KN Magazine: Articles
Dropping in on Another World by Maria Hudgins
MYSTERIOUS GETAWAYS
Taking in the skyline of Vienna from the top of my hotel, I was surprised to spot the Prater Wheel in the distance. Still the world’s largest Ferris wheel, it stood, not in the middle of the city, but way over in the north on the bank of the Danube River. Why had I expected it to be downtown? Simple. My concept of the city, the wheel, and even the entrance to the sewers had been formed and cemented by The Third Man, starring Orson Welles and Joseph Cotton, the screenplay written by Graham Greene. In the story, it seemed like the amusement park and Ferris wheel were in the heart of the war-torn city.
Our minds are filled with images of things we have seen—or think we have seen. Have I seen the Alamo, or do I just think I’ve seen it? I may have only read about it in a book, but part of who we are is what we’ve read. Do you have a mental picture of Istanbul? Of Paris? Of Japan? Have you been there, or have you just read about it? Part of the joy and challenge of writing a story is creating a world to put it in, and different authors create different worlds in the same geographic place. Inspector Morse’s Oxford is very different from Dorothy L Sayers’s.
Picture Los Angeles as described by Walter Mosely in Little Scarlet:
“The morning air still smelled of smoke. Wood ash mainly but there was also the acrid stench of burnt plastic and paint. And even though I knew it couldn’t be true, I thought I caught a whiff of putrid flesh from under the rubble across the street.”
Or Michael Connelly’s Los Angeles in The Gods of Guilt:
“He got in the front and I jumped in the back. After a quick stop at the sandwich shop on Alameda I had Earl point the car west. The next stop was a place called Menorah Manor, near Park La Brea in the Fairfax District.”
We all think we know what a little English village is like, but is that because it really is or because of what Agatha Christie told us? In the Murder of Roger Ackroyd, she says:
“Our village, King’s Abbot, is, I imagine, very much like any other village. Our big town is Cranchester, nine miles away. We have a large railway station, a small post office, and two rival 'General Stores.' Able-bodied men are apt to leave the place early in life, but we are rich in unmarried ladies and retired military officers. Our hobbies and recreations can be summed up in the one word, 'gossip.'"
I’ve driven through little villages in the English Cotswolds, and I can tell you this is pretty accurate, except for the retired military officers. When creating a world with your words, remember, this is not a travelogue. Less is more. The story is the thing. You can wax poetic for pages about weather in Sweden, or, like Stieg Larssen in The Girl with the Dragon Tattoo, you can say, “He considered walking, but it was a blustery December day, and he was already cold. “
That’s it. You get the idea.
Maria Hudgins is the author of the Dotsy Lamb Travel Mysteries, the Lacy Glass Archaeology Mysteries, and a number of short stories. She has visited Italy, Switzerland, England, Scotland, Egypt, Turkey, and the Greek Islands, and used these locales in her stories. She still has the notebooks she kept in each of these places.
The County Coroner by Cara Bryant
The Northwest Territories is a vast expanse of land with a small population. There are roughly 44,000 souls spread out over 442,000 square miles of thick forest and vast tundra. Given the circumstances, when it comes to filling jobs, there are challenges in finding staff. One of those jobs is community coroner. The term “community” means not a traditional coroner. Most people think of a pathologist or someone with medical training. In the NWT and a few other Canadian provinces, people with no experience—but able to lift upwards of 100 pounds—are hired all the time to be community coroners. It is a job I began with no formal education in medicine of any kind. Other than episodes of CSI, I was not familiar with what the job would entail.
Basically, when a sudden death occurs, there is a need for someone to remove the body from the scene, or if it is already in the hospital, take it to the morgue. There’s a lot of paperwork to fill out, on top of working with the family of the deceased and the Royal Canadian Mounted Police (RCMP). I don’t inform the family of the death, that heart-wrenching job is left to the police.
Part of the job involves examining the body and recording any contents the person had on them, like wallet, jewelry, etc. I always took great care with possessions, no matter what they were. It can be surprising what objects hold sentimental value for people. I once had the wife of a deceased person ask to be given back a plastic sandwich bag found in a pocket.
I remember clearly early on in my coroner work doing an exam on an elderly woman who had passed away a few hours prior. The deputy coroner was writing down my findings, any bruising or cuts, that sort of thing. Holding her arm, it jerked out of my hands, causing me to scream in surprise. A moment of sheer terror that the deputy thought was hilarious. Rigor mortis had begun to set in.
Another night, I had actually just gotten into bed when I was called to the scene of a crash. A man had been killed in a vehicle collision. He was stuck inside the car, which was severely banged up. Removing him in the middle of nowhere in -40F was no easy task. With no other options, myself and some of the other first responders had to physically pull him out of the car. The rubber gloves I had been given froze to my hands in seconds and I had to take them off. I wore my thick winter gloves instead. I had forgotten to put on my snow pants and my legs were nearly frost bitten by the time we got back.
It’s certainly not an easy job. When I tell people about the work I do the reaction is often one of revulsion and/or confusion as to why I would volunteer for such a job. To be clear, I do get paid a flat rate per case. Death is a scary thing for a lot of people and they rather avoid it all together. For me, it has created a great appreciation for life. It’s also a reminder to wear your seatbelt, your helmet, your lifejacket every. Single. Time.
Drug Groomer by W.C. Gordon
FORENSIC FILES
Elvis Costello fills the cool air inside my department-issued, grey Toyota Camry. The A/C is on high and struggling against the South Florida summer heat. Elvis belts out what was once considered an angst-ridden song but is now Classic Rock. Soft rock at that. This will be my last few moments of comfort before I battle the outside heat, followed by the stifling, still warm air of the indoors. The indoors without an A/C running. And the smell. Bodies decompose far quicker in high humidity and high temperatures. It’s Tuesday. Yesterday was a holiday and the groomers were closed. It was last open on Friday. Her son is allowed to live in the back area when the shop isn’t open. So that puts the time of death sometime after 4 o’clock on Friday and now. I look at my watch—a Citizen Eco-Drive that my wife got me for my 40th. It’s 9:30 am. I need coffee.
I pull up to the front of the shop. Scruffy to Fluffy. Very clever. I take quick stock of the scene: Five police cruisers. That’s a bit excessive for what they’ve already determined is an overdose. That being said, I know that two of the officers on scene are salty old vets just trying to hump this call for as long as possible to avoid being dispatched to another call. I see a very distraught woman at the front of the business being consoled by another, far less distraught, woman. I’ll assume that is the mother of the newly deceased. Thank goodness. Nothing worse than having to do a death notification. That’s the hardest part of the job. Figuring out how someone died is typically easy. Notifying their next-of-kin that their dearly beloved whoever has shed their mortal coil is usually an emotional endeavor. Usually but not always. When the family has located the decedent, that relieves me of the burden of the notification.
Bobby, one of the old salts, walks over to my car. I roll the window down and ask who the primary officer is. He says it's Valinucci. Fantastic. A great cop who’s got more time backing his patrol car up to a curb than I do in a uniform. I ask Bobby to send him out to me. Within a few minutes, Valinucci is walking out to my car with a big smile on his face. He knows the drill and gets into the passenger’s seat.
“How’s my all-time favorite detective doing?” he says with a smile.
“Who knows? He’s probably at Lighthouse Diner enjoying a big breakfast with an even bigger mistress!” With that, Nooch lets out a laugh and we catch up on some small talk. Always invite the officer to have a seat in your car. Little things like getting the basics of an initial investigation inside the comfort of an air-conditioned vehicle do not go unnoticed by a patrolman.
“How’s the mom?” I ask.
“Heartbroken, but she gets it. She knows his issues. Enabled him. The usual. Thirty-six years old and living in the back of her grooming shop doing dope after hours.”
I make my way to the side entrance of the shop and sign the crime scene log. I can already smell it. That being said, the stench is not as bad as I prepared myself for. Not quite as heavy and cold as I anticipated. At least not yet. I walk past the grooming tables and bathing stations that are set up. I admire the organization of the brushes, combs, and shears that are neatly placed on a pegboard. The shelf has all manner of shampoos and conditioners. Eye and ear cleaning kits. I see a separate area for leashes and harnesses that brings to memory a human trafficking case.
As I approach the restroom, I can see through the threshold of the door what I recognize as a Vans checkboard slip-on shoe. I didn’t know grown men still wore those. I had a pair when I used to skateboard. I was thirteen then.
The decedent is in what is commonly referred to as the “praying position.” That’s when the body is found in a kneeling position, bent over, with the head between the knees. Lividity is noted as set and appears consistent with body positioning. His face is mushed into the floor and appears to be beginning to become one with the terrazzo. There is a considerable, but not excessive, amount of fluid around the head. Most perceive it to be vomit but it's actually a foam. An opioid overdose causes the heart and lungs to slow which causes fluid to gather in the lungs. That fluid mixes with carbon dioxide and exits the mouth in a foam-like form. When someone dies on their back, a foam cone erupts from their mouth. You never quite enjoy a snow cone after seeing it.
I reach down and take hold of a finger. I have done this bare-handed in the past but with the lethality of fentanyl, or the even deadlier carfentanyl, I am sure to glove up first. The finger feels cold but in reality, is only room temperature. Rigor mortis is long gone and the skin is retracting. The medical examiner will call this ‘secondary flaccidity.’ So far, in this heat, I’m thinking he probably OD’d sometime Saturday. I give the body a quick scan and… What. The. Hell?! There’s a very familiar sticky thing attached to this guy’s lower right leg. Right above the shoe normally worn by a teenager. It’s a telemetry lead used to run an EKG.
“Did rescue come in here?” I ask, to nobody in particular.
“Yeah, they ran a lead on the guy.” Shouts the officer maintaining the crime scene log.
“You’re telling me they couldn’t figure out this guy was done?”
“I guess not.”
“I’m surprised they didn’t shove Narcan up his nose.” This last comment didn’t solicit a response from the officer. Probably a good thing, as I think the mother of the deceased could probably hear me shouting. I don’t know who I’m more annoyed by; the evidence destruction team marching in here with their dirty bunker gear to run an EKG strip on an obvious corpse or the officers for allowing it. Whatever; it's not exactly the crime of the century.
I tip the decedent over to find what I’m looking for. And there it is, a syringe; however, I also cause the guy to expel some long pent-up gases. Now the stench has fully engulfed the room. I have what I need and make my way out of the business with haste.
A quick call to the medical examiner goes as expected: “Thirty-six-year-old white male… Moderate decomposition… No signs of trauma or deformity… History of drug use… Narcotics paraphernalia in the area… Needle… Yeah, needle, like a syringe… Yep… Yep… Ok… Great, thanks.”
My A/C is on full blast but the windows are down. I need the cold air on my face but also allow the dead guy’s scent to escape as it is lingering on my shirt. I debate about having the mom sit in the car. I decide against it. When I’m done, I can walk away from her but getting her out of my car could be a chore.
I walk over to the grieving mom and the conversation goes as expected: “My deepest condolences… Looks to be an accidental narcotic-related overdose… It’s such a terrible disease… Yes, ma’am, I will be doing everything in my power to bring the evil person who sold your son these drugs to justice… Yes, they can be charged with homicide… I will be in touch with you when the toxicology results come from the medical examiner’s office… Take care, ma’am.”
I then walk over to Bobby and tell him that the ME is not coming out. They’re going to send the body snatchers to scoop up the dead guy. I tell him to call me if they find anything out of the norm when they move the body.
Back to my car for more glorious A/C and to hear Elvis sing about watching detectives. Now for the most important decision of the morning: where to get a good cup of coffee.
W.C. Gordon is a cop, veteran, and author of the novel The Detective Next Door. His writing is influenced by his personal experiences in the military and in law enforcement, which he then mixes with bourbon and dark humor. He lives at his home in South Florida with his wife and dog.
Novel Malpractice by Ronda Wells
Are you guilty of what I call novel malpractice? As a physician and fiction writer, I see repeated medical errors in novels, movies, and television shows. Some are minor flaws and necessary to fit the story in a one-hour television show—of course, we all know a heart transplant takes longer than the allotted five minutes, so we suspend our disbelief and keep watching to see if our heroine survives.
In a novel, though, outright mistakes can stop the reader (including editors) or pull them out of your story. Even some recent award-winning books have contained a major medical faux pas or two. I’ve collected a few, so to test your knowledge, here’s a quick quiz. If you have a medical background, this does not apply.
(Theme song to Jeopardy will now play in your head as seconds tick away . . . )
Common Confusions Quiz
Neurologists operate on the brain. T or F
Osteopaths are not real doctors. T or F
Psychiatrists and psychologists mean the same thing. T or F
Family Practitioners and General Practitioners are both board-certified. T or F
All doctors must complete a residency to get a state medical license. T or F
Optometrists do eye surgery; opthalmologists only fit you for glasses. T or F
Medical school takes four years. T or F
“The Match” is an online dating service for doctors. T or F
All doctors are created equal. Medical doctors can be a PhD, DO, DPM or MD. T or F
Okay, let’s see how you did. Answers:
You’ve just killed a character if you allow a neurologist, who is a board-certified physician who completed extra training in nervous system diseases and is not a surgeon, to operate on your character’s brain.
Osteopathic physicians are real doctors who train at four-year medical schools of osteopathy that also teach osteopathic spinal manipulation. Osteopaths use D.O. behind their name like I use M.D. They are trained in residency programs alongside M.D.s and can enter all specialties.
Psychiatrists are M.D.s who complete a residency in psychiatry and can prescribe medications. Psychologists, who may have a PhD in psychology, are not physicians and generally cannot prescribe medications except in certain states under the authority of a physician. Psychologists are licensed mental health professionals.
Family Practitioners must complete a Family Practice Residency and then pass a board examination given by the American Board of Family Practice. While family practitioners practice what is called general medicine, a general practitioner (G.P.) can be any licensed physician doing general practice who is not board-certified in Family Practice.
Noting a trend? Read on . . .
While most states require passing a state licensing exam or the equivalent, board certification is not usually required to obtain a medical license. Each state medical board is different and the requirements for licensure vary by state. Some states require a minimum of completion of one-year of residency (internship), others don’t. Your best bet as a writer is to read the licensure requirements for the state under the particular state’s medical licensing board.
Optometrists (O.D. behind their name for Doctor of Optometry) do not perform eye surgery and generally fit you for glasses or contacts. They can also treat eye diseases such as glaucoma. Opthalmologists are medical doctors who complete a residency in ophthalmology and operate on the eye, cataract surgery being the prime example. Opthalmologists can also prescribe eyeglasses and contacts and frequently treat rare or more complex eye diseases such as macular degeneration or retinal detachment.
While most medical schools are four years, some offer an advanced pathway that can be completed in three years. Some schools offer a combined M.D.-PhD program which can take six years or longer.
False, although many doctors wish it were that easy to find a mate. “The Match” refers to an official national computer algorithmic matching system between graduate medical students at the end of the senior year and residency programs. Each programs ranks candidates in a desired order and candidates rank their desired programs in order. The computer does the magic, and you are “matched” with a program, like a sports draft.
Gotcha! If you only have a PhD, you are not a medical doctor although you may use the title doctor. Many M.D.s also have PhD’s, therefore it could be true, from a certain point of view. D.P.M.’s are better known as podiatrists, who are medical doctors and perform surgery up to the knee, although most limit their practice to the foot and ankle. As discussed, D.O.s are medical doctors just like M.D.s.
How well did you do? If you scored all nine, congratulations. If you missed a few, you may have committed novel malpractice, but at least in this case, that won’t get you sued.
Follow future articles for more medical topics of interest to writers. Like how to properly poison, maim with knife and gunshot wounds, avoid cliché diseases, and where to get accurate medical information for medical scenarios. If you have any questions or suggestions, feel free to contact me via my website (www.rondawellsbooks.com).
An award-winning writer, Ronda Wells hails from the Midwest and is married to a physician. Board-certified in Family Practice, she switched to Occupational Medicine after a stint in private practice. For the last thirty years, she has been a medical director in the health reinsurance industry and case-manages transplants. She has written and published medical policy and guidelines for multiple companies under their name, but her real love has always been fiction. She has just received an offer on her first novel, Harvest of Hope, and is developing a medical suspense series.
Broaden Your Positivity Scope by Bryan Robinson
WRITING RESILIENCE
To me the glass is half empty some days and half-full on others. Sometimes it’s bone dry. Or overflowing.—Mary Alice Monroe
Two things we know about our power as writers: one is that we have the ability to change our outlook; two is that a positive outlook leads us toward more possibilities than a negative one.
When we’re dealing with stressful writing situations, positivity unlocks the range of possibilities. It helps us focus on an encouraging outcome that negativity hides from view. Simply put, negativity keeps us targeted on the writing problem, whereas positivity helps us discover solutions to it. When we intentionally widen our scope, we see the big picture of possible solutions and more potential for success instead of staying mired in the problem.
Known as the broaden-and-build effect, this strategy expands our worldview and allows us to take more in so we can see many more solutions to writing woes. The more we take in, the more ideas and actions we add to our literary toolbox.
Contemplate your writing woes. Be willing to widen old points of view and let your imagination roam. “I’ll never be a writer” becomes “I’m still learning how to become the best writer I can be.”
Today’s Takeaway
Step back from your negative beliefs and broaden your positivity scope
by brainstorming a wide range of possibilities that can build an arsenal
for your writing success.
From Daily Writing Resilience by Bryan Robinson. © 2018 by Bryan Robinson. Used by permission from Llewellyn Worldwide, Ltd., www.Llewellyn.com.
Bryan E. Robinson is a licensed psychotherapist and author of two novels and 40 nonfiction books. He applies his experiences to crafting insightful nonfiction self-help books and psychological thrillers. His multi-award winning southern noir murder mystery, Limestone Gumption, won the New Apple Book Medal for best psychological suspense, the Silver IPPY Award for outstanding mystery of the year, the Bronze Foreword Review INDIEFAB Book Award for best mystery, and the 2015 USA Regional Excellence Book Award for best fiction in the Southeast.
His most recent release is Daily Writing Resilience: 365 Meditations and Inspirations for Writers (Llewellyn Worldwide, 2018). He has written for Psychology Today, First for Women, and Natural Health, and his blogs and columns for writers appear in Southern Writer’s Magazine. He is a consulting editor for The Big Thrill, the online magazine for International Thriller Writers. His long-selling book, Chained to the Desk, is now in its 3rd Edition (New York University Press, 1998, 2007, 2014). His books have been translated into thirteen languages, and he has appeared on every major television network: 20/20, Good Morning America, ABC’s World News Tonight, NBC Nightly News, NBC Universal, The CBS Early Show, CNBC’s The Big Idea. He hosted the PBS documentary, Overdoing It: How to Slow Down and Take Care of Yourself.
10 Tips to Stack Your Writing Mind’s Positivity Deck by Bryan E. Robinson
INSPIRATION
One cruel fact of becoming a published author is that it often feels like an uphill battle because 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. In other words, we are hard-wired to overestimate threats—yes even writing, publishing and speaking threats—and underestimate our ability to deal with them.
Here’s a real example of how our writer’s mind works. One year, after speaking on a Killer Nashville panel, I was impressed with a novice writer’s leadership as moderator. I sent her an email extoling her, “You were total dope with the way you facilitated our panel today.” She wrote back, “At first when I read your email, I thought it said, ‘You were a total dope with the way you facilitated our panel today.’” After re-reading the email, she realized she had misinterpreted it. She told me it was her first time taking on that type of professional responsibility and was feeling insecure. In other words, her insecure thoughts filtered my message and distorted the facts with a story that fit with her insecurities.
But here’s the good news. Grass grows through concrete. I want to share my secrets on how I was able to complete 40 nonfiction books and two murder mysteries by stacking my positivity deck. When that negative voice pipes up in your head, you can learn to underestimate the threat and overestimate the possibilities in order to navigate the tumultuous publishing world, break free from the clutches of writing woes, and finish that murder mystery:
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.”
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, learn, or overcome in this instance?”
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. When you ask, “How is this setback happening for me, instead of to me,” you’re empowered.
Broaden your scope. Look beyond rejection, put on your wide-angle lens. Remember the real reason you write, and let your love of writing steer you beyond the gloom.
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.”
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 get published” becomes “I didn’t sell the novel, but there are many more pathways to getting it published.”
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.
Practice positive self-talk. After big writing letdowns, underscore your triumphs and high-five your “tallcomings” instead of bludgeoning yourself with your “shortcomings.”
Hang out with positive writers, agents, and publishers. Optimism is contagious. When you surround yourself with optimistic writers, positivity rubs off.
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 novel to the top of the charts. Each day as you put on your writing cap, remind yourself of the famous baseball player Babe Ruth’s old quote “Every strike brings me closer to the next home run.”
Bryan E. Robinson is a licensed psychotherapist and author of two novels and 40 nonfiction books. He applies his experiences to crafting insightful nonfiction self-help books and psychological thrillers. His multi-award winning southern noir murder mystery, Limestone Gumption, won the New Apple Book Medal for best psychological suspense, the Silver IPPY Award for outstanding mystery of the year, the Bronze Foreword Review INDIEFAB Book Award for best mystery, and the 2015 USA Regional Excellence Book Award for best fiction in the Southeast.
His most recent release is Daily Writing Resilience: 365 Meditations and Inspirations for Writers (Llewellyn Worldwide, 2018). He has written for Psychology Today, First for Women, and Natural Health, and his blogs and columns for writers appear in Southern Writer’s Magazine. He is a consulting editor for The Big Thrill, the online magazine for International Thriller Writers. His long-selling book, Chained to the Desk, is now in its 3rd Edition (New York University Press, 1998, 2007, 2014). His books have been translated into thirteen languages, and he has appeared on every major television network: 20/20, Good Morning America, ABC’s World News Tonight, NBC Nightly News, NBC Universal, The CBS Early Show, CNBC’s The Big Idea. He hosted the PBS documentary, Overdoing It: How to Slow Down and Take Care of Yourself.
Part 1: The History of Punctuation by Angela K. Durden
PUNCTUATION IS POWER
Part 1: The History of Punctuationby Angela K. Durden
After the invention of the printing press, punctuation was used lightly with three, maybe four, marks, and those had no clear rules from one typesetter to the other or even within the same book by the same typesetter.
All that to say, readers have always had to parse writers’ meanings. Writers who obsess over those marks before they’ve barely begun writing are, in fact, doing a disservice to both themselves and readers.
Do not misunderstand. Punctuation matters. Such marks help organize material and can move a reader through the composition in a pleasing fashion.
For thousands of years before the printing press with its hot lead or movable type, handwritten originals and duplications by copyists included no punctuation, leaving it up to the reader to decide when a thought begins and ends. Take one famous example: The Bible. Sixty-six books written by many writers in at least three original languages (Hebrew, Aramaic, and Greek). Those books were translated (meaning from one original language to a second language) and versioned (meaning a translation from a translation—think King James Bible translated into English from yet another translation, this one in Latin) into just about every language that exists, all of which have their own punctuations, spellings, meanings, and so forth.
In the 1870s, the King James Version of 1611 got an update of punctuation and language changes. Since then, others have taken those new versions and versioned their own.
A comma was inserted in Luke 23:43. Guess what happened? That comma has moved so that depending on the translation or version, either the thief would be in paradise with Jesus that very day or Jesus was merely telling him that day that at some point in the future the thief would be in paradise with him.
Big debates continue about this one scripture. So you see? Punctuation is powerful…and can be manipulated, hopefully only for good purposes, not evil.
But punctuation is not the end all when it comes to novel writing. Here’s why: the story must come first. A perfectly punctuated tale that is badly written is still crap and a brilliant piece can be hidden within bad punctuation. The former needs a whole rewrite. The latter only needs a good tweak.
Think of writing as a battle. Generals plan, sending soldiers to the field with orders to accomplish that plan. But as both generals and soldiers know, those plans go out the window with the first shot fired. We novelists know this. Characters, if we are being true to them, have a way of building their own lives, telling us their personal motivations, and letting their attitudes show, whether or not we agree or want it. Plots get complicated way beyond anything we’d ever imagined.
Like a general saying, “Forget that the enemy is trying to kill you, do as I tell ya, soldier,” forcing characters and plots into our simple and easy plan renders useless any punctuation we may insert because the battle is lost.
So what are you spending your time on? Figuring out your story or trying to please some punctuation god?
Please, spend time on story first. Part 2 will get into that.
[For a fun walk through early punctuation history in the English language only, you can CLICK HERE.]
Why Publish Indie by Dale T. Phillips
THE SUCCESSFUL INDIE WRITER
Today’s fiction writer has different options for publishing:
Traditional model - Find an agent, find a publisher
Independent (Indie) model - Build your own publishing team and publish the way you want
Hybrid model - Some combination of both Traditional and Indie
There are pluses and minuses to each path. Writers should follow the path that makes them happiest.
Jane Friedman details the pros and cons of Indie versus Traditional in excellent detail here.
Statistic: Most books, about 95% or better, however published, do not sell more than a few hundred copies.
For myself, I started out on a traditional path: had an agent, and an interested editor. Then months went by with no action. Then more months. Meanwhile, the publishing world was rapidly changing. I read books, articles, and blogs on the new ways to publish, attended writer conferences and spoke to many writers, who were uneasy or unhappy with traditional publishing, but afraid to risk their careers on something new and mostly untried. I studied those who were successful with the new methods of Indie, and modeled some of their techniques. I tested, liked the results, and went further. Today I am happily independent.
Many of the “truths” of publishing are old myths, and the odds against being successful in traditional publishing are abysmally low.
Dean Wesley Smith has written extensively about this in Killing the Top Ten Sacred Cows of Publishing.
What mainly turned me off traditional publishing was the countless horror stories of bad agents, bad contracts, bad publishers, bad faith, bad experiences. Cheats, liars, and thieves. Court battles, broken promises, shattered careers, marriages, and lives. Why deal with any of that? With Indie, you don’t have to! And the fact that once publishers get rights to your book, it’s a battle to ever get them back. If the publisher screws up, or does nothing with the book, your work might get held up for years without seeing the light of day (four years in one example from a best-selling friend). Publishers control everything from the cover, the content, the price, the publish date, the marketing, and so much of the time they can get it wrong. But no matter what, if the book doesn’t sell, they’ll always blame the writer. Always.
Even after publishers paid money and signed deals, many books never saw the light of day. Some publishing houses closed or merged, editors left, tastes or times changed. But once traditional publishing had the rights, writers were stuck, unable to have their work get to the public if the publishing house didn’t follow through. One had a book hang in unpublished Purgatory, even after collecting a six-figure advance for it!
Standard traditional book publishing practice is to give an advance against future royalties to get rights to a book. This money is paid in installments, takes a long time to get, and may be all the writer sees as income for that work. In most cases, it’s not much, not enough to live on if one is only writing a book a year- and for the longest time, traditional publishing didn’t usually publish more than that from a writer, not knowing the market. Many writers, even Stephen King had to publish extra books under pen names, because they had more output than the snail pace of traditional publishing allowed.
The time between signing a deal to sell a book to a publisher (after the usual years to get an agent and get to that point) and publication is anywhere from months to years. And getting paid royalties, if they come, for the book takes even longer.
For many years, the “mid-list” authors were reliable sellers of a few thousand copies every year, as opposed to the “best-sellers”. But traditional publishing started losing interest in writers who weren’t best-sellers. Many writers were dropped, and lost their living as advances grew smaller and smaller. Traditional publishing stopped printing books which fell below the desired sales numbers. And so many books became “Out of Print” and unavailable, until the Print-on-Demand (POD) revolution, which made it possible to independently publish. Many good writers were suddenly and unceremoniously ditched by their publishers, and didn’t know what to do next. I wanted my books to be always available, in all formats, so now I never have to worry about being dropped by my publisher for poor sales numbers.
A number of my mystery-writing friends had books published by Five Star Publishing, which sold mainly to libraries. One day, without warning, the publisher announced they were no longer doing mysteries, and dozens of writers I know suddenly had their careers and income take a big hit.
One panel of best-sellers at a conference all showed books that made a ton of money and topped the best-seller charts when they were finally published- but each book had been turned down an average of fifty times! If an industry can’t determine a good book when they see it, why deal with them?
In the past, publishing yourself meant that you had to order a large number of books from a printer, which were hard to sell and distribute, and costly up-front. New POD technology meant one could order a few at a time, and so made it affordable to Indie publish. Ebooks didn’t cost anything for printing, and so were pure profit. But traditional publishing felt that ebooks cut into the sacred paper sales, so they jacked up ebook prices (still do, in most cases), and often would not put out ebook versions until months after the hardcover (a process called windowing), frustrating many fans, who wanted the latest work now.
Here’s just a few things that have changed.
Traditional publishing no longer equates to a reliable standard for quality. You can probably name several traditional publishing best-sellers that are terrible. But readers wanted them, so traditional publishing made money off them. Having a book published by traditional publishing is no guarantee of a good production team, and often non-name writers get less-than-optimal results, from editing, to covers, to advertising, to all aspects. When many independent “writers” jumped on the easy-pub bandwagon and pushed out crap, critics used those as the typical examples, to demonstrate that all Indie was substandard. Yet many Indie writers produce high quality work.
Bookstores are no longer the best places to sell books. Until the disruptive technology of online sales, they were, and the advantage was to traditional publishers. But ebooks (and Amazon) changed that, so that now a writer has a worldwide sales channel, working 24/7/365. Ebooks are cheaper, so more people can afford them, and buy more.
Traditional publishing still has a seasonal cycle of releases, and any book that does not quickly hit with the public gets removed to make way for the next batch. Bookstore copies are stored mostly spine-out for about 90 days, amidst thousands of others, and gone after a few months, replaced by the next crop. An Indie writer can promote that same book for years, run occasional sales and specials, include it in bundles with other books and authors, and make money over and above what they would have received for an advance.
The music business provides a good model for study. For so long, the (only) way to success was to get signed by a big record company. Many artists did so and got completely screwed, desperately signing horrible contracts. Most bands and singles didn’t do much past an album or two. Then the Indie music scene happened, and people didn’t have to sign with someone who would control them and their career. Some made their own labels and did the music the way they wanted to.
Companies care about control and profits, not people, not art.
For myself, I want the control over my writing career, and what I consider my contribution, my art. No one gets to tell me what to publish, or what not to. My schedule and my faults are my own.
And so’s my profit…
Now the publishing world no longer belongs solely to the gatekeepers. It is possible to publish and sell without an agent or a publisher (middlemen between the author and reader), and to keep control of one’s own work. It does mean that anyone wishing to be successful in this path learn a great deal about the ways and means of selling online, in essence becoming a small business. But a true business it can be.
That’s where we are today— any writer has multiple means of getting their stories out to the world without waiting years for a blessing or “go-ahead” from strangers. One can even make money at it, and some can even be very successful by adopting techniques used by successful authors before them. The information is widely available because the independent (indie) community is very open and helpful, and willing to share what works.
The writers to be pitied are the traditional writers, who came of age in a system that may have worked for them in the past, but no longer works for most. While writing stays the same, many writers have quit, unable to deal with the changes to everything they knew about publishing and unable or unwilling to learn. The sad part is, even with traditional publishers, writers are now expected to do much of their own marketing and selling anyway, but they have many more restrictions, and must do it without many of the benefits that indies enjoy. With the publishing world turned upside down, the indies are now the ones with the best chances of success going forward.
Though I began in the traditional path, getting an agent and trying to get a larger publisher interested, many months would go by with no word and no progress. By attending conferences, learning from blogs, articles, and talking to many writers, I saw that a new path was becoming viable. While I was learning more, I published my first few novels with small presses, who would let me set all the terms: content, covers, pricing, and distribution. After two years and three books, I had learned enough to strike out on my own. Now with 24 books out, I am my own publishing company, and quite happy to produce all my work on my schedule, just the way I like it.
Many traditional authors bewail people finding mistakes in their books, because it is expensive to change the galley proofs, so oftentimes errors remain unfixed. Indie writers can correct any published error and have an updated version in minutes, for ebooks, and days for print.
Due to the changes in publishing, it is now the best time in history to be a writer. One can create stories and get them to a worldwide market, in multiple formats. Anything a writer wishes to create can be up for sale, with no one blocking publication, because they feel it will not sell enough. We have ultimate freedom for our craft.
Dale T. Phillips has published novels, story collections, non-fiction, and over 70 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy. He's a member of the Mystery Writers of America and Sisters in Crime. Visit Dale at www.daletphillips.com.
Be An “All In” Writer by Leslie Conner
Why You Should Get Involved with
Writing Conferences and Pitch Events
If you are anything like me, you love spending your days secluded in your room with your laptop, writing and sipping on lattes, googling how long it takes a body to decompose. My search history is quite a colorful frolic down Macabre Lane.
But being a writer isn’t all about writing. It doesn’t matter if you have an agent or you’re self-published, one of the life skills a writer has to learn is how to PITCH. I’m sure most of you are thinking, yeah, I’ve got a query letter. I know the drill. But do you, really?
One of the most life-changing lessons I’ve learned (against my will, kicking and screaming) is that it is just as important to participate in the world of networking and marketing as it is to write your novel. And for that, you must put on pants and go outside. I know, putting on pants is the hard part.
Signing up for a writing conference or a pitch event is one of the best decisions you can make as a writer because it not only takes you out of your comfort zone (the aforementioned secluded room with your laptop) but it puts you in a situation to really examine what you are writing.
You feel like you really know your book, your characters, the life-shattering importance of it all—that is, until you have to explain it to someone else. Can you pare down an 80,000-word mystery novel, with all of its intricate twists and turns, into one sentence? Many people can’t. And for this reason, you may not be experiencing the success or acquiring the readership that you dream about—even if you have the next best seller on your hands.
Writing conferences are a great opportunity to learn about and get help with all of the things you may not be proficient at already. The ones who attend these wonderful get-togethers can attest to the benefits:
Meeting other writers
Talking about your work
Attending informative panels, discussions, and Q&A sessions
Getting feedback or critiques
Pitching to agents
One of the most frustrating things I hear from very talented writers is this: That sounds great, but I’m not ready yet. And sure, if you are only 35,000 words into the rough draft of your first novel, that’s a valid argument. But most people who say this have at least five completed manuscripts saved on their desktop. They work tirelessly on them, hoping to reach a level of perfection only attained by unicorns and Ben & Jerry’s, but they never get the courage to show them to anyone else.
I will admit, as a young writer, I was plagued with imposter syndrome. I couldn’t possibly hang out with other writers and (gasp) agents without feeling like I didn’t belong or I wasn’t good enough. But I made myself go anyway, and what I discovered was that I couldn’t have been more wrong. The writers I meet at conferences are open and friendly—probably the nicest people on the planet—and the advice and feedback that I receive is invaluable.
Which brings me to my next point—pitching events.
I recently participated in Pitch Madness (affectionately known as #PitMad). This event requires writers to come up with (and post on Twitter) a 280-character pitch for their novel. Interested agents can give them a “heart,” which means they are interested in hearing more. Sounds pretty easy, right? As embarrassing as it is to say, I hadn’t done anything like this before, and it was a bit intimidating.
During this nerve-wracking event, I learned how to write an effective pitch. And this isn’t a skill you only use to land an agent. This is a skill you will use for the rest of your writing career. You will have to pitch every novel you write to agents, publishers, and readers—anyone who plays a part in getting your work out to the world.
As I was going through this process, a quote from the now-famous Brené Brown, the guru of vulnerability, came to my mind:
“Vulnerability is not knowing victory or defeat, it’s understanding the necessity of both; it’s engaging. It’s being all in.”
If you want to be “all in” as a writer, you have to put yourself out there. Take any opportunity that you can to attend and participate in writing conferences and pitch events—even if you don’t get a tangible positive, like landing an agent or a book deal. The value of the experience and what you learn is immeasurable and will benefit you in every step of your writing career.
The tools I acquired and the advice I received from conferences and pitching events led me to a publisher. But that isn’t the only reason to go and participate in them. They say the journey is more important than the destination, and the people you meet along the way will make the trip worthwhile.
Check out a list of the upcoming mystery writer conferences for 2021:
https://inreferencetomurder.typepad.com/my_weblog/upcoming-conferences.html
Check out the list of Twitter pitch events for 2021:
https://www.emmalombardauthor.com/post/twitter-pitch-party-calendar-for-2021
Leslie Conner is a writer of murder mysteries and “all things macabre.” She has had short stories published in literary journals and anthologies, and you can find her flash fiction story “Murder 101” in The Bookends Review. Her two novels, Devil’s Charm and The Darkness Within, were published through Wordcrafts Press. Her third novel, The Fairytale Killer, will be released in 2022. Visit her at www.leslieconner.com.
Interview Techniques for Writers by Judith A. Yates
All authors will need an interview at some point in their writing. Having first-hand knowledge enhances the book by making it more believable; having another source’s input is confirmation that you are knowledgeable and conducted a real investigation. Secrets to a great interview include understanding what an interview does, preparation, appearance, and having a questioning nature.
INTERVIEWS CAN BE A CHESS MATCH
My most successful interview came from a man who repeatedly screamed, “I’m not telling you anything!” Several hours later, he answered all questions, plus new information leading to other essential interviews.
HOW TO “WRITE WHAT YOU KNOW”
For nonfiction, obtaining information from the source enhances your story. Not all information can be found online or in legal records. A nonfiction author benefits from interviewing someone in the field.
For example, creating a character who is a deep-sea fisherman enhances the character if you interview a deep-sea fisher, understand climate’s impact, and have a good knowledge of the professional fishing industry. A book about a man and a golden retriever is enjoyable if you have a working knowledge of the breed plus having another opinion and varied information on the dogs. Interviews are vital.
PREPARE, PREPARE, PREPARE
An important key is preparing.
Write down all the questions you have.
Keep side notes on why you are asking these questions.
If you are using any equipment, test it at least twice: on a test date and before the interview itself.
Always carry paper and a few pens and take handwritten notes (don’t rely solely on electronics).
You lose credibility when you are unprepared or have no idea why you are asking specific questions.
And, sometimes, just asking for an interview will get you one on the spot!
PROTECT YOURSELF
Cover yourself legally.
I carry “release of information” forms with me if I interview in person. This interview may lead to another unexpected discussion. The paperwork is most important for nonfiction authors who are writing about an event or occurrence. Having legal permission, getting confirmation of exactly what the interview entails, and proof the subject understands issues will save you heartache—and potential legal action—in the future.
BE PROFESSIONAL
Mind your manners! Always ask permission.
Send a “thank you” afterward.
Honor “off the record” statements.
Sit up straight, keep good eye contact, and nod while listening to responses. A nod indicates you are listening, and your subject’s words are important.
Consider what you are wearing. Do you look professional? Are you relatable? Will you intimidate your subject if you wear a suit or appear unprofessional because your jeans are dirty and shabby? When conducting a phone interview, I know someone who says, “I dress professionally because it makes me feel and act professional.”
HOW TO PHRASE QUESTIONS
Do not fear asking hard questions. If I were afraid to ask anything, I would never get my true crime books written.
Avoid an apology: “I hate to ask you, but…”
Don’t make the question avoidable: “If you want to, tell me…”
Your subject is being interviewed, and they expect to be questioned. Consider how you ask the tough questions:
“Tell me about your child’s death” vs. “Give me an idea of what you were thinking and feeling when they found your child.”
“What were his last words?” vs. “Did he say anything?”
WAIT FOR RESPONSES
Pauses are your friends. Pauses encourage people to talk because most people are communicators and want to hear words, noise. Investigators use this tactic when interviewing a suspect.
“Why did you go there at night?” And let silence reign. Judge when it is best to continue.
If silence is met with silence for too long, then rephrase the question. Don’t ask a different question. The former is an encouragement to speak; the latter is permission to bypass the subject. “Why did you go there at night?” (30 seconds of silence). “I’m just trying to understand what you were doing” vs. “never mind.”
Change “Yes” or “No” questions into open-ended questions. “Do you know this man?” will limit your information. “How do you know this man?” will open dialogue and probably more lead to more questions.
Ask the information-gathering question, then request detail:
“What is the worse job?” Allow time for an answer, pause, and then details:
“Why …?
“Where and when …?”
“How ..?”
CLOSING THE INTERVIEW
End your interview with, “Is there anything else that can help?”
And, “May I call you if I need clarification on something?” You will always think of more questions after the interview.
And “is there anyone else I can talk to?”
If the author understands interview dynamics, preparation, appearance, and the nature of questioning, you can complete a successful interview. Information is always worthwhile; thus, interviews are necessary for all types of authors.
Judith A. Yates is a Killer Nashville Silver Falchion Award winner for “Best True Crime,” and a true crime author and criminologist. She has taught interview techniques for over fifteen years. For more information, visit www.judithayates.com.
Three Ways the Pandemic Has Changed Book Publicity (For Good) by Marissa DeCuir
The Covid-19 pandemic has transformed industries across the world, and book publishing and promotion are no exception. When the U.S. government declared a national emergency in March 2020, our literary publicity team at Books Forward began to work through the rapid, sweeping changes that would define our lives and work until this moment (and for the foreseeable future).
We’ve seen plenty of changes in the book publishing and PR industry during our more than 20 years in business, always adapting to stay ahead of the trends. This time, we—as well as countless authors, booksellers, and publishers—have had to adapt like never before. In some ways, the publishing world will never be the same—and we are working hard to stay three steps ahead of the challenges, opportunities, and innovations the pandemic has presented.
Here are three ways the pandemic has changed the book industry, most likely for good:
Virtual events are here to stay.
We’ve known for a long time that book tours aren’t always the splashy money-makers they used to be. But the pandemic has simultaneously a). put the nail in the coffin of traditional book tours and b). resurrected book tours from the dead—still benefitting our beloved indie bookstores.
With facades shuttered to the public, many bookstores underwent a crash course in rapidly transitioning to virtual programming, from experimenting with various video chat and streaming platforms to finding fresh ways to reach audiences on social media. Virtual events have undeniable perks, not least of which is the fact that authors and audiences are no longer inhibited by physical distance to the store. In fact, bookstores reported significant increases in virtual attendance vs. in-person attendance. In August 2020, Third Place Books’ events manager, Sam Kaas, told our staff that their event attendance was higher than average (70-80 online, vs. 20 in-store), although sales were lower. Over time, Kaas said attendance “settled into a more normal pattern” and sales increased, with variation from event to event.
Françoise Brodsky, Director of Community Outreach and Events at Shakespeare & Co also confirmed sales have varied, but “participation has increased, because it is not linked geographically anymore.” Doloris Vest at Book No Further confirmed that although attendance fluctuates, their event pre-sales have been comparable to sales at in-store events.
All three stores confirmed that they intend to host virtual events long term and will most likely offer “hybrid” virtual/in-person programming into the future. At the start of the pandemic, Books Forward introduced a Virtual Learning Author Program that successfully connected our authors with homebound teachers, parents, librarians and booksellers in new ways. We feel confident and excited about the opportunities that virtual events present, and we are happy to digitally connect our authors with readers around the globe.
Audiobooks and ebooks are on the rise.
It should surprise no one that the demand for audiobooks and ebooks keeps growing. During the pandemic, downloadable book sales increased across retailers. According to Good E-Reader, in the U.S. during January to September 2020, ebooks sales increased by 15.8%, (with revenues for the children’s and YA genres in particular up by 69.7%). Downloadable audiobook sales increased by 15.0% during that time, finishing 2020 with an approximate 17.6% boost for the year as a whole.
Recognizing the need for downloadable books early on, our firm launched the #BooksForwardHelpline in March 2020 to help readers and authors support indie bookstores and libraries, troubleshoot their reading or listening devices, and connect with great new book recommendations.
This year we’re thrilled to launch specialized Audiobook Production and Promotion services to help our clients connect with ever-expanding audiences of readers in new ways, and get a share of what has become a billion-dollar industry.
Paying attention to the news cycle is more important than ever.
In the second quarter of 2020, Covid-19 dominated the headlines. Getting media attention for new book releases is always challenging in this competitive environment. Getting media attention during an unprecedented worldwide pandemic? We all remember the news cycle being 24/7 coronavirus.
But our authors never cease to amaze us with the variety of perspectives and stories they have, and our publicists were able to help our authors share constructive insights with the media during such an unprecedented time. Bryan E. Robinson, Ph.D., author of #Chill: Turn Off Your Job and Turn On Your Life, helped Forbes readers cope with pandemic anxiety (an article that has been viewed over 147,000 times). Professor Peter Ward explained the evolution of handwashing with Vox, based on his book The Clean Body: A Modern History. Novelist Christine Meade (The Way You Burn) shared a poignant personal story about her pregnancy fears during the pandemic with HuffPost. And gardening expert Monique Allen contributed to Good Housekeeping’s advice on isolation gardening and victory vegetables patches thanks to her book, Stop Landscaping, Start Lifescaping.
Now that a measure of “pandemic fatigue” has set in and the news cycle is more varied, our media outreach has become a bit more normalized. Nevertheless, we’re always working to stay on top of the rapidly changing headlines, and we would encourage all authors to do the same. You never know when you can contribute in a meaningful and authentic way to a journalist’s story.
Marissa DeCuir is the president and partner of Books Forward publicity and Books Fluent publishing. As a former journalist with stories published in USA Today, National Geographic and other major publications, she’s always looking for the best hooks to utilize in author publicity and book marketing. She values fostering the relationship between writer and reader in an organic way, and believes in taking a personal and strategic can-do approach to help authors reach their goals. Under the 21-year-old JKS Communications brand, Books Forward and Books Fluent are committed to elevating voices, breaking barriers and promoting books that empower, inspire and move the world forward.
Dr. Bernard Spilsbury, and the Brides in the Bath by Bradley Harper
MYSTERIES IN HISTORY:
TRUE CRIMES AND REAL PEOPLE WHO INSPIRED GREAT STORIES
Dr. Spilsbury (1877 – 1947) was one of the earliest full-time forensic pathologists in the world. Tall, handsome, and confident bordering on arrogant, he was the one witness for the Crown that defense barristers dreaded cross-examining above all others. Early in his career, he made a name for himself by identifying the body found in Dr. Crippen’s cellar as Mrs. Crippen’s, but his fame was established for all time when he unraveled the puzzle of “The Brides in the Bath.”
Edwardian England had a shortage of young, single men. Infant mortality was significantly higher among male infants, and many men left for the colonies as soon as they were able to seek their fortune. Thus, the tall and flamboyant George Joseph smith (under various names) had little difficulty in finding women willing to marry him. He lacked a knack for keeping them, however, though he did manage to keep them long enough to go through their life savings and steal any jewelry they had.
At some point Mr. Smith decided he wasn’t getting as much out of the experience as he might, so beginning with a Miss Bessie Mundy, he married them, took out a generous (to him) insurance policy, then murdered them in the bathtub.
In January 1915, Detective Inspector Arthur Neil of Scotland Yard received a letter written on behalf of a landlord in Blackpool. The landlord and his wife had rented a flat for a brief time to a newly married couple in 1913 when they were called to the bathroom by the distraught husband upon “finding” his wife dead in the bath. The landlords were struck by another, similar death reported in the papers recently occurring in Highgate, London.
Inspector Neil went to the lodgings in Blackpool and was struck by how small the tub was and failed to see how an adult could have “drowned” in a bathtub three-quarters the length of the deceased. He also discovered that the widower had taken out substantial life insurance policies on his wife a day before her death.
In London, he met with the coroner who had examined the second body. He said the only finding at autopsy was a small bruise above the left elbow. The tub was once again smaller than the deceased. The coroner mentioned the husband had contacted him as he needed a final report to file his insurance claim. Neil advised the coroner to file a false report citing natural causes, and when Mr. George arrived to claim it, he was arrested on suspicion of murder.
Enter Spilsbury. He had the two bodies exhumed, but found no traces of poison, and the evidence for drowning was inconclusive. Death seemed in both cases to be almost instantaneous. Finally, he ordered the two bathtubs be taken to his laboratory where he could examine them more closely. Meanwhile, the press had gotten hold of the story, prompting a third report of a death under similar circumstances in High Street, London. Subsequent photographs of the various husbands proved they were all Mr. George J. Smith.
WARNING: DO NOT TRY THIS AT HOME!
For weeks, Spilsbury pondered the riddle of the bathtubs. Bessie Mundy was described as having her feet out of the water, her head submerged. Spilsbury reasoned Smith must have seized her by the feet and jerked them up toward himself, sliding the upper part of the body under water. The sudden flood of water into her nose and throat might cause sudden loss of consciousness, explaining the absence of injuries and minimal signs of drowning.
Inspector Neil hired experienced female divers of the same size and build as the victims. He tried to push them under water by force but could not do so without leaving signs of struggle. Neil then without warning jerked up the feet of one of the divers, and her head slid underwater before she could react. Neil was shocked to see the woman become motionless as soon as her head went underwater and it took over half an hour to revive her. When she finally came to, she said that all she remembered was the rush of water before losing consciousness, confirming Spilsbury’s theory.
It took the jury about 20 minutes to find George Joseph Smith guilty of murder. Smith was hanged shortly after in Maidstone Prison, and until then had to content himself with a prison shower.
The “Brides in the Bath” have been mentioned in various mystery stories, most notably by Agatha Christie’s A Caribbean Mystery and The Murder on the Links, and Dorothy Sayers stories Unnatural Death and Busman’s Honeymoon, as well as more modern works by other authors.
An interesting footnote to Dr. Spilsbury’s career occurred during WWII, when he was involved in selecting a body that could be used to simulate a British officer who had drowned while carrying official secrets, in order to deceive the Germans as to the actual site of the Allied landing on Sicily. The ruse was entirely successful and immortalized in the movie, The Man Who Never Was.
Bradley Harper is a retired US Army Colonel and pathologist who has performed over two-hundred autopsies and some twenty forensic death investigations. A life-long fan of Sherlock Holmes, he did intensive research for his debut novel, A Knife in the Fog, which involved a young Doctor Conan Doyle in the hunt for Jack the Ripper, including a trip to London’s East End with noted Jack the Ripper historian Richard Jones. Harper’s first novel was published in October 2018 and was a finalist for a 2019 Edgar Award by the Mystery Writers of America for Best First Novel by an American Author and is a Recommended Read by the Arthur Conan Doyle Estate.
Knife went on to win Killer Nashville’s 2019 Silver Falchion as Best Mystery. The audio book, narrated by former Royal Shakespearean actor Matthew Lloyd Davies, won Audiofile Magazine’s 2019 Earphone award for Best Mystery and Suspense. The book is also available in Japan via Hayakawa Publishing.
His second novel, Queen’s Gambit, involving a fictional assassination attempt on Queen Victoria, Won Killer Nashville’s 2020 Silver Falchion Award twice, once for Best Suspense, and again as Book of the Year.
Writing “As If” Can Change “Faking Success” Into “Raking Success” by Bryan E. Robinson
“I believe the way to write a good play is to convince yourself it is easy to do, then go ahead and do it with ease”—playwright Tennessee Williams
Raise your hand if you’ve ever been unsure which direction to take with your writing, if self-doubt has nipped at your heels, or you’ve landed in the clutches of writer’s block or “second book syndrome.”
I thought so.
Writing rejections and disappointments nibble away at us like torture from half a million cuts. After a while, it feels as if we can’t tolerate one more slash. Statistics show more of us have the stamina to continue to take safety risks after a car crash than continue after a series of psychological writing defeats. Writers often throw in the towel so they don’t have to continue feeling disappointment. Attempts to bring quick relief to the misery of defeat rob us of knowing what missed opportunities lay beyond the barrier. This impulsive reaction—scientists call it the what-the-hell effect—is a way out: permission to give up. Adding insult to injury, we seek comfort in the very thing we’re trying to conquer: writing failure.
Most of us who’ve written for any length of time have gotten stuck somewhere along the way. But there’s good news. Twelve Step programs have batted around a phrase for years called “acting as if.” This strategy can help us get through periods of writing paralysis.
What does it mean to act as if? It’s a simple, yet powerful tool that says we can create better circumstances by acting as if they’re already true. We give ourselves to a certain performance as if it’s how we feel. When we act as if, the mood we pretend becomes a reality. Suppose you have difficulty getting words on the page, but instead of fighting tooth and nail, you convince yourself it’s easy, write as if it’s easy, and tackle the difficulty with ease. Authors of all genres have used this method to jumpstart their writing mojo. In addition to Tennessee Williams, screenwriter Steven Pressfield uses the “as if” approach: “You and I as writers must write as if we were highly paid, even though we may not be. We must write as if we were top-shelf literary professionals, even though we may not (yet) be.” And author Dani Shapiro swears by it: “Act as if you’re a writer. Sit down and begin. Act as if you might just create something beautiful, and by beautiful I mean something authentic and universal.” I, too, have used this method in my fiction and nonfiction work, writing as if my books will be on the shelves beside Lee Child or J. K. Rowling, as if Steven Spielberg will beat down my door to sign me for the screenplay. I’m still waiting for Hollywood to call, but I can testify to the effectiveness of this strategy after writing 40-plus books.
Here’s the science behind why it works. When we act “as if,” the rest of us follows suit. It’s based on the science of the mind-body connection. The cells of our bodies constantly eavesdrop on our thoughts from the wings of our minds. When we’re doubtful or disappointed about our writing, our bodies go with the downturn of our feelings, making us feel worse. Hunching our heads or slumping when we walk contributes to our insecurity and lack of confidence. On the other hand, if we change our body posture, breathing patterns, muscle tension, facial expressions, gestures, movements, words, or vocal tonality, it releases a surge of chemicals and changes our internal state. For example, making the facial expression of a smile can make us happy. Neuroscientists confirm that the act of smiling tricks your mind into confidence, simply by how you move your facial muscles. We feel bad not just because facial expressions reflect how we feel, but they contribute to how we feel. Plus, standing tall, shoulders back, not only makes us look confident, but also makes us feel more confident and optimistic.
Training the body to position itself the way you want to think and feel about yourself as a writer adjusts your thoughts and feelings to the way you want them to be. Making body adjustments—pulling your shoulders back, standing or sitting up straight, walking in a more expansive way—can pull you out of self-doubt, disappointment, or any other self-defeating emotion that blocks your creativity. When your mind and body proceeds with the way you want to be (as if), your attitude navigates you with easy sailing through choppy writing storms. This tool can salvage a bad writing day, repair or prevent a squabble with a fellow author, or kick-start a marathon in front of a blank screen turning dread into enthusiasm and ultimately success.
So let’s convince ourselves that a writing challenge is actually a piece of cake, act as if it’s true, then notice the ease with which an obstacle becomes a cinch to work through. To say we write “as if” is another way of saying we’re resilient warriors on a literary path, determined to persevere over the long haul.
Bryan E. Robinson is a licensed psychotherapist and author of two novels and 40 nonfiction books. He applies his experiences to crafting insightful nonfiction self-help books and psychological thrillers. His multi-award winning southern noir murder mystery, Limestone Gumption, won the New Apple Book Medal for best psychological suspense, the Silver IPPY Award for outstanding mystery of the year, the Bronze Foreword Review INDIEFAB Book Award for best mystery, and the 2015 USA Regional Excellence Book Award for best fiction in the Southeast.
His most recent release is Daily Writing Resilience: 365 Meditations and Inspirations for Writers (Llewellyn Worldwide, 2018). He has written for Psychology Today, First for Women, and Natural Health, and his blogs and columns for writers appear in Southern Writer’s Magazine. He is a consulting editor for The Big Thrill, the online magazine for International Thriller Writers. His long-selling book, Chained to the Desk, is now in its 3rd Edition (New York University Press, 1998, 2007, 2014). His books have been translated into thirteen languages, and he has appeared on every major television network: 20/20, Good Morning America, ABC’s World News Tonight, NBC Nightly News, NBC Universal, The CBS Early Show, CNBC’s The Big Idea. He hosted the PBS documentary, Overdoing It: How to Slow Down and Take Care of Yourself.
What in the Word: Entertainment
WHAT IN THE WORD
A personal exploration of words. Come sail with me through the struggles I’ve had with certain words, drift through how they’ve changed etymologically in my life, and perhaps we can think of words in unique ways.
I wasn’t aware of the word “ENTERTAINMENT” until I moved to NYC to study at a socially progressive art school, which felt like falling up the map and landing in the center of art and culture, a strange, skyscraper-filled wonderland called: Manhattan. It was brilliant. But I was blind.
Let me set the scene. Second semester, in a course called “Fake”—which all incoming freshmen were required to take—air conditioner blasting, in a fluorescent classroom, cream painted walls of intimidating brick, old school desks large enough to hold half a college notebook, zero windows and no professor yet.
Only four students: a guy, full face of makeup, flaunting chic Prada sunglasses, posing like a beautiful giant in the tiny desk beside me, looking even cooler than the rattling air conditioner in the back of the room; a girl next to him, Birkenstocks lying like muddy footprints in front of her desk as she was cross-legged in cut off jeans, gorgeous legs of hair (which she pulled off), a half-eaten tin of veggie sushi on her desk next to stickers like “vegan or kill” plastered on a blue, reusable water bottle; another person (who I later found out was nonbinary and used the pronoun “they”), slouching in their ripped skinny jeans, resting their lime green mohawk on the edge of their seat, with a fan of post-it notes spraying out the sides of an “Intro to Women, Gender, Sexuality Studies” book atop three covers of the latest Vogue.
Then there was me. Like poor Alice who’d just chugged the potion which made me feel three times smaller than my normal 5’3”, shivering furthest from the dark wooden door.
“Where’s the prof?” said the Birkenstock girl, plopping more vegan, sushi-like pills as she barefooted to the front to recycle her plastic by the blackboard. I was too shy to answer, so I just stared at the light, red chalk scratched onto the blackboard like a shattered twig. It read “FAKE” but might as well have read, “You’re fake, Neena. You don’t belong here. And why aren’t you wearing any pants?”
“Sorry!” chimed a shrill voice, thick red-rimmed glasses, angular shawl, sauntering in with platform heels higher than the mad hatter’s hat, our professor. “What do y’all think of the word ‘fake’?” she sked in a thick, Texan accent.
A shiny acrylic nail pointed to the student next to me,.
“Fake,” they yanked themselves up, their mohawk not budging a centimeter, “is when Disney announced a sequel to Captain America.”
“Why?” Professor Jane crossed her arms.
“Because he’s a heterosexual. White. Cisgender,” a scowl appeared, “male. In mainstream media. What a shocker!”
Jane, a smug look on her face, “And why—”
“Marvel,” Birkenstock girl was quickly on her feet, “promotes acts of violence creating fictive kinship amongst tween boys who think it’s okay to shoot things if it’s ‘for good.’” Her face turned brighter than Jane’s red glasses.
Nodding in agreement, Jane held up her hand, and the Birkenstock girl slowly sank into her chair, her arms still mounted on the table for her next defensive attack.
The class went silent.
“You.” Jane glared at the human in the full face of makeup, which made me almost wet my pants thinking she was about to point to me. I edged up pretending to have a stance, though deep down, I knew I had a neutral view—but hadn’t the words to express myself.
“Uh,” they said, clearly not paying attention.
“Captain America,” the mohawk whispered, sensing the human’s discomfort.
“Marvel,” whispered Birkenstock girl.
Their eyes lit up.
“They’re body shaming men with unrealistic muscles, muscles you can only achieve through taking steroids, working out for five hours and eating ten meals every single day.” They glanced down, voice quiet, “Which I’ve tried.”
My cheeks burned like scorching tea as Jane swiveled her eyes towards me, pursing her lips, but before she could point, a small voice came from the back corner. Everyone turned to where a small Asian girl in white linen (which blended her into the walls) rose, closing her anthology of Kafka short stories.
“What the—” said the lime green mohawk.
“Sorry, had to finish up Penal Colony before my lecture,” the Asian girl floated to a seat next to me, making her the furthest from the door, “No art. Just box-office sales. It’s all stupid entertainment.”
Everyone turned to Jane.
“Fake, fake, fake, fake, faaake!” Janes eyes gleaned shinier than her nails, “Entertainment is fake. Fake is popular. Popular is not art. Art is not popular. Popular is entertainment!” At this point she was talking at the ceiling, “And why can’t anyone make anything real anymore?”
The class cheered as I sank in my seat.
Jane’s smile glowed crazier than the Cheshire Cat’s.
“That’s what this class is about,” Jane turned around and crossed out “fake,” scribbling underneath it “entertainment” as she muttered through her teeth, “We are going to make real art.”
I kept quiet the rest of the year, pretending I was sleepier than the dormouse at the Hatter’s tea-party so I wouldn’t get called on, feeling both types of media had a place in this world (even though their value might not be exactly the same), but too scared to say anything in a room full of intelligent, strong humans. I was wrong. And I felt it.
It wasn’t until years later that I questioned the meaning of ‘entertainment,’ fearing it would stick to my novel, lessening it in value, but after months of bullying myself to write with the depth of Kafka or the poetry of Poe, one morning, staring at a blank ,white page, my life changed.
Entertainment definition:
First: “Provide someone with amusement or enjoyment”
Second: “Give attention or consideration to (an idea, suggestion, or feeling)”
My eyes widened.
Give attention or consideration to ideas, suggestions, or feelings. Wasn’t this very close to the definition of “enlighten”? As I ran to the dictionary again, my mouth dropped, I knew there was truth in both statements, and that one couldn’t exist without the other. To my warming soul, enlighten means to “shed light upon” (on a subject). I felt like I could breathe. It’s the same. The exact same. My heart leapt out of my chest; I danced, and my smile grew wider than Jane’s on that disheartening first day.
I looked at the definition again: give attention or consideration to (ideas, suggestions, or feelings). That meant the Bible is entertainment. The Quran is entertainment. Kafka’s Penal Colony is entertainment. I leaned back in my chair. Was the word “entertainment” really something that I needed to fear? Was it true? My computer flashed down to a black screen—Captain America and God fell into the same category?
Yes, yes, and yes.
How could it not?
From that moment, after wiggling my mouse and flashing back to the blank page, something lit up in me, words started to flow. The story was finally popping onto the page, the story came to life. And the most unexpected thing happened. The theme showed up when I was the least bit thinking of it, while I focused on the craft of story: conflict, character, human emotion/connection, and, dare I say it, “entertainment” value. Voilà! The meaning of my novel smacked me in the face after finishing my second draft. I was so busy trying to create theme, meanwhile theme was always there, jumping like crazy in the corner and I just ignored it. If we really think, isn’t there a meaning in everything—good or bad, merely the way we see things?
Is Captain America enlightening and entertaining? Like my mohawk friend said, he’s a straight, white dude playing the lead of a story we’ve seen many times before. But if it weren’t for the Avengers/Marvel Universe, my mohawk friend wouldn’t have been able to make such a valid, important point: where’s the representation? Perhaps stories like Marvel’s Captain America enlighten us to a larger issue at hand, the lack of representation for sexual orientation, body type, gender, skin color, everything and anything in the universe.
If I could calm down my freshman self through time travel, shivering in that icy classroom, insecure of my own view of the world, I would tell her, listen to Jane, but also listen to you and make something. Make anything, because meaning can’t be seen in something that doesn’t exist yet. Create first. Worry later. Work first. Meaning later. Be you first. And don’t be you later. Be you always. Are you being true to yourself?
If you answered yes, then congratulations. You’re making real art.
Neena Phan is an illustrator/writer of children’s books.
The Backstory: Part One in Creating Killer Characters by Alexandrea Weis
Every character must resonate, making any movie, television show, or novel riveting—what would Star Wars have been without those adventurous misfits. However, when embracing the challenge of the thriller genre, the history of your more sinister characters needs an almost forensic psychological breakdown to explain their motivations for depravity, rape, revenge, or murder.
Ever been unnerved by documentaries about serial killers? Who hasn’t? Understanding the workings of their minds is a different kind of horror. But if you want to write about those outside society’s norms, you must discover who they are, what they did, and why. Learn about the psychology of those who kill and use it to create your character. This doesn’t come from reading other fiction books. You must become acquainted with theories of deviant behavior and comb profiling techniques to custom-build your killer. Don’t present ludicrous ideas that won’t sit well with an audience inundated by shows like CSI, NCIS, Criminal Minds, not to mention those numerous documentaries.
Behind every reaction is an action compelling your homicidal maniac to execute their dastardly deeds. It is your job, as a writer, to find that motivation, slowly unearth it throughout your novel, and give the reader something to establish why your character has ended up in their predicament. Avoiding an explanation is like watching a movie, investing two hours of your life relating to characters, becoming sucked into the story, only to have the ending leave you with unanswered questions. You walk away angry, confused, and frustrated. If a book lover feels that way about your story, they might not return for more.
Establish a character history from childhood in the same way a forensic psychologist would. Use charts to build your character’s past until it feels as authentic as possible. Include key indicators of disturbing behavior exhibited from a young age, such as violent acts against people or animals. Trauma markers like loss, bullying, betrayal, or abuse can define turning points in a killer’s psyche. Explore parental influences, sibling relationships, or an unstable home life to earmark a pattern of inner turmoil. Not every character has to have such a detailed plan, but it is better to do your homework to appease an audience. Some murderers defy convention and are a fascinating study, but for your Richard Ramirez wannabe, mapping the development of evil tendencies can avoid pitfalls. Your evildoer’s inner workings should be second nature before you put him/her on paper. Having all the elements of your psychotic in your head will help your writing flow and aid the story’s ability to enthrall.
You also want to make sure you don’t become bogged down in details. Writing a thriller novel is akin to learning an intricate dance. You must master the steps to one move before you can proceed. Slowly unmasking your mesmerizing character, with their mysterious, catastrophic pasts, will pull your reader in. It is essential you address every issue, answer every question but not bore your reader with too much information or science. Balance is the key. From collecting trophies to methodology, use a character’s history to address their issues but keep the story moving. Blending enough fact with fiction always makes for a tantalizing tale.
To make your killer delicious—someone who remains in the mind long after the book is put aside—determine how the character makes you feel. If they haunt you at all hours, occupy your dreams, and live in the back of your mind, then you’ve done your job. You can never obsess too much when it comes to constructing a cutthroat character. You want them to feel as if they can almost step out of your book and occupy your world.
Remember, sensational doesn’t always sell. It is a good story with great, believable characters that reels in an audience. A carefully crafted villain will drive a storyline, so don’t always go for what is flashy, shiny, or high-tech when it comes to your madman or madwoman. Every tale needs sound footing, something to build on. Create this by doing your research, studying the psychology of the criminal mind, and learning about other masterminds who have come before. Building your Frankenstein isn’t easy, but the more work you put into the character, the more frightening he/she will be.
Delving into the thriller genre is not something every writer wishes to do because of the endless research or gut-wrenching gore. Still, when you pull off a dark, seething murderer who intimidates and horrifies, there is no greater sense of achievement.
Alexandrea Weis, RN-CS, PhD, is a multi-award-winning author, screenwriter, advanced practice registered nurse, and historian who was born and raised in the French Quarter of New Orleans. She has taught at major universities and worked in nursing for thirty years, dealing with victims of sexual assault, abuse, and mental illness in a clinical setting at many New Orleans area hospitals.
Having grown up in the motion picture industry as the daughter of a director, she learned to tell stories from a different perspective. Infusing the rich tapestry of her hometown into her novels, she believes that creating vivid characters makes a story moving and memorable.
A member of both the International Thriller Writers Association and the Horror Writers Association, Weis writes mystery, suspense, thrillers, horror, crime fiction, and romance and has sold over one million books. She lives with her husband and pets in New Orleans where she is a permitted/certified wildlife rehabber with the Louisiana Wildlife and Fisheries and rescues orphaned and injured animals.
Ditch Your What-Ifs by Bryan Robinson
WRITING RESILIENCE
Do not lose power over the what-ifs of
your life. They are unlimited and endless.
Keep your power in the now, in present time.—Gary Zukav
One of the most common ways we overestimate threats is waiting for the ax to fall. What ifs are those cruel ghosts that haunt us day and night. “What if my writing class doesn’t like my piece What if my novel doesn’t sell? What if I can’t think of a plot for my next story? What if my publisher turns me down?”
What ifs are endless exaggerated thoughts streaming through our minds that we latch onto as fact—worries that interrupt our enjoyment of writing. Truth be told, most things we worry about never happen or at least not in the way we imagine.
What ifs are out-of-the-moment episodes that disconnect us from our present selves. Before jumping to conclusions with such thoughts, we can keep our power in the present moment. Imagine you’re a private detective in a murder mystery and ask, “Where’s the evidence for my prediction?” When we wait to connect the dots after instead of before the hard evidence is in, we discover that what is usually contradicts what ifs. And we save ourselves a lot of hand ringing and wasted time that we could put into writing that heart-pounding scene.
Today’s Takeaway
Next time you catch yourself mired in writing worries, turn your foresight into 20/20 and use your hindsight as a reminder that what ifs are unreliable sources of information.
From Daily Writing Resilience by Bryan Robinson. © 2018 by Bryan Robinson. Used by permission from Llewellyn Worldwide, Ltd., www.Llewellyn.com.
Bryan E. Robinson is a licensed psychotherapist and author of two novels and 40 nonfiction books. He applies his experiences to crafting insightful nonfiction self-help books and psychological thrillers. His multi-award winning southern noir murder mystery, Limestone Gumption, won the New Apple Book Medal for best psychological suspense, the Silver IPPY Award for outstanding mystery of the year, the Bronze Foreword Review INDIEFAB Book Award for best mystery, and the 2015 USA Regional Excellence Book Award for best fiction in the Southeast.
His most recent release is Daily Writing Resilience: 365 Meditations and Inspirations for Writers (Llewellyn Worldwide, 2018). He has written for Psychology Today, First for Women, and Natural Health, and his blogs and columns for writers appear in Southern Writer’s Magazine. He is a consulting editor for The Big Thrill, the online magazine for International Thriller Writers. His long-selling book, Chained to the Desk, is now in its 3rd Edition (New York University Press, 1998, 2007, 2014). His books have been translated into thirteen languages, and he has appeared on every major television network: 20/20, Good Morning America, ABC’s World News Tonight, NBC Nightly News, NBC Universal, The CBS Early Show, CNBC’s The Big Idea. He hosted the PBS documentary, Overdoing It: How to Slow Down and Take Care of Yourself.
Dr. Bernard Spilsbury, and the Brides in the Bath by Bradley Harper
MYSTERIES IN HISTORY:
TRUE CRIMES AND REAL PEOPLE WHO INSPIRED GREAT STORIES
Dr. Spilsbury (1877 – 1947) was one of the earliest full-time forensic pathologists in the world. Tall, handsome, and confident bordering on arrogant, he was the one witness for the Crown that defense barristers dreaded cross-examining above all others. Early in his career, he made a name for himself by identifying the body found in Dr. Crippen’s cellar as Mrs. Crippen’s, but his fame was established for all time when he unraveled the puzzle of “The Brides in the Bath.”
Edwardian England had a shortage of young, single men. Infant mortality was significantly higher among male infants, and many men left for the colonies as soon as they were able to seek their fortune. Thus, the tall and flamboyant George Joseph smith (under various names) had little difficulty in finding women willing to marry him. He lacked a knack for keeping them, however, though he did manage to keep them long enough to go through their life savings and steal any jewelry they had.
At some point Mr. Smith decided he wasn’t getting as much out of the experience as he might, so beginning with a Miss Bessie Mundy, he married them, took out a generous (to him) insurance policy, then murdered them in the bathtub.
In January 1915, Detective Inspector Arthur Neil of Scotland Yard received a letter written on behalf of a landlord in Blackpool. The landlord and his wife had rented a flat for a brief time to a newly married couple in 1913 when they were called to the bathroom by the distraught husband upon “finding” his wife dead in the bath. The landlords were struck by another, similar death reported in the papers recently occurring in Highgate, London.
Inspector Neil went to the lodgings in Blackpool and was struck by how small the tub was and failed to see how an adult could have “drowned” in a bathtub three-quarters the length of the deceased. He also discovered that the widower had taken out substantial life insurance policies on his wife a day before her death.
In London, he met with the coroner who had examined the second body. He said the only finding at autopsy was a small bruise above the left elbow. The tub was once again smaller than the deceased. The coroner mentioned the husband had contacted him as he needed a final report to file his insurance claim. Neil advised the coroner to file a false report citing natural causes, and when Mr. George arrived to claim it, he was arrested on suspicion of murder.
Enter Spilsbury. He had the two bodies exhumed, but found no traces of poison, and the evidence for drowning was inconclusive. Death seemed in both cases to be almost instantaneous. Finally, he ordered the two bathtubs be taken to his laboratory where he could examine them more closely. Meanwhile, the press had gotten hold of the story, prompting a third report of a death under similar circumstances in High Street, London. Subsequent photographs of the various husbands proved they were all Mr. George J. Smith.
WARNING: DO NOT TRY THIS AT HOME!
For weeks, Spilsbury pondered the riddle of the bathtubs. Bessie Mundy was described as having her feet out of the water, her head submerged. Spilsbury reasoned Smith must have seized her by the feet and jerked them up toward himself, sliding the upper part of the body under water. The sudden flood of water into her nose and throat might cause sudden loss of consciousness, explaining the absence of injuries and minimal signs of drowning.
Inspector Neil hired experienced female divers of the same size and build as the victims. He tried to push them under water by force but could not do so without leaving signs of struggle. Neil then without warning jerked up the feet of one of the divers, and her head slid underwater before she could react. Neil was shocked to see the woman become motionless as soon as her head went underwater and it took over half an hour to revive her. When she finally came to, she said that all she remembered was the rush of water before losing consciousness, confirming Spilsbury’s theory.
It took the jury about 20 minutes to find George Joseph Smith guilty of murder. Smith was hanged shortly after in Maidstone Prison, and until then had to content himself with a prison shower.
The “Brides in the Bath” have been mentioned in various mystery stories, most notably by Agatha Christie’s A Caribbean Mystery and The Murder on the Links, and Dorothy Sayers stories Unnatural Death and Busman’s Honeymoon, as well as more modern works by other authors.
An interesting footnote to Dr. Spilsbury’s career occurred during WWII, when he was involved in selecting a body that could be used to simulate a British officer who had drowned while carrying official secrets, in order to deceive the Germans as to the actual site of the Allied landing on Sicily. The ruse was entirely successful and immortalized in the movie, The Man Who Never Was.
Bradley Harper is a retired US Army Colonel and pathologist who has performed over two-hundred autopsies and some twenty forensic death investigations. A life-long fan of Sherlock Holmes, he did intensive research for his debut novel, A Knife in the Fog, which involved a young Doctor Conan Doyle in the hunt for Jack the Ripper, including a trip to London’s East End with noted Jack the Ripper historian Richard Jones. Harper’s first novel was published in October 2018 and was a finalist for a 2019 Edgar Award by the Mystery Writers of America for Best First Novel by an American Author and is a Recommended Read by the Arthur Conan Doyle Estate.
Knife went on to win Killer Nashville’s 2019 Silver Falchion as Best Mystery. The audio book, narrated by former Royal Shakespearean actor Matthew Lloyd Davies, won Audiofile Magazine’s 2019 Earphone award for Best Mystery and Suspense. The book is also available in Japan via Hayakawa Publishing.
His second novel, Queen’s Gambit, involving a fictional assassination attempt on Queen Victoria, Won Killer Nashville’s 2020 Silver Falchion Award twice, once for Best Suspense, and again as Book of the Year.
How the Killer Nashville Conference Changed My Life as an Author by Saralyn Richard
The benefits of professional conferences are unquestionable. I attended dozens as an educator, and I even participated in hosting some when I was a school improvement consultant. I know what goes into planning them, and I consider myself an authority when evaluating them.
That said, I had high expectations when I attended my first-ever writing conference, Killer Nashville, in 2019. I had heard good things about Killer Nashville. I was expecting to learn a lot from the assemblage of diverse and qualified speakers—authors, agents, and others in the publishing industry. I knew I would meet people and participate on panels and have a good time. My first mystery novel, Murder in the One Percent, was up for a Silver Falchion for police procedurals and in the Readers’ Choice Awards competition. So I packed my suitcase and hopped on an airplane, full of anticipation.
What I didn’t expect was that this conference would change my life as an author. I know that’s high praise, but it’s not hyperbole. What did Killer Nashville do to ignite my professional growth? I’m bursting with examples, and they all have to do with people.
In 2019, the guest authors were Joyce Carol Oates, David Morrell, and Alexandra Ivy. As a conference participant, I had the opportunity to observe and interact with each of these authors numerous times. The quality of content in their interviews and workshops was high, and the environment was cozy enough to allow for meaningful dialogue. I had admired Joyce Carol Oates’s writing for many years. I’d even taught many of her short stories. It was a special thrill to learn that so many big ideas had emanated from such a petite person, a writer focused not on her past works, but on her future ones. “Write about what matters,” she expounded. Her utter lack of timidity was inspirational. David Morrell continued to inspire. He pointed out that “reading is the only way to develop empathy,” and it is the writer’s obligation to evoke the best human emotions from readers. Alexandra Ivy spoke about the fear many authors struggle with, but she said, “Writing from your heart is the only way to find your voice.”
Here I am, two years later, still quoting these acclaimed authors, but, more importantly, I’ve taken to heart their advice. My subsequent mystery novels march boldly into areas and topics that have relevance to society—PTSD, LGBT, me too, race relations—to name a few. The guest authors’ remarks showed me how important it is to write from the soul.
The guest authors weren’t the only people who had a positive effect on my writing. Also on board were five friendly and helpful literary agents. I chatted informally with several of them at the Friday night “’Shine ‘n’ Wine” event, and I attended a session in which they explained how they work and what they look for in submissions. I also attended a pitch session where I received a personalized critique from two agents. Although these sessions didn’t result in my snagging an agent, they provided me with something more important—a critical view of the process of moving a story to publication in a highly competitive market. Now I’m much more conscious of voice and deep point of view than I was before, and I have a broader view of my audience.
Next, I participated in scores of special sessions and panel discussions. Most of these were in small group settings, so I was able to get to know the presenters and ask questions. I presented at several sessions, as well, and was the group leader for one. Through these sessions I met a lot of fellow authors. We exchanged cards and contact information, shared common experiences, and formed networks. My social media platform exploded, and when the time came to seek authors to read my next books with an eye toward writing review blurbs, these were my go-to people. I have done a lot of cross-promoting with authors I met at Killer Nashville, and we have continued to encourage each other and celebrate victories together.
Speaking of victories, the awards ceremony at Killer Nashville was thrilling. So many contending books were represented as finalists in various categories, and so many authors received warm attention for their writing. That moment when my name and my book title were called out in two categories—it felt like the culmination of a lifelong dream. That Murder in the One Percent won the Readers’ Choice Silver Falchion for 2019 was the ultimate acknowledgment that I’d achieved something meaningful as an author. The honors went a long way toward motivating me to work harder to improve my craft, to connect with readers again and again.
One special feature of Killer Nashville was the mock crime scene set up by Dan Royce, formerly of the Tennessee Bureau of Investigations. Throughout the conference, participants were invited to examine clues laid out in a hotel suite. The murder scene represented a real case, and it was my job to identify which items were pertinent to solving the case, decide which tests needed to be performed on these items, and form a conclusion as to who killed the victim, how the killing occurred, and what the motive was. It was a real-live game of Clue. It was fun to compete with other mystery authors to solve the murder correctly, but I also learned a lot about forensics, the precision required during investigations, and the costs of the crime-solving methodology. I was able to transfer this knowledge to my writing, as well.
All these experiences combined to make my time at Killer Nashville one of the most worthwhile weekends of my writing career. I would be remiss if I didn’t mention the glue that held all of the components of the conference together, the Killer Nashville staff. Each staff member was friendly and helpful, throughout the conference, but Liz Gatterer did so many things to make my experience go smoothly from start to finish. Her organizational skills and people skills really shone. Finally, huge accolades went to Clay Stafford. His vision and commitment to Killer Nashville have made everything else work together like a perfectly performed play. Clay’s energy and enthusiasm were contagious, and he made every one of us feel like family.
What was the secret recipe for a life-changing writers’ conference? Equal parts of class, spirit, inspiration, support, and Southern hospitality. Stirred until smooth. Gently baked with caring hands. Rendered super cool, and served repeatedly over time. I can’t wait to go back!
Award-winning mystery and children’s book author, Saralyn Richard was born with a pen in her hand and ink in her veins. A former urban high school educator, she’s living the dream, connecting with readers through her books: A Murder of Principal, Naughty Nana, Murder in the One Percent, and A Palette for Love and Murder. Saralyn participates in International Thriller Writers and Mystery Writers of America, and she teaches creative writing. Website: http://saralynrichard.com.
On Bringing Back A Long-Dormant Series by Steven Womack
In 1990, after almost two decades collecting rejection slips, I finally published a novel, Murphy’s Fault. The book had been turned down by over twenty publishers before legendary mystery editor Ruth Cavin picked it up for St. Martin’s Press.
After such an inauspicious, tortured beginning, imagine my surprise when the book was named to the 1990 New York Times Notable Book List, the only first mystery on the list that year. This got me a second contract and a little bit of local notoriety.
A short time after the book was published, Tennessee writer Deborah Adams asked me to blurb her debut novel, All The Great Pretenders. As I’d never been asked to provide a blurb before, I was flattered. I loved the book, wrote a nice little slug for it, and sent it off to the editor at Ballantine Books, Joe Blades.
The next thing I know, Joe called and thanked me for the recommendation. He also mentioned that Deb had sent him a copy of Murphy’s Fault and that he really liked it. The next words out of his mouth made my jaw drop:
If you ever want to work together, give me a call…
Now you have to understand, I was 37 years old and had been collecting rejection slips since I was 18. For an editor at a major New York house to make that offer staggered the imagination.
“I’ll have you something in 30 days,” I promised.
Joe laughed. “Well, give yourself a little time.”
After we hung up a few moments later, it hit me: What the hell do I do now?
I went back through my files and found a project I’d worked on years earlier, a story featuring Harry James Denton, an investigative reporter in Nashville who gets fired and decides to become a private investigator because he thinks it might be fun. His first case comes when an old girlfriend hires him to investigate her husband, a prominent doctor who compulsively cheats on her.
Originally a 75-page novella, I offered Murder at Vanderbilt to Nashville Magazine for free. They turned it down. Wrap your head around that: I literally couldn’t give the damn thing away.
Now, though, I had an editor at a major mystery house who wanted something from me and I had promised it to him in 30 days. I went to work and rewrote the first few chapters, then expanded the plot into a full-length genre mystery and sent it off to Joe Blades.
He bought it.
It wasn’t a great deal and the advance was, well, modest. We also wrangled over titles. My original working title for the book was Death on a Soda Cracker. Thank God, I lost that battle. We finally settled on Dead Folks’ Blues, a riff on Music City.
Dead Folks’ Blues launched in early 1993. I did a few local signings. Ballantine put a little bit of marketing into the book, but not much.
Then lightning struck. Dead Folks’ Blues was nominated for an Edgar. I’d heard of the Edgar Allan Poe Award, but had no idea what it meant. My friend and mentor Sharyn McCrumb explained that the Edgar Award was often called the Pulitzer Prize of genre fiction.
What I did know was that suddenly Ballantine Books was treating me a lot better. They flew me and my then-wife to New York City for the 1994 Edgar Awards banquet and put us up in a swank hotel. Sue Grafton was President of the Mystery Writers of America that year and I remember being almost in shock when she ripped open the envelope and called my name.
In a daze, I walked through the applauding crowd up to the dais. Sue leaned in as she handed me the statue. “This is so cool!” she whispered into my ear.
And it was. To this day, it’s the biggest professional thrill I’ve ever experienced. I woke up the next morning to see all the Edgar winners, including mine, on the CBS Morning News. My agent, Nancy Yost, sent me a bottle of Aberlour Single Malt Scotch whiskey. That long-empty bottle still occupies a place of honor on a bookshelf in my office.
Perhaps more importantly, it cracked a door to persevere. Ultimately, Joe bought five more books in the Harry James Denton series. In what has to be some minor footnote in the history of series mysteries, every installment either won or was nominated for a major mystery award. Torch Town Boogie was nominated for the Shamus Award, as was Way Past Dead. The fourth installment, Chain of Fools, was nominated for both the Shamus and Anthony Awards.
Murder Manual hit the trifecta of mystery awards when it was nominated for a second Edgar, another Anthony Award nomination, and won the Shamus Award. The last Harry James Denton novel, Dirty Money, was nominated again for the Shamus.
As well as the books did critically and awards-wise, sales were lackluster. The advances were still tiny and the books were consigned to the mass-market paperback ghetto. I voiced my frustration, so Ballantine made a verbal promise to move the last two books into hardcover.
Unfortunately, as Sam Goldwyn observed, a verbal promise ain’t worth the paper it’s written on. When the last two books were published, they came out as paperbacks and I walked.
Worse, I walked right into 1999-2000, when the publishing industry had hit the skids. As hard as she tried, Nancy Yost couldn’t get another house to pick up the series.
Meanwhile, life got in the way. Divorce, remarriage, becoming a father for the first time in my late 40s, rinse and repeat in my early 50s. My writing career was in the dumper and I had a family now. When the film school at the Watkins College of Art in Nashville—where I’d been teaching adjunct for a few years—offered me a full-time job, I jumped on it.
For the next twenty years, that was my life. I didn’t quit writing altogether, but in those two decades I only published two standalones. I always meant to get back to Harry, but there never seemed to be enough time or energy.
He never left me, though.
Fast forward to 2020, when the Watkins College of Art closed its doors permanently. The Covid-19 pandemic hit, so I was stuck at home with a lot of time on my hands. I decided to bring back Harry. To make this happen, I had to revisit those first six books.
What I realized was that without really meaning to, I’d sculpted a series of story arcs. Each book had a story that would stand on its own, from start to finish. But overarching the whole series was a larger story, the story of a guy who loses everything and has to rebuild his life from scratch, who sets forth on an odyssey to find himself.
It’s also a grand, doomed love story between Harry and the great love of his life, Dr. Marsha Helms, who’s a forensic pathologist. They meet in Dead Folks’ Blues. Their relationship rises and falls over the middle four books, then they have a daughter and break up in the last book, Dirty Money.
That’s where we left Harry, in Reno, Nevada after becoming a father and having to return to Nashville without his daughter and her mother.
So how do you bring that character back?
The first challenge was to answer the big question: Was I going to pick up the series as if Harry had just left Reno? That wasn’t workable; too much has changed in the world since then. The alternative was to drop back into Harry’s life almost two decades later, when he’s pushing 60 and his daughter, Alexis, is a teenager.
I had to create a backstory to fill in the years since we last saw Harry. Then I had to figure out how to weave all that exposition into a new book without it grinding the narrative to a halt.
I also had to come up with an idea for the novel, so in the finest sense of writing what you know, I decided to get Harry involved in a murder mystery set in a film school.
The result, almost a year later, was Fade Up From Black: The Return of Harry James Denton.
Reviving a dormant series can be tricky. I thought at first I’d have to self-publish the book. Years ago, I got the rights back to the first six books and successfully republished them under my Spearhead Press imprint, so it seemed a solid plan.
But after receiving some really incredible feedback from other mystery writers as well as a few select readers, I decided to take a shot at a traditional publishing deal. To that end, I’m on the hunt for the right agent and a great book deal.
More than anything, it’s good to be back in the game. Wish me luck.
Steven Womack began his first novel when he was eighteen-years-old. A short eighteen years later, he finally sold one. His first published novel, Murphy’s Fault, was the only debut mystery on the 1990 New York Times Notable Book List. Since then, he has published eleven more novels, winning an Edgar Award for Dead Folks’ Blues and a Shamus Award for Murder Manual.
A scriptwriter as well, Womack also co-wrote the screenplays for Proudheart, which was nominated for the CableAce Award, and Volcano: Fire On the Mountain, an ABC television movie that was one of the most-watched television movies of the year.
Womack was also a founding faculty member of the Watkins Film School in Nashville, where he anchored the screenwriting program for 25 years until the college closed in 2020. Now retired from teaching, he has returned to full-time writing.
Visit his website at www.stevenwomack.com.
The Power of No by J.A. Jance
When I was in second grade, I read the Oz books written by Frank Baum—not just the one with Dorothy and the ruby slippers, but all those other Oz books as well. Encountering those stories didn’t make me want to be either Dorothy or a wizard. No, reading them made me want to be Frank Baum, putting words on pages, and from that moment on, that’s what I wanted to be in life—a writer.
It wasn’t easy. I wasn’t allowed in a university-level Creative Writing class in 1964 because, as the professor pointed out, I was a girl. “Girls,” he told me, “become teachers or nurses. Boys become writers.” As a consequence, I ended up with a teaching degree and later a masters degree in Library Science. As icing on the cake, I married a man, a guy who was allowed in the Creative Writing class that had been closed to me. He told me in 1968 there was only going to be one writer in our family, and he was it. (For the record, he never published anything!) But because I wanted my marriage to work, I put my fiction writing ambitions aside and left them alone for the next fourteen years.
After spending two years as a high school English teacher and five as a school librarian, I then did another ten-year sting of selling life insurance. In actuality, selling life insurance was a wonderful preparation for becoming a writer because I learned the important skill of ignoring the word NO. Life Underwriting Training Council classes suggest that sales people should expect to be given ten NOs before getting appointments and another ten NOs during appointments before walking away with an application and a check. That’s exactly what I did exactly that for the next ten years. A side benefit to all that was meeting and talking to countless people. I heard all those folks’ stories, and squirreled many of them away for future reference.
By the early eighties, I was a divorced, single mom in my late thirties, living in Seattle and still selling life insurance. I decided to enroll in the Dale Carnegie course in order to improve my sales skills. Participants were required to give a series of talks, one of them focused on an experience along the way that changed the course of their lives. Mine was about how in 1970 my former husband and I had crossed paths with a serial killer. When the talk was over one of my classmates turned to me and said, “Someone should write a book about that!” And the thought that passed through my mind in that moment? I’m divorced. What have I got to lose?
That was on a Thursday night. In preparing for the presentation, I had realized that living through the sixty days between when we first came to grips with the idea that there had been a killer in our midst and the time he was taken into custody had changed me into someone I hadn’t been before. We lived in a solitary house on a small volcanic knoll at the time, seven miles from the nearest neighbor or telephone. For forty of those sixty days, I was on the hill by myself, carrying a loaded weapon and fully prepared to defend myself. Once those forty days were over, I was a different person from the one I had been before. I had gained a measure of independence no amount of bra burning can ever duplicate.
After that talk, I spent the next three days wondering if anyone would want to read a book about someone who has a life changing experience and finally gets a divorce ten years later? That just didn’t work. Finally in the wee hours of Sunday morning I figured it out—why not write a novel rather than telling the real story? Sunday after church, I took pen to paper and began writing my first novel which turned into a 1400 page opus, one that was never published even after an agent advised me to cut it in half. (By the way, the agent who didn’t sell my first book is still my agent fifty books later.)
Painful as the agent’s initial rejection seemed at the time, I did what she said and trimmed out literally half the book. By the way, writing that first unsold manuscript and reducing it by half was an invaluable process. It gave me on-the-job training in plotting, pacing, dialogue creation, and scene setting. By cutting it in half, I learned the value of accepting editorial advice. Believe me all of those skills are necessary ingredients for becoming a “real” writer.
For the two years following that Dale Carnegie event, I stood with a foot in both worlds, writing from 4 AM to 7 AM before getting my kids up for school and me ready to go sell life insurance. In 1984 when I finally had to make a choice between the two—selling insurance or writing—I chose writing. People thought I was nuts, and from a financial standpoint at the time, they weren’t wrong. When my first two Beaumont books sold in a two-book contract for $4000 total, that income came to only a fraction of what I’d been earning before. I kept on writing after exiting the insurance job, but I had to scramble to support my family. I did one stint of handling auditions for Family Feud and worked with a team selling season tickets for the Seattle Repertory Theater.
In 1985 I had the good fortune of meeting the wonderful man who became my second husband. For the first several years of our marriage, he supported all of us—him, me, his kids, and mine. Then, in 1994, he was able to retire, and I began supporting him. I still do, by the way.
I began my publishing career in the low-brow world of original paperbacks. Naysayers around me told me that original paperback mysteries had a ninety-day shelf life. My first Beaumont book, Until Proven Guilty, was published in 1985. It is still in print today. That’s a whole lot of ninety days later and proof positive that the NO people aren’t always right! For book after book I chose to remain with the same publishing house rather than being lured away by the promise of higher up front advances, and that’s the primary reason my backlist catalog continues to grow.
My latest Ali Reynolds book, Unfinished Business, hit bookstores on June 1stof this year. That’s book number 64. I’m working on the Beaumont #25, Nothing to Lose, due out next year. That will make 65 published books. Not bad for a girl. If you add in novellas, the number is closer to seventy, but who’s counting?
The point is, those books exist because I refused to take NO for an answer—not from the Creative Writing professor, not from my first husband, and not from the countless people who told me it was dumb to leave a sure thing of selling insurance in favor of the risky idea of becoming a writer. (By the way, it’s best to not make mystery writers mad. They have their ways of getting even. In my first hardback, Hour of the Hunter, the crazed killer turns out to be a former professor of Creative Writing from my alma mater, the University of Arizona. Too bad the professor was dead by then and never saw it.)
I recently received an email from one of my early naysayers, someone who knew me back in my life insurance days. She said, “When you said you were quitting insurance to become a writer, I never believed it would happen, but it did. I have now read every one of your books.” That one really made me smile.
For people launching off on the path of becoming writers, there will be all kinds of folks holding up STOP signs along the way and telling you it’ll never work. If you happen to be someone who’s easily discouraged, maybe you should avoid them as much as possible. But for me, the exact opposite was true. The more people told me no, it would never happen, the more I wanted to prove them wrong, and I believe I have.
And if you really want to have fun, one of these days write one of those doomsday don’t-go-there folks into one of your stories. Whether or not that work gets published, writing a little revenge fiction will make you feel better.
As for me, at this point I’m grateful for all the naysayers in my life, the ones who told me my idea of becoming a writer would never work. I’m a whole lot like that Little Engine That Could. The more people told me it couldn’t be done, the more determined I was to make it happen.
Yes, there’s power in the word NO, but there’s even more power in ignoring it.
The most important bit of writing advice I ever received came when I bought my first computer in 1983. The guy who sold it to me fixed it so that, when I logged in at four AM each day, these are the words that flashed across the screen: A writer is someone who has written TODAY!
Having written this little essay, I qualify as a writer for today, but now I need to get back to work on that next book. I have a deadline that’s actively ticking, and all those people out there who told me I was crazy are still shaking their heads in astonishment.
Thank you, Frank Baum. You helped make it happen.
J.A. Jance is the New York Times bestselling author of the Ali Reynolds series, the J.P. Beaumont series, and the Joanna Brady series, as well as five interrelated Southwestern thrillers featuring the Walker family. Born in South Dakota and brought up in Bisbee, Arizona, Jance lives with her husband in Seattle, Washington. Visit her online at JAJance.com and listen to a recent interview with her at https://poisonedpen.podbean.com/e/j-a-jance/
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