was one of them.
In the still and lonely hours before dawn, I plopped into the armchair, elbows digging into the knees of my ripped jeans. I dropped my head into my hands, grabbed a fistful of hair, and wept. That’s right. This grown man cried. After finishing my best mystery yet, or so I had thought, an editor I’d hired tore the plot to shreds. Rewrite after rewrite, dead-end after dead-end, confusion and frustration mired me. I wailed at the clock and shook my fist at the heavens, cursing, slamming things. Still, at every turn, I met one roadblock after another. Distraught, I didn’t know what else to do.
But cry.
Keep in mind, this wasn’t my first book. I had written thirty-five nonfiction and fiction books, tons of magazine and journal articles, blogs, and book chapters. I even won a few writing awards along the way. But I had never encountered that degree of writer’s hell. Those of us who are aspiring scribes know the publishing world is brutal—full of meteoric challenges, constant negativity, major setbacks, and devastating letdowns. Agents say the number one key to writing success—even more important than good writing—is perseverance, dogged determination in the face of disappointment.
One cruel fact of becoming a published author is that the mind’s negativity has a longer shelf life than positivity. I’ll bet you remember where you were on 9/11 but not the following week. Scientists say the brain is like Velcro for negative experiences and Teflon for positive ones to keep us out of harm’s way. It takes three positive thoughts to offset one negative thought. No wonder it’s difficult to remain hopeful and persevere in a publishing career bombarded with the same bad-news bias that keeps us safe.
But here’s the good news: Grass grows through concrete. When negativity strikes, you can bounce back by overriding your negative knee-jerk reactions and stacking your positivity deck. You can underestimate writing threats and overestimate writing possibilities with the same tried-and-true tips that have helped me navigate the ups-and-downs of a tumultuous publishing world, break free from the clutches of writing woes, and finish that murder mystery from hell:
1. Focus on the upside of downside situations. “I’ve hit a wall with my novel’s ending” becomes “Other than the ending, I’ve completed my novel and gotten promising feedback.”
2. Pinpoint opportunities contained in negative writing events. Ask, “How can I make this situation work to my advantage? Can I find something positive in it? What can I manage or overcome in this instance?”
3. Frame setbacks as lessons to learn, not failures to endure. Ask what you can learn from difficult writing outcomes and use them as stepping-stones, instead of roadblocks.
4. Broaden your scope. Look beyond rejection, put on your wide-angle lens, and let your love of writing steer you beyond the gloom.
5. Be chancy. Take small risks in new situations instead of predicting negative outcomes before giving them a try. “If I agree to be on a panel at Killer Nashville, I might fall flat on my face” becomes “If I participate on a panel, I might get to network with other writers and promote my murder mystery.”
6. Avoid blowing situations out of proportion. Don’t let one negative experience rule your whole life pattern: “I didn’t sell my novel, so now I’ll never be a published author” becomes “I didn’t sell the novel, but there are many more pathways to getting it published.”
7. Focus on the solution, not the problem. You’ll feel more empowered to cope with writing’s curveballs when you step away from the problem and brainstorm a wide range of possibilities.
8. Practice positive self-talk. After big writing letdowns, underscore your triumphs and high-five your “tallcomings” instead of bludgeoning yourself with your “shortcomings.”
9. Hang out with positive people. Optimism is contagious. When you surround yourself with optimistic people, positivity rubs off.
10. Strive to see the fresh starts contained in your losses. Every time you get up just one more time than you fall, your perseverance increases the likelihood of propelling your mystery to the top of the charts.
Bryan E. Robinson is a novelist, psychotherapist, and Professor Emeritus at the University of North Carolina at Charlotte. He has authored thirty-five nonfiction books that have been translated into thirteen languages. His debut novel, Limestone Gumption: A Brad Pope and Sisterfriends Mystery won multiple awards, and his work has been featured on every major television network. He maintains a private clinical practice in Asheville, North Carolina, and resides in the Blue Ridge Mountains. He has completed the sequel to Limestone Gumption, She’ll Be KILLING Round the Mountain, and is working on the third installment, Michael Row the BODY Ashore. Visit his website: www.bryanrobinsonnovels.com or email him at info@bryanrobinsonnovels.com
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Writing a Cozy? Follow the Rules … And Mind Your Language / Author Penny Clover Petersen
Nancy Drew never cursed. She was always under duress in one manner or another, but she never let, even the occasional expletive, spill from her titian-colored head. In this week’s guest blog, author Penny Clover Petersen discusses what makes a cozy mystery, and the ongoing debate about the use of bad words.
Read like they are burning books!
Clay Stafford,
Founder Killer Nashville,
Publisher Killer Nashville Magazine
Writing a Cozy? Follow the Rules … And Mind Your Language
By Penny Clover Petersen
I began my first novel when I was fifty-nine. Being an avid mystery lover, I had spent most of those fifty-nine years inventing puzzling scenarios for the most trivial occurrences and envisioning dark motives behind the most benign actions. Cookies for a teacher? They are no doubt laced with something in order to avoid the afternoon’s math test. A package delivered late? You know the mailman is up to something, but what?
Poison pen letters, tripping over bodies lying by the side of the road, murder, mayhem, blackmail, all of these fascinating ideas rolling around in my head had me wondering if I were to write a mystery, what would I write?
When the mood finally moved me to get to work I took to heart the adage “write what you know” and figured that I know family, cats and dogs, suburban living, and cozy mysteries. So I determined that a cozy mystery involving two sisters, a goofy mother, and a hormonally challenged dog was something I could achieve.
Now, writing cozies is a bit tricky. The rules are pretty well defined. The first two are actually almost carved in stone and I think that we must adhere to them if we want to call a mystery a cozy.
Number one is all violence will be off-stage. Cozy writers do not depict grizzly murders. Autopsies are avoided. We don’t have psychotic killers torturing hapless victims in gruesome detail. As with many cozy writers, my victims tend to be obnoxious people that no one much likes who are conked on the head and found by the side of the road.
Number two is, of course, sex. That, too, must be off-stage. There are no steamy love scenes, no kinky aberrations. If sex enters into the plot, it generally is glossed over with only the incidental reference to “incredibly tall, slim men with well-cut graying hair and eyes the color of smoky quartz under wire-rimmed glasses.” Perhaps adding “kind of bookish and sexy — quite the studly muffin.” If the studly muffin and the leading lady ever do get together, it is definitely behind closed doors!
Number three concerns foul language. Agatha Christie, the mother of the cozy, did not use any off-color language in her books. But neither did anyone else writing at that time. It wasn’t a part of the culture.
Today, I think this is one rule that can be tinkered with. I have spoken with a number of cozy writers and this is a stumbling block for many of us. We want our characters to be somewhat real and the use of “language” in society has certainly become looser. For instance, my own everyday speech is not chockfull of colorful invective, but I do occasionally throw out a word or two my mother would not approve.
So what is acceptable in a cozy written in 2015? Of the writers to whom I have spoken, many have main characters that use the S-word. Many feel a leading lady is allowed to say, “Oh Christ!” or the like. Damn, hell, and variations seem to be acceptable these days.
But what of, as they say, the F-bomb? Now I don’t advocate throwing it around like confetti, but I do feel there are appropriate times that it might be used. As my children could tell you, if they heard me scream f….., they would most certainly know that I am really, really mad or have gone completely around the bend. And I feel the same holds true in a cozy. A crazed killer saying, “Oh gosh, I think I have to kill you now,” does not have the dramatic effect as something much more strongly worded.
A friend and fellow author, Austin Camacho, suggests leaving the cursing to the peripheral characters — the crazies, the villains — and keeping the leading ladies ‘cozy’. I tend to agree with this point of view. But I think purists probably wouldn’t. And so the question is, just how much is too much — and is it still a cozy?
If you would like to read more about Penny Clover Petersen’s books please click here.
Penny Clover Petersen’s first Daisy&Rose mystery, Roses and Daisies and Death, Oh My was released in December 2013 by Intrigue Publishing. In addition to writing, Penny enjoys spending time with her family, refurbishing old furniture, collecting stories and recipes for the ‘family cookbook’, and savoring new cocktail recipes. She loves historic homes and is a docent at Riversdale Mansion in Riverdale, MD. Her second novel, Roses Are Dead, My Love, will be released April 2015. Penny is currently at work on her third Daisy&Rose mystery. Visit her website at http://pennypetersen.com/
(Have an idea for our blog? Then share it with our Killer Nashville family. With over 24,000 visits monthly to the Killer Nashville website, over 300,000 reached through social media, and a potential outreach of over 22 million per press release, Killer Nashville provides another way for you to reach more people with your message. Send a query to contact@killernashville.com or call us at 615-599-4032. We’d love to hear from you. Thanks to Maria Giordano, Will Chessor and author Tom Wood for his volunteer assistance in coordinating our weekly blogs. For more writer resources, visit us at www.KillerNashville.com or www.KillerNashvilleMagazine.com)
Comedy That Kills / Author Diane Kelly
William Shakespeare, Mark Twain, and Kurt Vonnegut knew the power of humor. It’s a great tool to leverage when writing. In this week’s blog, author Diane Kelly explains that humor is mighty: bringing levity to tense dramas, intensifying others, and even making characters appear more clever. Laugh on!
Happy Reading!
Clay Stafford,
Founder Killer Nashville,
Publisher Killer Nashville Magazine
Comedy That Kills
By Diane Kelly
Murder and laughter might not seem to go hand in hand, but the contrast between humor and horror can take an ordinary book and amp it up to extraordinary. Humor techniques add tools to a writer’s toolbox, giving an author more flexibility and options as they develop their stories.
When I began writing, I knew only that I wanted to write about strong, feisty female lead characters that were matched with an equally strong male lead. I didn’t set out to write mysteries or funny books. It wasn’t until my third manuscript (the first that sold), that I realized romantic mystery was my genre and that my humorous voice would set my work apart. Once I realized this, I vowed to learn everything I could about writing comedy.
Perhaps the most surprising thing I learned is that there is a place for humor in every book. Whether it is infrequent touches of dark humor in a gritty thriller or laugh-out-loud moments in comedic crime capers like mine, humor has a home in every written work.
What can humor do for you? So many things.
First, humor can stretch a book’s emotional impact. Readers relate with characters and engage with a book via emotion. While many murder mysteries and thrillers set a reader’s heart to pumping and palms to sweating, not many give the reader the extra emotional hit of humor. Add a well-placed laugh or even just a note or two of clever irony to your stories and you’ll give the reader a broader emotional experience.
On a related note, humor can act as a breath of fresh air for a reader after an author has put them through the wringer. Too much nonstop tension can overwhelm a reader. A humorous passage placed after a particularly intense scene can give the reader some comic relief and allow them to better tolerate what will follow.
The flipside, of course, is that moments of levity can, by contrast, make dark moments appear even darker. For example, imagine a scene in which a character has been too busy for grocery shopping and is forced to improvise a dinner of Froot Loops floating in Tennessee whiskey. Funny, right? So when a machete-wielding psychopath appears in her kitchen, the contrast is even darker than it would have been had she been cooking a raw, bloody steak on the stove.
Humor is, at its core, a coping mechanism. Think about the things we find funny: bad relationships, poorly behaved children, financial instability, the loss of physical beauty, etc. All of these are negative things that people have to deal with. Rather than let these problems bring us down, finding the funny in them helps us conquer and control them. In a murder mystery, the characters — and vicariously, the readers — will likewise have to cope with negatives: Loss, Grief, Fear. If the character and reader can find some humor, they can better deal with the situations and emotions they must face.
Believe it or not, a sense of humor can make your characters seem clever. A well-worded, perceptive, or thought-provoking quip signifies intelligence. Think of your funniest friends. Chances are they are also among your smartest. If you want to amp up a character’s IQ, give him or her some funny lines to deliver. Moreover, most novels contain a cast of several characters. Put a few people together in real life and there is likely to be a cut-up among them. Such should be the same with a fictional group.
Humor intensifies a story. In a way, it acts like salt, elevating the flavor of a scene. Why? Because humor grabs a reader’s attention, and when a reader is paying attention they are more engaged and better absorb information.
A bit of warning. However you use this tool, do so with some caution. One person’s chuckle is another’s insult. Be careful what topics you approach with humor to avoid alienating readers.
Bottom line? Humor is an incredibly flexible tool. It can be dark or light, or any of the many shades in between. It can be used often to nail down the material, or it can be used sparingly when a screwdriver or buzz saw are more appropriate. But add some to your work and you’re guaranteed to like the results.
If you would like to read more about Diane Kelly’s books please click here.
A former state Assistant Attorney General and tax advisor, Diane Kelly inadvertently worked with white-collar criminals on multiple occasions. Lest she end up in an orange jumpsuit, Diane decided self-employment would be a good idea. Her fingers hit the keyboard and thus began her “Death and Taxes” romantic mystery series. A graduate of her hometown’s Citizen Police Academy, Diane Kelly also writes the hilarious K-9 cop “Paw Enforcement” series.
Diane’s books have been awarded the prestigious Romance Writers of America Golden Heart® Award and a Reviewers Choice Award. Be the first to receive book news by signing up for Diane’s newsletter at www.dianekelly.com. “Like” Diane on Facebook at www.facebook.com/dianekellybooks, and follow her on Twitter @dianekellybooks.
(Have an idea for our blog? Then share it with our Killer Nashville family. With over 24,000 visits monthly to the Killer Nashville website, over 300,000 reached through social media, and a potential outreach of over 22 million per press release, Killer Nashville provides another way for you to reach more people with your message. Send a query to contact@killernashville.com or call us at 615-599-4032. We’d love to hear from you. Thanks to Maria Giordano, Will Chessor and author Tom Wood for his volunteer assistance in coordinating our weekly blogs. For more writer resources, visit us at www.KillerNashville.com or www.KillerNashvilleMagazine.com)
The Junkman Cometh and Sometimes He Writeth / Author Guinotte Wise
Respect your readers, don’t cheat, cut when necessary, and by all means, keep going. I’ve never met this week’s guest blogger artist and author Guinotte Wise, but after reading this blog, I like him. A lot. Not only is he a good writer, he’s a heck of a welder. Nothing would make me happier than seeing a piece of his art and his collection of short stories sitting side-by-side on my office shelf. I’m a bit of a junkyard dog myself.
Happy Reading!
Clay Stafford,
Founder Killer Nashville,
Publisher Killer Nashville Magazine
The Junkman Cometh and Sometimes He Writeth
By Guinotte Wise
That third person, man, you can get away with anything. It is rumored that Guinotte Wise came within a hair of winning the coveted … The award-winning sculptor and writer has just written a screenplay that some say … The former adman, who during his career won enough chrome and lucite industry awards to make three Buicks …
Snap out of it, Wise. Okay. Junkyards. I’ve loved them since I was a speed-obsessed kid with ducktails, a loud Ford and a smart mouth. Row upon row of decaying cars, some no longer in production, baking, fading in the summer sun. Smells of solvents, grease, gasoline, burnt rubber, and those unidentifiable odors peculiar to junkyards drifting like the turkey buzzards in the cloudless Missouri sky. Maybe that’s why I started welding steel and writing stories. I inhaled that stuff and it made me odd. But it’s my odd and I like it fine.
I have my own junkyard now, and no beady-eyed, bearded old fart in overalls to follow me around, making sure I don’t pocket a carburetor float or a chrome nutcap.
And if, when I’m writing, I get stuck, I go weld. And vice versa. They’re both fugue activities when I’m holding my mouth right and the coffee isn’t burned.
I don’t just stick stuff together when I weld. I’m represented by some galleries, and have solo shows. I’m serious about the writing, too. It’s just that I do what I want. No formulas, no rules, other than this: If I make something and it’s for others, not just myself, respect those people, give them credit for having probably more operating brain cells than I do, and some taste.
I had a horse named Mighty Mouse who passed away this spring. He’s buried on the place. He was a superb athlete in his day and a legendary horseman in his 90’s said of him, “He never cheated me.” From this guy, it was high praise. I would like readers and art buyers to say the same of me, and more, if they’re not blessed with his laconicism. I’d like them to be pleased. Never cheated.
So junkyards and welding and plasma cutting are metaphorically handy in this blog, which is aimed at writers and readers. The junkyard of my mind is cluttered with rows and rows of materials, ready to form new combinations. I’m not being enigmatic when I say of writing, or welding, it happens in the process. I may start out to weld a horse, and a horse happens, but I have no idea what that horse will look like as I construct a frame, an armature, and begin to give it form.
I wrote a book that way, and my agent liked it. No publishers have clamored for it yet, but who knows. I was putting together sculptures for a show the first of this month, and one piece drew a puzzled look from my wife. She didn’t care for it. I have a lot of respect for her opinion, art-wise and lit-wise—she reads a lot, and makes exquisite jewelry—so I left that piece out for a while.
At the last minute, I took it to the gallery and during the show, I was told it was the favorite of some whose opinion I also respect. Go figure.
I think I’m saying here, when you get rejections, have enough faith in your piece to keep submitting it. Your work is not for everyone. If it is, well, maybe you’ll be a bestseller and more power to you. And if, in your reading, you’re fifty pages in and you hate what you’re reading, toss it. Give it to someone else and they may love it.
The plasma cutter. Great when I need it for making things fit. But I sure hate to look at a big piece and realize I made a major error by welding something that doesn’t belong. The cutter comes into play, and not in an enjoyable way. But very necessary if the final form is to be pleasing: to me, to the viewer. Guess where that not very slick allusion fits in the writing process. I hate to cut, steel sculpture or the printed word. But it sometimes needs to be done.
When the rejection comes and they say, as they so often do, “unfortunately your work wasn’t the right fit for this issue,” (I just picked that up word for word from a rejection I got minutes ago) it could mean just that, or it could mean why the hell are you sending us this crap. Or, heat it up and refashion it some. Or write something new altogether. Roam the junkyard. It’s there somewhere.
If you would like to read more about Guinotte Wise’s books please click here.
Guinotte Wise has been a creative director in advertising most of his working life. In his youth he put forth effort as a bull rider, ironworker, laborer, funeral home pickup person, bartender, truck driver, postal worker, icehouse worker, paving field engineer. A staid museum director called him raffish, which he enthusiastically embraced, (the observation, not the director). Of course, he took up writing fiction. He was the winner of the H. Palmer Hall Award for short story collection, “Night Train, Cold Beer,” earning a $1000 cash grant and publication of the book in 2013, Pecan Grove Press. His works have appeared in Crime Factory Review, Stymie, Telling Our Stories Press Anthology, Opium, Negative Suck, Newfound Journal, The MacGuffin, Weather-themed fiction anthology by Imagination and Place Press, Verdad, Stickman Review, Snark (Illusion), Atticus Review, Dark Matter Journal, Writers Tribe Review, LA, The Dying Goose, Amarillo Bay, HOOT, Santa Fe Writers Project, Prick of the Spindle, Gravel Literary Journal, and just had a story accepted in Best New Writers Anthology 2015. Wise is a sculptor, sometimes in welded steel, sometimes in words. Educated at Westminster College, University of Arkansas, Kansas City Art Institute. Tweet him @noirbut. Some work is at http://www.wisesculpture.com/
(Have an idea for our blog? Then share it with our Killer Nashville family. With over 24,000 visits monthly to the Killer Nashville website, over 300,000 reached through social media, and a potential outreach of over 22 million per press release, Killer Nashville provides another way for you to reach more people with your message. Send a query to contact@killernashville.com or call us at 615-599-4032. We’d love to hear from you. Thanks to Maria Giordano, Will Chessor and author Tom Wood for his volunteer assistance in coordinating our weekly blogs. For more writer resources, visit us at www.KillerNashville.com)
Tweeting Like a Bird
By Maria Giordano
Killer Nashville Staff
When I first encountered Twitter, I veered onto the twitter-sphere highway flush with skepticism. I posted a link here, a witty comment there. I connected with a few people and discovered that the whole endeavor was a bit of a time-suck and abandoned it with flair.
I mean, 140 characters or less? Pshaw!
But times have changed, or better said, I have changed my thinking since.
It happened when, as a reporter for a local newspaper, I was following an accident that occurred on a major thoroughfare near my office. Right away, people I knew, law enforcement officers and other reporters were sharing real-time posts. It was that friendly, hint, hint, nudge, nudge, to other folks in the Twitter-sphere area not to drive towards what was a major traffic jam.
It was good advice, and I learned an important lesson. When I tweeted, people followed to learn what I learned, and I followed back to learn what they learned. It was like peanut butter and jelly. I became better connected to a different kind of community and I gained followers. Before too long, I was getting more information from Tweets than actual phone conversations. Strange, I know.
All kinds of writers need Twitter. Besides the fact that it is a fun puzzle to unlock – try dropping a heavy concept in 140 characters – it’s a great way to reach likeminded people, other writers, authors, agents, and publishers. It also provides a simple, easy way to promote.
Courtney Seiter, Content Crafter for Bufferapp.com, explained it like this, “Publishers want someone who is willing to work with them and carry a bit of the weight when it comes to book publicity, and Twitter is one of the easiest ways to create or tap into a community that’s interested in what you have to say as a writer.”
Courtney said that she had recently spoken with a writer that told her that a publisher asked about her Twitter following.
A decent-sized and relatively engaged Twitter following provides a bit of social proof to a publisher, she added. “It’s also awesome for fans of your work to feel the personal connection to a writer that Twitter provides.”
But Twitter is an interesting animal. You want to grow your followers and it’s not always the easiest thing to do. Here are some ideas:
Start with people you know. Then, branch out, follow other writers you may have heard of and, of course, businesses in the writing and publishing community. You’ll find that others will follow you back. Twitter offers up columns of folks to follow as well.
Give people a taste of who you are. “I just ate a sandwich” might work for Chef Mario Batali, but not for everyone. Stick to what you know. Offer links to your work. Share your latest success.
Keep your posts tasteful. Remember, you are building awareness around your name and your work.
Most importantly? Have a little fun.
Co-Pilot Family posted a tweet recently that said “You’ve gotta dance like nobody’s watching, but post like somebody is.”
Follow us on Twitter. (@KillerNashville) We will even follow back!
Start with people you know. Then, branch out, follow other writers you may have heard of and, of course, businesses in the writing and publishing community. You’ll find that others will follow you back. Twitter offers up columns of folks to follow as well.
Give people a taste of who you are. “I just ate a sandwich” might work for Chef Mario Batali, but not for everyone. Stick to what you know. Offer links to your work. Share your latest success.
Keep your posts tasteful. Remember, you are building awareness around your name and your work.
Most importantly? Have a little fun.
Co-Pilot Family posted a tweet recently that said “You’ve gotta dance like nobody’s watching, but post like somebody is.”Follow us on Twitter. (@KillerNashville) We will even follow back!
Blending Humor and Tension in a Traditional Mystery / Author Nancy J. Cohen
There’s nothing funny about murder. Or is there? Mystery, romance, and how-to author Nancy J. Cohen navigates the delicate balance between bloodshed and laughter in her guest blog, “Blending Humor and Tension in a Traditional Mystery.” Here’s a great way to laugh your way into the perfect crime. And for even more great tips from Nancy, check out her book “Writing the Cozy Mystery.”
Happy Reading! (And Happy Writing – using Nancy’s excellent advice).
Clay Stafford,
Founder of Killer Nashville
Nancy J Cohen (Photo by Lasky)
How do you maintain tension in a humorous mystery? First, look at the source of humor. If it’s the sleuth’s wry attitude toward life, humor is inherent to how she’ll view things. It’s in her nature, and no matter the circumstances, her attitude will prevail. Or perhaps the humor is situational. This can be momentary, or it can relate to a subplot that lasts throughout the story. Regardless of the source of your story’s humor, it doesn’t negate the fact that a murder has taken place. Someone’s family is grieving. As the sleuth gets closer to the truth, the killer will increase his attempts to stop her. So tension builds toward a confrontation we know is coming. Foreshadowing can aid in this suspense as can other writing techniques. It’s a delicate balance between the two elements. If your readers expect a humorous story, you can’t kill off a favorite character or go serious with a child in jeopardy or a rape scene. You have to conform to reader expectations of the genre, especially in a cozy mystery. Your story can still be suspenseful. The sleuth has to uncover the clues before someone else gets hurt or killed. In my writing guide, Writing the Cozy Mystery, I detail some of the techniques a writer can use to raise tension. The trick is to blend these elements with the humor inherent in your story. For example, in Shear Murder, Marla—my hairdresser sleuth—discovers a dead body under the cake table at her friend’s wedding. She summons her fiancé, Detective Dalton Vail. Imagining the look on his face will elicit a smile from fans of my Bad Hair Day series. Here’s a brief excerpt:
Catching Dalton’s eye, she signaled frantically. He’d know what to do. When he reached her side, she sagged against him. “Don’t look now, but there’s a dead body under the table,” she murmured under her breath. “What?” “You heard me.” She smiled tremulously at a couple who strolled past. Could they tell she was sweating? That her face had lost its color? That she was about to lose her dinner? Dalton half bent, his dark hair falling forward, but then he straightened with a grin. “Good one, Marla. You almost got me.” She shuffled her feet. “I’m not kidding.” Any minute they’d call for the cake, or Jill would broaden the hunt for her sister. Chewing on her bottom lip, she lifted a portion of the drape so Dalton could see for himself. Her stomach heaved as she almost stepped on a trickle of congealing blood. “Holy Mother, you aren’t joking.” He gave her an incredulous glance that she read as, Not again.
But even funnier is the subsequent scene where Marla tries to keep the bride from discovering the murder until after the cake cutting ceremony. She has to prevent the bride and groom from coming over. So Marla decides to bring the cake to them. It was fun to write this scene where Marla and Dalton carry the heavy cake toward the newlyweds. They’re interrupted en route, and Marla sweats as the cake on its piece of cardboard gets heavier and heavier. This incident is a perfect example of humor blended with tension.
"Hanging By A Hair" by Nancy J. Cohen
Another example comes in Hanging By A Hair, #11 in the Bad Hair Day series. Dalton and Marla have wed and moved into a new neighborhood. At their first homeowners’ meeting, Dalton gets into an altercation with the president who happens to be their next-door neighbor. Cherry, the community’s treasurer, warns Marla and Dalton about the fellow.
“That man has secrets to hide. Better not push him. You don’t know what he’ll do.” Marla got an inkling of what Cherry meant when a plastic bag of dog poop showed up on their circular driveway the next day. She’d just stepped outside at seven o’clock on Friday morning with Lucky and Spooks—their golden retriever and cream-colored poodle— when she noticed the item lying on the asphalt. Hauling on the dogs’ leashes, she veered over to verify her observation. Then she rushed back inside to inform her husband. “I’ll bet it’s him,” Dalton said, rising from the breakfast table where he sat drinking coffee and watching the news. “Let me get my fingerprint kit. I can prove it.”
The absurdity of Dalton checking the plastic bag for fingerprints elicits a chuckle from readers who’ve already come to know these characters. And where did this scene spring from? Personal experience. We found the same thing on our driveway one day, a gift from a nasty neighbor. Lots of personal incidences make their way into my stories, but that’s fodder for another blog. As you can see, humor stems from your characters or the situation. Raising a chuckle while the tension rises works well in a traditional mystery. Let it evolve naturally, and readers will come back for more.
Nancy J. Cohen writes the Bad Hair Day mystery series featuring hairdresser Marla Shore, who solves crimes with wit and style under the sultry Florida sun. Several of these titles have made the IMBA bestseller list. Nancy is also the author of Writing the Cozy Mystery, a valuable instructional guide for mystery writers. Her imaginative romances have also proven popular with fans. Her titles in this genre have won the HOLT Medallion and Best Book in Romantic SciFi/Fantasy at The Romance Reviews. Active in the writing community and a featured speaker at libraries and conferences, Nancy is listed in Contemporary Authors, Poets & Writers, and Who’s Who in U.S. Writers, Editors, & Poets. Currently, she is serving as President of Florida Chapter, Mystery Writers of America. When not busy writing, she enjoys reading, fine dining, cruising, and outlet shopping. Visit her website at http://nancyjcohen.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
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