Originally appearing in an anthology called Monsters of Memphis (1997) Lou Kemp is taking us on a journey back to France in 1944. Following Finian who is a medic haunted by a chilling gift—he can see the shadows of death before it strikes. As the horrors of battle unfold around him, he’s drawn into a mystery deeper than the blood-soaked trenches. When a young girl’s brutal murder unveils a web of betrayal and desperation, Finian must confront the true cost of life and death in a world where every moment teeters on the edge of oblivion. The Frequency of Violets is a haunting tale of war, loss, and the fragile hope that endures.
The Frequency of Violets Part Two
If you haven’t read part one yet, please go back and do so as part two builds upon the story.
###
Two days more, and Intelligence had pinpointed the advancing Nazis. As dusk bled like blood through dirty cloth, Finian and the rest of the company peered from the trenches ringing the fields. As a morbid prelude to a surreal play, the ground trembled with the advancing tanks, and the first wave of Nazis poured out of the forest.
###
Bandages, blood, and screams didn’t mean anything anymore. To Finian, the bodies in the trenches looked like sausages in red gravy. Hours of grenades, explosions, and the staccato spit of the rifles intensified as the shadows multiplied. For the first time, he wondered if the company would survive.
Finian felt the hair on his neck prickle and then he was running toward the abbey,
the smell of violets growing stronger. Pervasive.
“Emily!” He called her name and pried open the doors of the abbey, peering into the dark.
The foyer was a mountain of rubble. In the furthest corner, the glow of a single candle wavered, guttering as if life ebbed under water. Finian climbed over the last of the debris in time to see Emily’s father lay her body before the pulpit.
Her throat dripped crimson. Only feet away, her pale image hovered above the pipes of the pump organ that reached for the rafters.
“Emily!”
As Finian knelt beside the body and smoothed her brow, the mayor of St. Marie backed away. The heavily accented words of her father seemed to come from far away.
“It does not matter what you see or what you do. The Nazis will kill you. They will not believe anything you say.”
The man spoke without remorse. With dedication.
“Emily’s mother couldn’t forgive you.” Finian said. “You informed on the village.”
The hum of the planes drew close, vibrated the air, and the first bomb floodlit the night, staggering them where they stood.
“Perhaps, Monsieur. Does it matter?”
With those words, Finian saw it did matter. Life mattered, as much as death.
Like a flood from a burst damn, he could taste every drop of rain, drink in each ray of the sun, weep over each tear and every death. Finian remembered the wariness and futility in Emily’s eyes as the bones in the mayor’s neck snapped under his fingers, and the last breath hissed from his lips.
The battle raged as Finian stumbled outside to stand before the field of violets that shimmered over the dead and dying.
Walking and never stopping, through the motherless cold, he carried a backpack of sorrows and a cane of bleached bone.
Originally appearing in an anthology called Monsters of Memphis (1997) Lou Kemp is taking us on a journey back to France in 1944. Following Finian who is a medic haunted by a chilling gift—he can see the shadows of death before it strikes. As the horrors of battle unfold around him, he’s drawn into a mystery deeper than the blood-soaked trenches. When a young girl’s brutal murder unveils a web of betrayal and desperation, Finian must confront the true cost of life and death in a world where every moment teeters on the edge of oblivion. The Frequency of Violets is a haunting tale of war, loss, and the fragile hope that endures.
The Frequency of Violets Part One
Southern France 1944
The night turned white, and then more golden than a summer’s day.
Like a rose unfolding, the first bomb opened the hill from within, exploding the rocks and dirt, and burying everything below. The cluster of houses at the top disintegrated and burning debris rained like confetti. Was this the hellish version of the 4th of July, Finian wondered.
The thought left him as he heard the whine of the bombs coming closer as the soldiers cursed and screamed.
A warm and bloody hand gripped his wrist. Finian turned, and a soldier without a face fell on him. By the time he found the soldier’s pulse, he didn’t have one anymore.
“Move your ass Finian!”
The deafening roar of the planes faded to the south, and the cries of the wounded escalated, billowing into the clouds of dirt that hung in the air. Finian stumbled on something that looked like a bloodied, legless sheep. He threw down his bag and knelt beside the first body.
As he turned the soldier over, a package of cigarettes spilled into the mud. Finian stuck one in his mouth and pushed Corporal Johnson’s guts back into his shirt, before wiping the blood from his own eyes. When he moved to the next soldier a few feet away, he didn’t need a torch or headlamp; the fires burned bright as the trees on the hill blazed and the stench of burning flesh wafted in a tangible cloud toward them. Finian didn’t turn around; if it was a cow burning, or the body of a child, he didn’t want to know.
Finian had bandaged five and bent over the sixth when he heard Sarge bark, “Over here, Finian! It’s Frank.” Finian pretended he didn’t hear him, just like he tried not to see anything at all as he tried to help a soldier without a hand stand up.
Sarge spun Finian around.
“I said, go help Frank.” He pointed to the body lying under a cargo truck.
“Yessir.”
“Don’t fucking Sir me. Fix him up!” Sarge shoved Finian ahead of him. “You cold son of a bitch!”
Finn fell twice before he knelt beside Frank Torino. In front of him, the other medic breathed in short gasps, and his eyes had dilated to opaque disks. Finian glanced over his shoulder; Sarge still watching him as he bellowed orders and lifted a stretcher.
As Finian held Frank’s hand and waited for him to die, the scent of violets pervaded the air, growing stronger. With a last shuddered breath, the soldier’s soul lifted from his body.
###
Twenty-eight hundred men had arrived outside the village of St. Marie. They set up the mess tent and established headquarters in an odorous barn behind the church.
In the ninth century, the township of St. Marie had been built into a hollow a few miles from the road to Marseilles. So far, it had been unmarked by the Nazis. As the sun set, heavy clouds cleared to the south and the sour stench of boiling beans rolled across the unplanted fields.
Finian cupped his coffee against his chest and waited for sundown. He sat just inside the perimeter, under the trees that bordered the village. To his left, gurgled the stream that fed the river, and to the right rose the medieval abbey built of stone. Every night he relived the same thing, and he dreaded what he’d see, unable to ignore what impelled him to look. He’d tried whiskey, the Army shrink, and a blade across his wrist, but they hadn’t helped. The impulse to look could not be ignored.
The scene always began normally with men walking, talking, sitting and smoking. A few slept under pup tents. When the darkness became complete, the faint smell of the violets would come, and then the first shimmering image. Maybe one, or maybe dozens, but for every man who would soon die, Finian saw a pale shadow mirroring him, following the living, shuffling close behind.
Last spring, Finian had seen the first image outside the seediest pub in Bristol. Their company had gone ashore, drank as much as they could, then stumbled into the night as the nocturnal bomb parade started. The cook fell down the stairs by the river and into the water. When Finian reached to pull him up, the body seemed to turn white, and a pale shadow fled the body. Finian screamed all the way back to the ship.
Last night, Frank Sorino had walked the camp shadowed, as had more than seventy men. Finian huddled into himself, knowing his ability to see death intensified with each day. Maybe he’d always been able to see the shadows, or anyone could, or maybe it took too much death, the kind that saturated your nerves until you could see.
The frequency of death came faster after they landed on the Normandy beaches and began the long walk south. Men went to sleep and never got up again. The pale shadows followed the rest of the company, still dressed in fatigues, and wandering like they would wander forever.
###
“Fourteen villagers left. The rest are dead or in pieces hanging from the trees.” Corporal Nevin pointed with his clipboard. “See the little girl on the other side of the square? She’s been sitting there all day, ever since the bombs stopped.”
Morning had seeped from the watery clouds, and the cleanup begun from the night before. The remaining men of the company worked various details trying to establish order. Finian should have been sleeping, but it had been days since he could. The fear of waking and finding his own image staring back into his own eyes, felt real.
“Her mother got it last night. Father is the mayor. That’s him over there, tall guy talking to the Sargent.”
“What is her name?” Finian asked. She looked like a sparrow fallen from a nest and into cold water. He could understand.
“Suddenly you care about the civilians, Finian?” Corporal Nevin flipped pages on his clipboard. “Emily Caron. Talk to her Finian, you talk to yourself enough.”
As Finian walked across the square, he skirted mounds of rubble and parked jeeps to where the girl sat on one of the boxes in front of the trucks. Tears dripped off her chin.
He shoved a handkerchief into her hand. It fell into the mud. As he bent to retrieve it, he saw the anger behind the tears. She was looking beyond him, at her father.
“I’m sorry about your mother, Emily.” Finian said.
The girl shuddered. Eyes bluer than the river studied him with the inscrutable wariness he’d seen in many of the villages. She blinked several times. He recognized exhaustion.
“If you want to sleep. I’ll be here.”
###
Darkness fell, and Finian didn’t move, just listening to Emily softly snoring as the camp settled around the destruction like a warm hug that came too late. The moon rose, glowing like a portent. The poker games began with the rattle of the dice in the bedpans.
As Finian lit his last cigarette, Emily shifted, curling into a tight ball. When her breathing changed, she sat up, took the cigarette from him, and inhaled.
The mayor of St. Marie came toward them, talking animatedly with one of the officers. He waved to Emily and walked by. She stiffened.
“Why do you hate your father?” Finian asked.
Her lips barely moved, and she wiped away the first tear.
Also an article by Richard Koreto covering a different perspective of mystery sleuths, and a short story by Benjamin Wretlind!
Celwyn’s Cats
Adjectives !!!!!!!!!! Gimme Adjectives!!!!
All About Podcasts goes national!
A few months ago I posted an article here about podcasts that interview authors. The Mystery Writers of America saw it, and interviewed me, along with several other authors, for their quarterly newsletter. It is six pages long, including the graphics. The MWA has many members who are afficionados of the genre and others who are professionally interested. There is also a discount for senior members.
John Yunker is an Oregon-based author of the thrillers The Tourist Trail and Where Oceans Hide Their Dead. He is co-author with Midge Raymond of the forthcoming mystery Devils Island (Oceanview Publishing, 2024). Learn more at www.MidgeandJohn.com.
How would you compare Devil’s Island to regular mysteries?
I often refer to Devils Island as an eco-mystery because the environment and animal protection are overarching themes. But it more commonly described as a “locked-room mystery.” In this case, the locked room is a remote island off the coast of Tasmania. I think what might make it slightly unique is the structure – we leveraged the five-act structure of Hamlet for the novel.
Which of your books was the hardest to write, and why?
My most difficult book to complete was Where Oceans Hide Their Dead. Took about 7 years of writing and much more rewriting. This is the darkest novel I’ve written because it deals with some difficult and timely issues like drug addiction, and the horrors of the animal industrial complex.
Does your own reading stay within your writing genre, or do you read a different genre for yourself?
I read across genres and my writing most likely reflects that, as sometimes my novels are called “literary” other times called “thrillers.” While I appreciate that a genre label help readers find books they want to read, as a writer, I worry that these labels get in the way of publishers taking chances on work that don’t fit cleanly into any one category.
When researching your books, do you have a sample of what you discovered that is especially interesting?
For Devils Island one of the most interesting bits of research is learning that the Tasmanian Devil, an animal about the size of a small dog can devour a large animal like a kangaroo within hours—muscle, organs, fat, bones, even fur—leaving nothing left.
Will there be a sequel to Devils Island, and if so, what will it focus on? and will it have a solid ending or leave things open for more?
We’ve left the door open to a sequel, one that would take place in Ashland, Oregon. So we’ll see. I have a difficult time letting go of characters, which often leads to sequels. In fact, my novel Where Oceans Hide Their Dead is a sequel of sorts to The Tourist Trail.
What do you think new authors should decide first, before they begin their book?
I always aim to write the book that I most want to read and I recommend writers do this as well. Because, in the end, regardless of whether you find an agent, a publisher or readers at the very least you will have pleased the most important reader of all: yourself. But, that said, during the editing stage it’s important to be able to see your work as other readers will see it. My partner Midge often quotes Stephen King: Write with the door closed; rewrite with the door open.
How important is site research for the location where your books take place, and why? What should a beginning writer consider about location in their novels?
Site research is the most exciting part of writing, particularly in the case of Devils Island, where we hiked the island off the coast of Tasmania where this novel takes place. While I don’t believe it’s essential to visit every place you write about, it certainly can’t hurt.
Can you see yourself using Ai in your books? On what part and why?
I’m amazed at how well AI engines produce cleanly written sentences. But humans are far messier, our voices more distinct, than any computer algorithm. I don’t really see AI as a threat to creative writing – though perhaps a threat to predicable and voiceless writing. That said, writers deserve to be compensated by any tech company that wants to scan their work to train their algorithms. The very reason AI appears “magical” is because it was trained our hard work.
An Interview with M K Graff
Marni Graff is the award-winning author of The Nora Tierney English Mysteries and The Trudy Genova Manhattan Mysteries. She writes for the crime blog, Miss Demeanors, and also reviews crime books. Managing Editor of Bridle Path Press, she’s a member of Sisters in Crime, Triangle SinC, Mavens of Mayhem SinC, the NC Writers Network, and the International Association of Crime Writers. Marni lives in rural eastern NC with her husband and two Aussiedoodles.
Is there something about your books/your point of view that you think readers should know? The Trudy Genova series is based on my favorite real nursing position as a medical consultant for a NY movie studio. It’s the series my mentor and friend, PD James, asked me to write and the first book is dedicated to James. I like to say Trudy is a younger, prettier version of me! But really she’s her own person, with the ability to lie at the drop of a hat when she pokes her nose into murder investigations. At first annoying NYPD detective Ned O’Malley, he’s come to learn she’s a good judge of human nature. I’m enjoying having Trudy move in that circle behind the camera where directors ask for your expertise but are under no obligation to use it!
Are there other writers who influence you, either present or past? I read all the Golden Agers and of course Agatha Christie is a big influence on most crime writers. But two of my favorites are: Daphne Du Maurier, with Rebecca my favorite novel for its complex plot and nuanced characters; and PD James, whose complex look into all of her characters made me understand them fully. She’s also believed, as I do, that setting is important to the plot, as it’s a character in itself. Your setting is the stage you move your characters around.
If you have your next book’s plot already in your head, could we have a preview of what to expect? I’m actually straying from my series and going to do a standalone historical, a first for me. Its title is Eleven Days and it’s set in 1926 at the Harrogate Hydro in Yorkshire. The main character is a young maid living there under a false identity. She becomes embroiled in a murder investigation when a fellow worker is killed, and a new guest helps her as she questions what happened. It becomes apparent to my character that the guest, Mrs. Teresa Neele, is really the missing Agatha Christie. Having a huge secret of her own, she keeps Christie’s identity quiet. There WILL be another Trudy Genova that will bring her back to New York City, but that setting is in the works and I can’t reveal it yet…but think bridal shops!
A Profile of Wren and Hadley: Reflections on a Lesbian Sleuth by R.J. Koreto
I want to say that I was firmly committed to creating a lesbian protagonist when I began my historic homes series. But to be honest, it was a case of my character overruling me, as was her right. As Stephen King wrote, “A good novelist does not lead his characters, he follows them.” I had planned for the 30-year-old architect, Wren Fontaine, to begin a tentative romance with a man, an associate of her client’s. I put their meeting down on the page—and nothing happened. They didn’t connect. I shrugged and kept writing, planning to come back to it later. In the next chapter, Wren met her client’s female cousin—and that’s when sparks flew. The scene practically wrote itself. I didn’t see it coming—Wren knew before I did.
Fictional gay detectives have been around at least since 1970, when same-sex activity was still illegal in most of the U.S. A lot has changed since then: Wren comes from a long lineage. Today, I get questions and comments about Wren and her girlfriend Hadley, but none of them have revolved around their orientation. Sadly, homophobia still exists, but it was interesting to note how little commentary the fact of their relationship has generated from readers or reviewers. Most of them seem to simply look at Wren and Hadley as a love affair they will watch grow from book to book.
Writing about Wren and Hadley required an adjustment for me: When I wrote about straight couples, I found I had to work around a spirit of inequality. Even in modern times, there are still men’s roles and women’s roles: On my birth certificate, there is a place for my father’s occupation but not my mother’s. Wren and Hadley, however, could start their relationship without preconceived notions on gender-based behavior.
I’d like to think people have always found workarounds. In an Edwardian-era mystery I wrote, “Death Among Rubies,” I portrayed two unmarried women who elected to share a house for companionship. One attended to their social life, and the other managed the finances: a typical relationship for its time. But it was one they chose, not one imposed on them according to gender rules.
This same freedom works today, and I’ve enjoyed developing Wren and Hadley. Or, more accurately, watching them develop. Their third mystery, “The Cadieux Murders,” will be released later this year. Wren is logical and introverted, happiest when working on the historic homes she renovates as an architect. Hadley is intuitive and extroverted, a chef/event planner who fits right in with the lively dinners and parties she organizes. They complement each other wonderfully. Ironically, they may be the most conventional couple I’ve ever written about. But again, it’s a matter of choosing what is right for them as individuals and as a couple, rather than meeting society’s expectations.
Indeed, Wren and Hadley have encouraged me to think about all kinds of relationships, which is exciting for me as a writer. I now see multiple ways to be a couple: In The Turnbull Murders, Wren must contemplate the romantic life of her long-widowed father. He has made an effort to understand her romantic choices—but can she understand his? And in her first outing, The Greenleaf Murders, Wren struggles with her growing feelings for Hadley, while contemplating the murky Gilded Age couplings that once existed in a great New York City mansion she is renovating. More than a century ago, men and women worked to forge relationships and succeeded—or failed—just as Wren will.
“I don’t understand all this,” Wren complains to her new girlfriend about Gilded Age bed-hopping.
“What can I tell you?” says the more worldly Hadley. “Straight people are strange.”
Richard Koreto is the author of several historical mystery series. His current book is The Turnbull Murders, second in his Historic Homes series.
Words are magic, and Ellie Lieberman has been enamored with the magic of storytelling since before she could hold a pencil. She learned how to write so she could write her stories. Though her books vary between ages and genre, one element that is always a guarantee is the light in the dark, from the flicker of a candle to dragon fire.
Do you plan to change the personality of one of your characters to make them more interesting, less violent, more empathetic, etc.? Will they evolve as your series does? (do family/friends ever call you by one of the characters’ names?)
I do not plan my characters. I discover them as the story unfurls much like the plot itself. One thing I can always guarantee about the characters is there will always be some form of development, whether it’s for the best or a downward spiral. Even when the Be Series goes back on the timeline, like in the sort of prequels of An Impossible Dream, and my current WIP, Where the Heart Is, there is development in a better understanding of the characters for the reader.
Do you have your next book’s plot already in your head? Could we have a preview?
I’m currently working on book 3 of the Be Series and, because it is a prequel to book 1 & a sort of prequel/running parallel to book 2, AnImpossible Dream, I know far more of the plot than I normally do when I write.
Preview:
“A pen shoved into her hand redirected her attention back to the document before her. “Duty,” she reminded herself. “Responsibility.” This was for her kingdom, her people. “Give me strength.”
“True love is never stealing a selkie’s coat, forcing her to be where she doesn’t want to be, forcing her to be anyone but herself.” According to Clary’s mother, that was what her grandfather said.
“Even if you find someone who loves you like that, society does not and will not,” her mother told Clary once. “It is not just the individual who steals the coat.”
Her hand was suddenly in possession of a mind of its own. She hesitated. Had it been Molvinius’s name instead of the careless scribble she could not begin to make out, their seed might have been a pine tree. A nod to his Northern heritage. A symbol of longevity, forever green, withstanding snow and sun.”
Is there something about your books/your point of view that you think readers should know?
An Impossible Dream follows a character very important to the story but is only really mentioned in book 1. It’s her story, but readers also get to see younger versions of characters they loved from the first book, such as Henry and Fra. They get to meet a slew of new characters that will come to play a vital role in the books to come.
I discover the story as it naturally unfolds, I write by the seat of my pants (pantsing), rather than plotting. And what has been amazing with this series in particular is the threads across books, tracing them back to some of their roots, learning more about characters, and in doing so the way each book seems to naturally set up the next, especially given the shifts in the timeline between books.
Will there be a sequel to An Impossible Dream, and if so, what will it focus on? Will it have a solid ending or leave things open for more?
An Impossible Dream is already a sort of prequel for the first book in the Be Series, but the books can be read in any order. I’m currently working on a sort of prequel for An Impossible Dream, but book 4 is really the sequel to Be, where characters from the first 3 books come together and strive for peace, both personally as well as between kingdoms.
When you were writing this book, or previous books, did the plot flow just as you initially wanted it to look, or did you have to change anything major?
I do not plot my books. Instead writing a sort of prequel as both AnImpossible Dream and my current WIP, Where the Heart Is. For book 3 of the series, I’m working off on the timeline that each previous book establishes, and adding to it. This makes more of an outline than I usually follow. That being said, having the chance to see moments from a different character’s perspectives or memory can sometimes change events, in terms of the level of understanding or depth.
And each character tends to have something I did not initially anticipate when they first came to me.
Let’s Talk About Book Genres! Are There 5 or 5,000 Different Genres?
Categorizing books into genres can be challenging, even for experienced book reviewers. Today, I’ll look at the basics of book genres to help readers find stories that suit their tastes.
Fiction is an overall general genre that includes literary fiction, historical fiction, science fiction, fantasy, mysteries, thrillers, and romance.
Nonfiction includes biographies, self-help books, and history, while the Young Adult (YA) and children’s genres cater to younger readers with age-appropriate themes and adventures.
Distinguishing sub-genres can be tricky, so relying on the author’s classification or trusted sources like Bookshop.org or Goodreads is always recommended and helpful.
Exploring different genres can enrich your reading experience and broaden your literary horizons. To learn more about book genres and classifications, please read the full article at ginaraemitchell.com.
Time travel has been written about so many times, there can’t be anything fresh in it. I decided to play with time travel once—and only once.“Terminal Conversations” appeared in Travel a Time Historic, an anthology published in 2005.
Track One, Number Nine! All aboard!
The terminal was packed. So much for quick and easy travel. People crowded toward the entrance to Track One, their bodies pressed tightly against each other. Justin watched with detached disgust, hoping his train wasn’t so crowded.
In front of him, a fat man in a business suit was engaged in a heated argument with a ticket agent. His toupee flopped up and down in time to his mouth. The agent stoically looked past the customer, as if she wished he were either dead or she were someplace else entirely.
Justin couldn’t hear the exact words, but something was “not right” about “time” and the man wanted his “money back.”
Maybe that was “mother back.”
The line stretched past the counter and wrapped around stanchions and ropes. There were probably fifty people waiting to buy tickets and an equal number who waited for information. The air was stale; each individual exhaled breath added a distinct smell to the mix. It wasn’t right. Justin found himself secretly wishing they would all stop breathing.
A woman in her thirties, lithe and well-groomed, crossed the terminal commons. She seemed to hone in on the chair next to Justin and turned. He smelled sweet and alluring perfume before she ever sat down. Her dress shifted up past her knees as she crossed her legs and fumbled with her purse. She turned to Justin and weakly smiled. “Hi.”
“Hi.” He thought he heard his voice crack.
The woman pulled a compact out of her purse and studied whatever it was women felt they needed to study in mirrors. With flare, she snapped it shut and put it back in her purse.
“So, where are you headed?” The woman sat back in the chair and folded her arms.
“1952.” He tried to shift his eyes from her. He did not want to stare. “And you?”
“I’m going to ’59.”
“Going to see family?” Justin wondered if that question sounded too obvious, almost childish.
“Yeah. My grandmother graduated high school back then. I think she would have liked to know I was there.” The woman smiled, her eyes twinkling under the harsh terminal lights.
“Ever traveled back before?”
“Once, when I was fifteen. I took a train to 1929 with my father. He said he wanted to see his dad before he hung himself after the market fell.” The woman’s smile faded. She leaned over and put a hand on Justin’s shoulder.
“I don’t think he told me the truth,” she whispered.
Justin felt his heartbeat escalate. “What does he do for a living?”
“Plays on Wall Street with all the other stuffed shirts. Haven’t seen him in a few years, though.” She took her hand off his shoulder.
Justin put his ticket inside his coat pocket and looked up at the line at the counter. “Looks like a busy day to travel.” He turned back and noticed again just how attractive she was. “Name’s Justin.”
“Allie.”
The noise in the terminal grew louder. Words collided against words while people mindlessly walked from place to place. The high ceiling and open spaces created echoes out of every sound. Justin sat back against the chair.
“And you?” Allie turned her head slightly, revealing delicate tanned skin on her neck. “Travel much?”
“On business, mainly.” Justin sighed. “I’m a temporal systems program manager, so this is pretty much my life.”
“How many trips have you been on?”
Justin shrugged. “More than one, less than fifty. I really hate taking the train, though.”
“That’s funny.”
“What?”
“You travel all the time, and you hate taking the train. It’s like someone in the Navy who hates boats.”
Justin smiled. “Maybe. I’m just not a fan of the jump. A little too much, if you ask me.”
Allie turned. “I remember that trip I took with my father. The train was older, not like these new, sleek models. I thought it wasn’t ever going to get up to speed, but right before hitting the wall, I passed out. Never felt the jump.”
Justin peeled his eyes away again and looked over at the counter. He felt redness in his cheeks and hoped Allie hadn’t noticed. The fat man with the toupee was gone and a few people in line had moved. Not many, though. “Most people pass out. Personally, I’ve never been able to do that before the jump.”
“Really? What’s it like?”
“The jump?”
“Yeah.” Allie leaned forward, her eyes lighting up again. This time Justin wasn’t sure if was the terminal lights or something else. He fumbled with his thoughts, trying to answer her question while watching images of the two of them dancing on clouds.
“Um… well.” Look back at the line. “It’s pretty much fire and heat. It rolls through the cabin until it gets to you. It’s like falling into a fireplace but never feeling the wood or the chimney.”
Justin paused for moment. His mind swirled with images. “You float in a liquid Hell.”
“Good thing I passed out, huh?”
“Yeah, it hurts.” Justin’s mind traveled quickly from his description to his memory. So many jumps, so much pain. He pried his attention away from the line and found himself lost in Allie’s eyes. “If you pass out, you never know what hit you.”
Track Two, Number Four! All aboard!
The intercom filled the cavernous terminal. People from all over looked up as if it helped them hear better. Words spoken seemed frozen in the stagnant air, waiting for the decision to continue or drop off altogether.
People stood up from chairs and grouped together in impossibly tight messes. They pushed to the right of the terminal, each step small and cumbersome but taken together.
Justin watched the group head for Track Two. The fat man with the toupee was tangled together with a skinny kid in his mid-twenties. They pushed against each other and jockeyed for the best position to get through the gate.
“Look at them,” Justin said, pointing toward the crowd. “Each one of them thinks the first person through security will get a better seat on the train. They push and shove and get mad at each other.”
“What’s the rush?” The old woman coughed. Justin shifted his weight away from her. Since she’d sat down, she’d been nothing but annoying. Her eyes were hidden behind the folds of her skin and Justin couldn’t help but watch the hairs inside her moles wave at him. He silently wished she would just disappear.
Justin shook his head. “I don’t know, Mrs. Allie. I never could understand it. The train isn’t leaving until all ticketed passengers are accounted for and all seats filled. I always go last.”
The noise in the terminal exploded again as people continued their previous conversations either with each other or in heated bursts aimed at helpless ticket agents.
“You said you were a temp… tempo… something.”
“Temporal systems project manager.” Justin drew his attention from Mrs. Allie’s moles and back to the line in front of him.
“What exactly do you do?”
Annoying question. “Basically, I make sure people don’t mess with what’s already happened. Let’s say your father didn’t go back to see his dad before he jumped. Let’s say he tried to stop him.”
“I thought that’s what Inhibitors were for.” Mrs. Allie put out her hand to show Justin the bracelet on her spotted wrist. “I thought these were supposed to stop interference.”
Justin smiled smugly. “These aren’t permanent. There are ways to take them off.”
“Hmmm. Okay, so my father stops his dad from jumping. Then what?”
“Whatever your grandfather couldn’t have done because he was dead is now a moot point. There’s a body in the mix that isn’t supposed to be there. Whatever he changes affects something else.”
“Like a butterfly effect.”
“In simple terms, yes. But this isn’t the same thing.”
“If history changed like that, though, you wouldn’t know it. You couldn’t go back and change what is now truth.”
Justin sighed. Old people never understand.
Number Eight arriving at Track Three!
“Do you have any gum?” Allen poked Justin in the side.
“Quit poking me, kid. Isn’t your mother somewhere around here?”
“Nope. She’s dead. Got any gum?”
The crowd shifted from right to left like a herd of animals following the blinking lights above Track Three. In seconds, a few people would come through the gate. There was always less who came back. It was inevitable. Justin watched the crowd form a semi-circle of greeters.
Some of them would go home alone.
“No, I don’t have any gum.” Justin pulled his jacket away from the armrest. The snotty kid might try to go through his pockets.
“If you try to stop things from happening, Mister, how do you find out what happened?” Allen swung his legs back and forth on the chair, his baseball cap askew.
“There are temporal researchers who travel more than I do. They run back and forth collecting books and newspapers and whatever else they can find. If something they collect is dramatically different than what they know, they put together a team of people to investigate.”
“Why?”
“To fix the problem.”
“Why?”
“Because that’s what we do. We clean up messes.”
“Why?”
Justin stood up. He had enough. The crowd of people still stood around the gate to Track Three and waited. He pulled his ticket out. Track Two, Number Six. Above him, glowing green monitors listed arrivals and departures. It clicked once and changed Number Eight to “Arrived”.
“Ten minutes,” he said. “Ten more minutes.”
“Hey, Mister?” Allen stood next to him, pulling on a pant leg. “If you go back and change something that’s already been changed, would that mean you didn’t need to go back and change it? Huh?”
“Yes.” Justin gritted his teeth. “It would also mean that I wouldn’t be talking to kids like you.”
“Okay. So, if you changed something back, and it didn’t need to be changed, and you then didn’t need to go back and change it, you really didn’t go back and change it, and it’s still the same way it was. Is that right?”
Justin ignored the question and looked over at Track Three. A few people filed through the gates, their eyes filled with wonder or sadness, sometimes both. People greeted them with hugs and kisses, smiling or not, laughing or not.
The fat man with the toupee stepped through the gate next. He looked through the crowd in front of him then stomped off through the masses. Apparently he didn’t get what he wanted.
Track Two, Number Five! All aboard!
Justin watched the monitors above him. They clicked and the lines moved up one. His train was next.
“So what are you going back to change?” the ape asked. It looked at Justin with wide eyes, then picked a flea off its fur.
“Something’s not right.” Justin sighed and looked around at all the apes and humans bumping into each other. He wasn’t about to tell this ape that the temporal research unit found that simians couldn’t mingle properly like humans. Nor, for that matter, could they talk. Someone had gone back too far and changed something too drastic. “I really can’t tell you what that is, but I have to fix it.”
The ape picked another flea off and looked at it crushed between its fingers. “If you’re going to change it, what happens to you?”
“Hopefully nothing.”
The ape dropped the flea and walked back to the chair. Justin followed, suddenly afraid.
It wasn’t the first time.
“What happens to me?” The ape didn’t look at Justin. It stared ahead at the ticket counter where other apes and humans were engaged in conversation.
“What do you mean?” Justin knew what it meant, though. He’d been in this situation before.
“If what you change makes me not exist…”
Justin turned to the ape and smiled as much as he could. “If what I change makes you not exist, then you wouldn’t know it.”
“I’d… die?”
“No. You wouldn’t have existed in the first place.”
The ape sighed and looked at Justin. Justin felt attraction, disgust and annoyance well up inside of him all at once. In its eyes he saw someone he wanted, someone he wished would go away, and someone who needed to find some gum. For some reason, he felt only one of those people had the right to exist.
Justin blinked, not understanding, and turned away. “Don’t worry about it. Just enjoy the ride.”
“Mark Atley is burning the torch for old school crime fiction. Don’t expect anything warm and fuzzy here, just lighting-fast pacing, razor-sharp dialogue and action that cuts as deep as broken glass. Add this to your TBR pile.”
Eric Beetner, Author of The Last Few Miles Of Road
“The Dead Make No Mark is a gripping game of cat-and-mouse — no, more like one of tiger-and-tiger — written in a spare voice that feels like the story is being whispered into your ear like a husky threat. In the truest of hardboiled traditions, Atley manages to ask the deeper philosophical questions in the midst of a compelling crime tale.”
— Frank Zafiro, award-winning author of the River City series
Sometimes people claim that noir crime fiction is dead in America, but I’m happy to report that’s not true. American noir is alive and well, and Mark Atley owns it.
— Jake Needham, author of the Inspector Samuel Tay mysteries
Of all your characters, which resembles your personality most? How many of the character’s traits are already part of you versus what you want them to be?
The character most like me is one few have met—Paul-Wayne Collins. I included many autobiographical details in his construction, but his family life is not mine. He is obviously more tortured. Twisted and sensualized.
What happened when you killed off one of your favorite characters? Do you think it is necessary to do this to keep a series fresh? Or does knowing their favorite character is safe endure readers to you?
If I cannot kill off a character, then I am not doing my job. If, at some point, I feel resistance to what the story is telling me to do versus my intention, I always go with what scares me and what the story is telling me to do. It knows better than I do. I don’t have a starting repeating character, but I do have some favorites that come and go in certain books. They’re safe until they are not.
When you did research for your books, do you have a sample of what you discovered that was especially interesting ?
Pat Garrett’s final confrontation with Billy the Kid is echoed at the end of A Bright Young Man but in a subversive way that I hope both acts as an homage to the historic moment in time but serves my novel.
Is there something about your books or your point of view that you think readers should know?
I write in the present tense because it works for me. I am a detective. I write in past tense all day long because detectives investigate crimes that have already happened. I would love to be able to write in the past tense in my novels, and I believe it would earn me greater readership; however, it quickly becomes work and not fun. Present tense allows me to have fun, write creatively, and use jump cuts.
Do you plan to write any nonfiction?
Yes, a co-worker has a great idea for a non-fiction book about a rodeo star. I’ve helped him create a wonderful title for it and have even discussed how to present the information about the star and rodeo, but we have not seriously started on it. Additionally, another co-worker, the grandson of Sheriff George Wayman, has approached me about maybe doing something. I would be honored to work on either project.
Do you already have the plot of your next book in mind? If so, could we have a preview?
Yes, my next book is in the planning stages. I was originally going to do something different, which I have thought out but have shelved for now. I’ve been working on a quartet of novels to make up the middle portion of my Tulsa Underworld Series, building up a “big bad” Bill Ruth. The next novel will be the final in that quartet…if it stays a quartet… and will be about fathers and sons, involving the character, Joe Creek.
Talk about writers groups please. Living where I live, I have not found a writing group. I wish there were one here. Maybe I should start it.
X (Twitter) is where I found my group, and I frequently bounce ideas and edits against Craig Terlson and M.E. Proctor, to the point I feel guilty about using them. They are better writers than I am, and they are amazing people. I highly recommend any of their books and writings to readers.
What is New with the Celwyn Series?
What is new with the Celwyn Series?
Book 6 is through editing with my publisher, and the cover will be ready soon. Swango, will be out late this year, and ….warning: it contains a new genre. One that fits totally, and gives the story more freedom.
A rough draft of the blurb of Swango:
“The story opens in 1877 as Celwyn and his brother survive a vicious attack in Singapore. The atmosphere aboard the Nautilus is tense; not only has Pelaez returned (claiming his innocence for destroying the flying machine), but a third of Nemo’s crew is marooned in the city and under threat by Wolfgang, Celwyn’s father.
By the time the magician and the others leave Singapore, they are grieving; a member of their family has been murdered in Prague.
The magician’s first encounter with Swango is told as they plan for the Nautilus’ journey to the Castell de Ferro in Spain where Doctor Jurik Lazlo is hiding. Captain Nemo has been searching for him for a long time.”
For book 7, Lucky and Mrs. Nemo, progress has been made since the last newsletter. The manuscript is all in my pc and the cussing at Dragon (voice activated software) for supreme illogic has stopped. Instead, I’m slogging through the 420 pages looking for my own version of illogic, no cussing involved, just a big sigh and then correcting it. I’d always wanted to write full time, and no complaining is allowed.
There isn’t a blurb yet for Lucky and Mrs. Nemo, but Lucky is a character, literally and figuratively. The personality of a scientist is dry? Not so in Lucky, who enjoys a good gunfight. It seems that there are only male scientists in the late 1800s? Not Lucky. And when there is more time, I’ll describe how she looks. This is a family newsletter, and I’ll have to clean up what she says, too.
Book 8? 130 pages of the handwritten first draft is still safely put away until the book 7 edits have been finished and it has been beta read. This cuts down on confusing my brain. As a preview though, book 8 continues to address the dangling danger at the end of book 7; most satisfactorily for some of us. Then things get worse.
The near future holds another companion book for the series, untitled, and it will star Pelaez demonstrating his untrustworthy and devious ideas of fun.
Shameless Buy Links to booksellers who carry the Celwyn series.
Smashwods Sale! Now is your best chance to find the entire ebook Celwyn Series collection for a promotional price at @Smashwords as part of their Annual Summer/Winter Sale! Find my books and many more at https://www.smashwords.com/shelves/promos/ all month! #SWSale2024 #Smashwords
An Interview with Author John Yunker
On a remote island off the coast of Tasmania, an Australian wilderness guide embarks on a four-day hike with six guests—and arrives at their destination with only two. An Interview with Author John Yunker
Bio
John Yunker is an Oregon-based author of the thrillers The Tourist Trail and Where Oceans Hide Their Dead. He is co-author with Midge Raymond of the forthcoming mystery Devils Island (Oceanview Publishing, 2024). Learn more at www.MidgeandJohn.com.
How would you compare Devil’s Island to regular mysteries?
I often refer to Devils Island as an eco-mystery because the environment and animal protection are overarching themes. But it more commonly described as a “locked-room mystery.” In this case, the locked room is a remote island off the coast of Tasmania. I think what might make it slightly unique is the novel’s set-up – we leveraged the five-act structure of Hamlet for the novel.
Which of your books was the hardest to write, and why?
My most difficult bulk to complete was Where Oceans Hide Their Dead. It took about seven years of writing and much more rewriting. This is the darkest novel I’ve written because it deals with some difficult and timely issues, like drug addiction and the horrors of the animal industrial complex.
Does your own reading stay within your writing genre, or do you read a different genre for yourself ?
I read across genres and my writing most likely reflects that, as sometimes my novels are called “literary” other times called “thrillers.” While I appreciate that a genre label help readers find books they want to read, as a writer, I worry that these labels get in the way of publishers taking chances on work that don’t fit cleanly into any one category.
Do you have a sample of what you discovered that was especially interesting when you did research for your books?
For Devils Island one of the most interesting bits of research is learning that the Tasmanian Devil, an animal about the size of a small dog can devour a large animal like a kangaroo within hours—muscle, organs, fat, bones, even fur—leaving nothing left.
Will there be a sequel to Devil’s Island, and if so, what will it focus on? and will it have a solid ending or leave things open for more?
We’ve left the door open to a sequel, one that would take place in Ashland, Oregon. So we’ll see. I have a difficult time letting go of characters, which often leads to sequels. In fact, my novel Where Oceans Hide Their Dead is a sequel of sorts to The Tourist Trail.
What do you think new authors should decide first, before they begin their book? Should it be who they are writing for (themselves or their audience)? Do you have other criteria you would suggest?
I always aim to write the book that I most want to read and I recommend writers do this as well. Because, in the end, regardless of whether you find an agent, a publisher or readers at the very least you will have pleased the most important reader of all: yourself. But, that said, during the editing stage it’s important to be able to see your work as other readers will see it. My partner Midge often quotes Stephen King: Write with the door closed; rewrite with the door open.
How important is site research for the location where your books take place, and why? What should a beginning writer consider about location in their novels?
Site research is the most exciting part of writing, particularly in the case of Devils Island, where we hiked the island off the coast of Tasmania where this novel takes place. While I don’t believe it’s essential to visit every place you write about, it certainly can’t hurt.
Can you see yourself using Ai in your books? On what part and why?
I’m amazed at how well AI engines produce cleanly written sentences. But humans are far messier, our voices more distinct, than any computer algorithm. I don’t really see AI as a threat to creative writing – though perhaps a threat to predicable and voiceless writing. That said, writers deserve to be compensated by any tech company that wants to scan their work to train their algorithms. The very reason AI appears “magical” is because it was trained on our hard work.
New Release Features
A local reporter and photographer’s canine search and rescue training at an abandoned farm outside of Fredericksburg, Texas, takes a bizarre twist. Riley Phillips’ dog, Milo, alerts on the real deal—a corpse with a bullet hole in his head.
Riley’s nose for news is already twitching over the gruesome discovery. When the body turns up missing, her spider senses kick into overdrive. Who doesn’t want the man identified, and why? Are her crime scene photographs the only clue?
What Riley’s camera captured puts the FBI Tracker Unit on high alert, and Riley in a killer’s crosshairs. Learning the identity of the mystery man takes on an ominous urgency.
Can FBI Tracker Cody Lightfoot and Riley find the answer in time to stop a deadly attack? Or will they be the next victims?
Discover a sanctuary within your mind. Written by psychologist Anne E. Beall, this book takes you on a series of serene adventures, from secluded forests to calm beaches, immersing you in vivid, tranquil scenes that foster relaxation and peace.
You’ll become engrossed in these meditation journeys, each guiding you deeper into its unique setting. As the main character of every story, you embark on a richly detailed adventure, with vivid imagery that transforms you into an active participant. Whether you’re wandering along pristine beaches, paddling to ancient lighthouses, or journeying towards enchanted royal castles, tranquil adventures await you, all from the comfort of your home.
This is more than just a book; it’s a companion for moments when you need to escape the stresses of the world, guiding you to a serene space within. Whether you choose to read in quiet solitude or listen as the narratives unfold, these journeys offer you a personal haven of tranquility.
Andy T. Hanson is an author of science fiction, general fiction and dystopian horror. After driving Abrams tanks in the US Army, Andy settled into life as a regional-stage actor. He parlayed that passion first into playwriting – most notable of which is Molly’s Chamber, his modern-day take on the old Irish folk song Whiskey In The Jar. He then graduating to screenwriting and achieved a quarter finalist statis for his script at a former Los Angeles Film Festival. On the strength of their modest success, he tried his hand at the ultimate goal; Sci-fi novels. His first foray into that magical world is The Despot Chronicles, a dystopian three-part epic series. Calamity, book 1, is set for release on 10/26/24 by 4 Horsemen Publications, Inc. Andy is thrilled to occupy a slot among their fantastic stable of authors.
Have you thought of writing nonfiction? If so, what kind, purpose, and time period? I plan to write a layman’s take on skepticism and stoicism and how embracing both has changed my outlook on life profoundly. Hopefully, I’ll get to work on that, as well as wrapping up a short story collection I currently have in the works.
Discuss an aspect of your writing process. I love using the 3rd person narrator, shifting viewpoints between various characters. You can give your reader little easter eggs peppered through each POV that has import for the character themselves, whether immediately or later, as well as connecting other POV arcs. All the while hints can be dropped for the overall conclusion. It is a wonderful way to create a feeling of a kind of whodunnit-type work for the reader, which captivates them and keeps the pages turning.
How many books will there be in this current series? What will it focus on? And will it have a solid ending, or leave things open for more? There will be three books in the Despot Chronicles series. I set out to editorialize, in a way, how tyrants and authoritarians take advantage of Calamity, as in book 1 of the Despot Chronicles, to establish their Control of their subjects, as in book 2, but ultimately they collapse in the end. The same occurs in book 3, because the power the authorities wield was built on sand. Sooner or later, they get exposed. The immediate story will have a satisfying and complete conclusion, while the wider world I’m building around the story will branch off from that conclusion.
For someone who hasn’t read your books, can you talk about the theme within the books? The theme is showing regular people who are placed in otherwise unthinkable situations. I want readers to commiserate with the characters and their decisions, and even understand the reasoning behind the some of the choices of the characters—some of which they won’t approve, and thus learn something true about themselves and humanity in general along the way.
YouTube News
An Interview with Nick Savage
Nick Savage began writing at a young age starting with music and developing lyrics before transitioning to screenplays and finally into novels. He grew up in Chicagoland studying creative writing and music. In the Windy City he was surrounded by a love of good food and endless things to inspire him. After getting married, he and his wife moved to Florida. Currently, they live outside Orlando and enjoy spending time with their two cats or going to the magical kingdom.
Describe what happened when you killed off one of your favorite characters? Do you think it is necessary to do this to keep a series fresh? Or does knowing their favorite character is safe endure readers to you? When killing off one of my favorite characters, I always do so when necessary. I don’t believe that any character in a book should be wearing plot armor to be safe. The West Haven Undead series has many deaths and all are needed to drive the story forward. I think readers are drawn to me to see who dies next over knowing they are safe.
Is there something about your books/your point of view that you think readers should know?
A Vampire Named Allison is a great look at mental health issues told from a left-field sort of way. To me, having those deep metaphors makes any writing more enduring and relevant than stories without symbolism and subtext.
Can you see yourself using Ai in your books? On what part and why.
AI is a tricky subject. I will never use AI nor will I ever condone the use of it as a substitute for thought in writing. But that same AI can be used as a great tool. Grammar and spell checkers run on AI and while far from perfect, help on that end.
Does your own reading stay within your writing genre, or do you read a different genre for yourself?
My reading varies greatly. I love true crime but could never write that. While I do love fantasy novels, I also write romance, but hate reading it. I think my childhood scarred me against it, especially Regency romance. I loathe the idea of a damsel in distress saved by a knight in shining armor. I think that trope has contributed to many false expectations of what love and relationships should be.
How many books will there be in this current series? what will it focus on? and will it have a solid ending or leave things open for more?
After A Vampire Named Allison, there is only one more book in the series. Five books in all. While the story in this series will be wrapped, because it’s contemporary, the world is open for new stories within the universe.
How Do You Name Your Novels?
Authors from past newsletter issues were asked how they named their books:
Finding the right title is always an interesting journey for me. Sometimes, it throws itself at my feet, and, other times, it takes a moment to present itself. In every instance, when the title does come to me, I always know when it’s the right one. Somehow, it fits like a shoe does for the right-sized foot.
Tricia T. LaRochelle, author of the award-winning Sara Browne Series and Sun in My Heart.
Since mine are modern-day re-imaginings of Jane Austen’s books, I make sure the title reflects some word or concept from the original novel, while reflecting on what my book is about. A.R. Farina Author of Welcome to Mansfield.
Tony Farina, author of Welcome to Mansfield
My cover designer suggested the current title for The Techno Mage, as the one I’d had was difficult to pronounce. My mum suggested the title for Rise of the Sky Pirate, and I loved it so much, I kept it. For the Elementals trilogy, I thought up individual titles that made sense with one another as well as within the urban fantasy genre.
S.W. Raine, author of Rise of the Sky Pirate
I name my novels in two ways. First, I use a working title that gets the point across to me and motivates me to write. Most of the time, (I think only one book has kept its working title) they change after I’ve written. Once I’m done with the manuscript, I try and find a line within that speaks to a title feel while capturing what the book is about. Short of that, I write a list and revise it until it doesn’t suck.
Nick Savage, author of A Vampire Names Allison
In my Cabin by the Lake Mysteries I started each book with “Death of …” because I wanted to indicate that these were murder mysteries and each title would tell the reader something about the victim. In my Liza and Mrs. Wilkens series “The Death of Goldie’s Mistress” the title came naturally because Goldie is a cat and it’s her owner who has died.
Linda Norlander, author of The Death of Goldie’s Mistress
I strive for a balance between meaningful and marketable – a pitch which slides off the tongue. My goal is for a title that’s memorable like a catchy song or repeated phrase. Titles like “Roman’s Reckoning” and “Mikael’s Moment” were easy to create. “Grabbing A Slice of Minnesota Nice” was trickier, but I think it carries that special sauce which audiences will remember – even if they don’t remember every detail in the book itself.
Lucas LaMont, Author of The Chronicles of Fate Series
I called my first book “A Sweet and Fitting Death.” It came from a poem by the Roman poet Horace: “It is sweet and fitting to die for one’s country.” The publisher thought that WAY too over the top and changed it to “Death on the Sapphire,” after the fictional Sapphire river, where much of the book takes place. From then on, I kept simple: “The Greenleaf Murders” and “The Turnbull Murders.”
Richard Koreto, author of The Turnbull Murders
Their names always refer to an essential feature, origin, cause, main character or place—a foundation, without which the story would crumble.
Taggart Rehnn, Author of The Door:Souls in Peril
My novel titles are an explanatory metaphor of the stories themselves. For my first novel, Mackinac Island Nation, it meant that the small island was about to become its own country. My upcoming novel’s title, Whither Utopia, is a play on words: Whither means “where,” but it sounds like “wither,” which implies Utopia is dying, which is actually what’s happening.
Erik Deckers, author of Mackinac Island Nation
In my cozy mystery series starring three senior citizen ladies, I have used plays on words. The first, about a jewel robbery, was condensed from There’s No Jewel Like an old Jewel, to simply Old Jewels. The second, No Stone Unturned, takes place at Stone Mountain, Georgia. The third, Hare Today, Gone Tomorrow, involves a lost rabbit, a dog, and a murder. It’s a fun challenge.
Pat Pratt, author of Hare Today Gone Tomorrow
I name my books based on an overall theme. Or, I wait for the title to work its way out of the narrative. Sometimes it’s already named at the beginning of writing it, other times it’s when I’m editing for the 5th time!
Ty Carlson, author of The Bench
Typically, the title will come from a phrase or word in the story. It is a rare occasion, I know the title in advance. It still doesn’t mean I will use my first selection. It all depends on how many other books have been written with the same title.
Anita Dickason, author of the Iris Code
I have always wanted to become a highly literate poet. Fate decided otherwise and turned me into a noir storyteller. Stubborn as I am, I tried to write my books in a poetic style. But the most excellent satisfaction I garnered from my lyrical book titles. What, for instance, do you think of “Scars Of The Heart,” “The Left-hand Path of Tantra,” “Cadavre Exquis,” “Seven Letters To My Call-Girl,” and many more?
Bob Van Laerhoven, author of Scars of The Heart
For my most recent book and I got that title after thinking through about 40 different options. I decided I wanted to do a series and Embracing would be the name of the series, and the focus of this particular one would be about finding inner calm.
Anne Beall, author of Embracing Calm: Meditation Journeys for Inner Peace
I believe that the title of a book should reflect the essence of the story with a twist to interest readers. Brick, Lime and Moonshine is about employees who work for Washington brick and lime company until it closes during the Great Depression. They become rumrunners and create the Brick and Lime Club where friends can drink illegal liquor. The odd relationship between brick, lime and moonshine is the twist.
Victoria Ventris Shea, author of THE GHOSTS OF WHIDBEY ISLAND
In the case of Devils Island, the title came easily as the book concerns the Tasmanian Devil, which has been struggling due to a contagious disease. A number of the non-infected devils were relocated to a remote island off the coast of Tasmania (which is true). And the locals now refer to the island as “Devils Island” (not true).
John Yunker, co-author of Devils Island (coming September 2024 from Oceanview Publishing)
My first historical fiction novel is part of a biblical quote, the second book is a famous song title from the 1920s, and the third of this series (July release) is named after the main character. My thriller had a different working title, but included a date that created a muddy transition from title page to prologue to first chapter, so I changed it to the last sentence of the first chapter.
Mim Eichmann, author of TAYVIE’S STORY (2024).
I changed the title of Chasing the Sun when I realized the sequence of action moved across the Continental United States just as the sun does. Holmes, Moriarty, and the Monkeys involved members of the Holmes and Moriarty Society, including statues of the three mystical monkeys sitting on the fireplace hearth. They were mysteriously joined by the fourth monkey, Sezaru.
Bill Gunn, author of Chasing the Sun
For the Transit series, I’m very specific about the meaning. Normally, it comes from the epigraph, but sometimes, it’s more obscure. The title must include the theme, if possible. For some standalone books, however, the title comes to me with the idea. For example, Beneath Gehenna came from my original scribbled notes, as did the Beans of Anafi. —Benjamin X. Wretlind is the author of the Transit anthropological sci-fi series and many other novels.
What is New with the Celwyn Series?
What is new with the Celwyn Series?
Book 6 is through editing and my publisher has ordered the cover. Yeah! Swango, will be out late this year and spells a shift in genre for the fun-loving magician and his band of merry men. You still have time to read book 5, The Wyvern, the Pirate and the Madman—which is a set-up for book 6.
Here is what will probably be the final version of the blurb for book 6:
“A magician, a widower, and an automat travel the world… but nothing has prepared them for Swango. In 1870s Singapore, Celwyn survives a vicious attack only to find it may take even more luck to endure his own family. His brother Pelaez has returned, insisting on his innocence, and their father Wolfgang Augustus Griffin has his sights set on Nemo’s marooned crew. As the Nautilus travels to Beirut, Prague, and Findbar Island, they meet Swango, a seemingly innocent clairvoyant and drinking buddy from the magician’s past, a man who appears to have more help with his predictions than most spiritualists. Meanwhile, Nemo must finally confront the secrets of his own past.
When the magician and the others leave Singapore, they are grieving; a member of their family has been murdered in Prague.”
Book 7 opens as the Nautilus journeys to the Castell de Ferro on the southern Iberian coast in Spain where Doctor Jurik Lazlo is hiding. Captain Nemo has been searching for him for a long time.
For book 7, Lucky and Mrs. Nemo, progress has been made since the last newsletter. It is always good to report progress, even if a few unexpected things occur along the way that make things interesting. Sometimes I know what I meant to say, and sometimes it is a mystery. Celwyn and company are adjusting to what Swango has wrought; and some of them are more gracious about it than others. There has been another attack on Findbar Island by a mysterious villain who is after the flying machine. This time it isn’t Pelaez, but that doesn’t mean Celwyn’s brother is innocent at all.
Miss McFein, the beautiful vampire Celwyn is in love with, discovers the ghost of Findbar and is thankful she can run fast. The new scientist, Doctor Martha Gluck, known as Lucky to her friends, has joined them to take over the construction of the flying machine. She is also an American sharpshooter and can drink them under the table. And Lucky is quite fortunate, perhaps lucky; she meets Pelaez during an extremely dangerous situation he finds her fascinating.
Book 8 is still safely put away (130 pages of the first draft) until I have book 7 under control and mostly edited. At the rate I’m going, that is late July. I couldn’t feel virtuous going forward with it unless book 7 is on track.
The near future holds another companion book for the series, untitled, and it will star Pelaez while he demonstrates his devious ideas of fun.
The Science Fiction Writers of America Stance on the use of AI
The Science Fiction Writers of America provided the following info when I asked their official opinion of Ai.
So much hair, so little time, and no editing help.
An Interview with Eric Deckers, author of Mackinac Island Nation
Erik Deckers has been a professional blogger and ghostwriter since 2009 and is the co-author of four social media marketing books. He published his first novel, Mackinac Island Nation, in 2019; his second, Whither, Utopia, will be released in 2024. Erik has been blogging since 1997, and a newspaper humor columnist since 1994. For Spring 2016, Eric was the Writer-in-Residence at the Jack Kerouac House in Orlando. and is now the president of their board of directors.
Mackinac Island Nation is a historical thriller that twists and turns through an unforgettable plot.
When you were writing this book or previous books, did the plot flow just as you initially wanted it to look, or did you have to change anything major? I always worry that I don’t rewrite my books enough. I have one friend who rewrote his entire manuscript 3 or 4 times. Another guy I know rewrote his manuscript 17 times! He would print out the previous one, stick it in a drawer, and then rewrite the whole thing. That always seemed a little precious to me and maybe a bit of fear. I pretty much know what I’m going to say the first time. I plan my books out and then just write everything down in the first draft. There may be things I have to change, but they’re minor. I know what I want the characters to do and say, I know how I want the story to end, so I just write the story until we reach there. It could be that I’m not torturing myself enough in the writing and rewriting, but not enough that I’m going to actually do anything about it. For now, it’s just a low-grade nagging in the back of my brain.
Can you see yourself using AI in your books? On what part and why? I use AI as a tool for brainstorming new ideas. When I ghostwrite nonfiction, I use Otter.ai to transcribe the interviews. But for actual creation? Not at all: AI doesn’t write with heart, and it doesn’t engage.
Which of your books was the hardest to write, and why? My first novel, Mackinac Island Nation. At that time I had a writing residency at the Jack Kerouac House in Orlando, and it gave me terrible impostor syndrome. I worked hard to fight the feeling because it dogged me. I had to ignore my fears and focus on my work.
Does your own reading stay within your writing genre, or do you read a different genre for yourself? I love reading humor and satire because that’s primarily what I write. But I also love reading mysteries. I would like to write mysteries, but it hasn’t happened yet.
It looks like you also write nonfiction. Is there more of that in your future? Yes, constantly. My first four books were all nonfiction (on social media and branding), and my novel was my first attempt at book-length fiction. I will be doing a lot more fiction AND nonfiction in the future.
Will there be a sequel to Mackinac Island Nation, and if so, what will it focus on? Will it have a solid ending or leave things open for more? My second novel, Whither Utopia, is a sort of sequel. It takes place in the same universe as the first, but it’s 40 years in the future, and all the world’s conservatives are dead from another pandemic. Some minor characters and their children from this book appear in the second one. My current novel is not a sequel.
What is in a Name?
How do writers find names for their characters?
A few words on Names… (her name is Wolfie)
Look to the future. If you are writing under your real name, will it some day reflect on your personal or professional life? Or the reverse, will it help your sales to have your real name connected to your genre?
You might want to consider a nom de plume for your writing. I use my middle and maiden name. Also, for your social media name it is very helpful to have the word “author” or “writer” in it,. Even if you are new and aren’t ready to use certain social media for your writing, lock down the name you want now. Also, if you are satisfied with your site’s name, then great, otherwise, it would be good to get a book centric domain too.
Character names are important, and they should either match the character’s skills/traits, persona, or visual of them, or be the opposite. A character who is the opposite of what their name suggests is memorable. Example: in Clockwork Dynasty by Daniel Wilson, the female protagonist—who was brave and fearless—-was named June.
Where to find names? You will run into them long before you need them, and a tip is to keep a running list. Texting or emailing yourself when you see one is an idea among others, or an ap.
You can find great names in:
the credits at the end of tv shows, magazines, or movies, or acknowledgements in books. Sometimes, you will see half a name ( eek! copyright. Don’t use the whole thing) in other books, commercials, blurbs for other books (not necessarily in your genre), and there is always traditional old-fashioned names.
You can also make names up. One I made, or had never seen, was Mrs. Pentafax (she ended up as a little old lady). I think I was looking through an office supply catalog at the time. Or if you see a great one already used, you can change the spelling of it. And don’t be afraid to combine them.
More Name Sources Internet sites for: baby names, foreign baby names, historical sites, the listings at cemeteries, businesses, magazine (foreign too) articles, names of ships, city maps of interesting towns/cities in Europe.
Someday you might discover a name that actually suggests a character to you……
An Interview with JP Corwyn, author of The Drums of Unrest
JP Corwyn is a legally blind Military Fantasy/Horror author, singer, songwriter, and composer. His genre tags—Blind, Indie, Rock and Blind Indie Prose—aren’t simply pretentious and snarky!
Corwyn started the Cycle of Bones series in early 2019 as an indie author. In 2023, he was approached by and signed with 4 Horsemen Publications. The new books, The Drums of Unrest and The Eaters ofTime will be available August 2024.
Were any of the magical creatures in “The Drums of Unrest” based on creatures from real-world folklore?
In Drums—specifically, only one thing fits that particular bill: the Vodník. The major location in the early parts of the series is the Duchy of Kovalun, which is based largely on Czech and Estonian cultures. The Vodník found an easy home there beside creatures either partially, or fully, of my own design.
It is highly unusual to find an author who marries his music to his prose. Can you talk about the music Silver in the Skies from The Cycle of Bones, original soundtrack?
I am, as far as I know, the only author who composes, produces, performs, and records his own soundtracks. At least so far. That song is a moment in time within the prequel: The Dawn of Unions. It’s the memory of a moment just before a particular battle begins, penned by a survivor of that battle, and is based on an earlier instrumental piece that serves as Countess Ylspeth’s theme. It seems to have resonated with fans, which is flattering, as always.
Do you find writing action scenes stimulating or difficult?
I get asked this a lot. There are authors who act out some of what they write. I spent nearly a decade fighting in armor (and loving every minute of it) before 2017. At that point, my continued vision loss made that impossible. While I miss it terribly, as many of my fellow combatants say, “life’s hard. Wear a helmet.” When I eventually picked up the proverbial pen, I came to a conclusion—one I’ve often been quoted for in the years that followed: “If I can’t describe what it’s like training or fighting in armor, or standing in the shield wall, what the hell was I doing all those years?” I don’t want you to feel as if you’ve watched or read about a battle sequence. Instead, I want you to feel as if you were there in that battle. I want you to stand shoulder to shoulder with Kaith, Kastan, Eobum, Lashjuk, Geroslaw, and all the rest who were there.
Avid bibliophiles need a reading list. It doesn’t have to be in-depth or chiseled in stone, but it helps to keep you on track and avoid reader burnout. Here are a few essential tips to get you started on the road to better reading.
Before you start building your list, let’s take a look at your goals. Determine why you’re reading each book. Are you looking to learn something new, entertain yourself, or achieve personal growth? Having clear goals helps you choose books that align with your objectives. This is usually the most essential aspect of building a personalized reading list.
Now, you can start making a reading list that suits you and brings you joy.
Diversify your genres: You should include a mix of genres to keep your reading interesting and broaden your perspective. Try to balance fiction with non-fiction, classics with contemporary works, and include authors from various cultural backgrounds.
Recommendations: Consider books recommended by friends, family, or trusted sources. Recommendations often come with personal insights that can enhance your reading experience.
Research: Before adding books to your list, research the authors and read reviews. This will help ensure that the book aligns with your interests and expectations. Nothing is worse than starting a book only to find that its views and values don’t mesh with your beliefs.
Limit Your List: Keep your reading list manageable. Instead of having an overwhelming number of books, maintain a list of top-priority reads and revisit it regularly to update and refine it. This is possibly the most challenging tip for avid readers. We want to read everything…now!
Balance Length and Complexity: Mix shorter, lighter reads with longer, more complex ones to prevent burnout and keep your reading momentum going. After I finish a heavy book, such as a psychological thriller, I find a light romantic comedy or historical fiction cleanses the palate. Read the rest of the list here:
Following these tips, you can create a reading list tailored to your interests and goals, keeping your reading experience enjoyable and fulfilling. This will help you become a lifelong reader who thoroughly enjoys all aspects of reading.
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Speaking of lists, here’s a peek at a “few” of my upcoming June reviews just to show you the diversity of what I review on my blog.
The Rosy Dream, Books 1 & 2, by Matt Duggan (Ostraca & In Extremis) – Mystery, Thriller & Suspense Literary Fiction
Exiles by LJ Ambrosio (Book 3 in the Reflections of Michael Trilogy) – Coming of Age Fiction
Rock, Crush, Roll by Hunter Snow – Rockstar Contemporary Romance
Cornbread, Ribs, and Murder by Brenda Whiteside (Chocolate Martini Sisters Mystery) – Cozy
My Gangster Father and Me by Marcia Rosen – Memoir
The Celwyn Series YouTube channel
An Interview with A. R. Farina, author of Welcome to Mansfield!
A.R. Farina is the author of the Austen Chronicles series from 4Horsemen Publishing. He shares an empty nest with his librarian wife, and they enjoy reading books and watching sunsets. He is a college professor with a M.A. Ed. and an M.F.A. in Creative Writing. Fun fact: he hosts a weekly podcast on the Comics in Motion Podcast network where he critically analyzes indie comics and graphic media.
Welcome to Mansfield is a modern-day, coming-of-age retelling of the classic Jane Austen story filled with heartache and friendship.
1. Is there something about your books or your point of view that you think readers should know? The narrator of the Austen Chronicles has an opinion and speaks directly to the reader all the time. It is personal. The narrator will say, “Don’t worry Dear Reader.” and things like that. It is a different way to do third person, and makes the narrator feel like part of the cast.
2.Of all the characters in the books, which is the most like your personality? The character of Julia is the most like me. She is altruistic to a fault, and that holds her back as much as it propels her.
3.Will there be a sequel to Welcome to Mansfield, and if so, what will it focus on? Will it have a solid ending or leave things open for more? Yes! It is a series. I am doing a modern retelling of Jane Austen’s books in a shared universe. So each book is stand-alone, and the characters interact. Book 2 comes out in October and book 3 is with the editor. I am starting book 4 now.4. Do you have your next book’s plot already in your head? Could we have a preview? Books 2 and 3 are prequels to book 1, so book 4 is a direct sequel. We meet the character Jane Fairfax in the first book briefly, and we are going to follow her journey as she grows as a person and a songwriter.
5. Can you see yourself using Ai in your books? Never ever ever. I would rather write a book that sucks and has a soul, than a perfectly acceptable book that doesn’t.6. What do you think new authors should decide before they begin their book? Should it be who they are writing for (themselves or their audience)? They should know what story they want to tell for themselves. The most harsh critic and most important member of the audience is in the mirror.
7 Are there books in another genre in your future?For sure. This series is full of YA books set in the modern world. I have some essay collections coming out soon. I also have some ideas for a dark short story collection for adults. The working title is Unresolved. Each story ends with an open question of what happens next. I also have thought about retelling some of the horror classics from minor characters’ perspectives. An example is telling Frankenstein from Elizabeth’s point of view.8. Does your own reading stay within your writing genre, or do you read a different genre for yourself?I read anything. I usually have several books going at once to keep the ADHD happy. I am currently listening to a classic, realistic fiction novel as an audiobook, I am reading a horror comic omnibus, and because my day job is that of a college professor, I am always reading research papers.
An Interview with Richard Walter author of Deadpan
Richard Walter is an author of best-selling fiction and nonfiction, celebrated storytelling educator, screenwriter, script consultant, lecturer and a retired professor who led the screenwriting program in the film school at UCLA for several decades. He has written scripts for the major studios and television networks; lectured on screenwriting and storytelling and conducted master classes throughout the world. His new novel, Deadpan, published by Heresy Press, is available for order now.
….there is a priceless joke at the end of this interview…..
1. You are a fan of magical realism. Give us your definition of this genre and what are its advantages to an author?
Magical realism describes narratives about the fantastic and fantastical, incredible events in an everyday, rational, believable voice.
2. Does your own reading stay within your writing genre, or do you read a different genre for yourself?
No. I hold that there are only two genres: good writing and bad writing. The former is engaging; the latter is boring. I read as much nonfiction as fiction, perhaps even more so.
3. Is there something about your books/your point of view that you think readers should know?
I believe all literature is about the same theme: identity. Who am I? How do I know I really am the person I believe myself to be?
In Deadpan, an anti-semite has thrust upon the protagonist the identity of a Jew, and not just any Jew, but the world’s most popular standup comedian.
4. When you were writing this book or previous books, did the plot flow just as you initially wanted it to look, or did you have to change anything major?
For me, writing is an evolutionary enterprise. Throughout the process, story, character, action, and dialogue are constantly changing. When I get started, I compose an outline of the plot; then, as I move through the through the narrative, I gradually throw the outline away.
5. Talk about your non-fiction side.
I have actually written three nonfiction books about screenwriting. I don’t mind bragging that the world’s largest publisher, Penguin/Random House, has had them in print for thirty-five years and has sold over a hundred thousand copies. In those books I argue that there is only one rule that cannot be broken, including this one: There are no rules.
In my most recent such title, Essentials of Screenwriting, I insist that screenwriters must start with an outline, and then throw it away. This does not mean, I continue, that you can suddenly cut to, say, the 1955 World Series at Ebbets Field in Brooklyn.
In my new novel Deadpan, I suddenly cut to the 1955 World Series at Ebbets Field in Brooklyn.
Richard’s social links: Social links: Subscribe to his podcast onSubstack and blog onMedium, and follow him on Twitter and Facebook.
Book 6 is nearly through Editing with my publisher, and it is always a surprise to see how much of it comes flying back to me to approve the changes, or figure out what I really meant. Sometimes it is a festival of corrections, sometimes I wonder if I really wrote it. Swango,the TranslatorLied will be out late this year, and when the cover is ready, I’ll reproduce it here.
A rough draft of the blurb of Swango: The story opens in 1877 as Celwyn and his brother survive a vicious attack in Singapore. The atmosphere aboard the Nautilus is tense; not only has Pelaez returned (claiming his innocence for destroying the flying machine), but a third of Nemo’s crew is marooned in the city and under threat by Wolfgang, Celwyn’s father.
When the magician and the others leave Singapore, they are grieving; a member of their family has been murdered in Prague.
The magician’s first encounter with Swango is told as they plan for the Nautilus’ journey to the Castell de Ferro in Spain where Doctor Jurik Lazlo is hiding. Captain Nemo has been searching for him for a long time.
For book 7, Lucky and Mrs. Nemo, progress has been made since the last newsletter. About 250 pages of the hand-written first draft are now digitalized and there’s only about 85 more pages to go (thank God). I can’t compose with a keyboard, and it is what it is. If I were a violent person, every time Dragon decided to invent what it thinks I said, or call Kang “Came” I would blast away with something to blow the software back to where it came from. This is after making several tutorials with the software and trying to teach it individual frequently used words.
Book 8? I have it safely put away (130 pages of the first draft) until I have book 7 successfully input (despite Dragon) and edited. At the rate I’m going, that is July.
The near future holds another companion book for the series, untitled, and it will star Pelaez demonstrating his untrustworthy and devious ideas of fun.
An Interview with a Volunteer for Engin
Sharon Ruth Hensley applied and was accepted to volunteer with Engin December 2023.
What motivated you to join Engin? Had you ever tutored anyone before? In my younger years I enjoyed working as a childcare provider. Aside from the disability rights advocacy group I’m a member of, I had not volunteered in a formal capacity since 2019. I was considering what organization to become involved with last year and discovered Engin through volunteer match.org. I researched Engin and decided it was a good fit. Being able to teletutor is a positive for multiple reasons. And I have long been interested in cultural exchange, history, and travel. Although I have prior tutoring experience, I had not previously worked with an EFL or ESL student (English as a Second Language experience is not required). It has been a positive experience overall.
Engin does not require a degree or classroom time for their tutoring volunteers. Is there a skill you think they do need to have? Some Individuals with strong English and Grammar skills can successfully tutor without a degree, especially if they have equivalent experience, but I think a less simplified version of Engin’s application and interview process might be better. It also helps to be patient and personable.
If you were to take on a second student, would you prefer one that is still in university or in the workforce? Would you prefer a beginner, intermediate, or advanced student? I intend to begin working with multiple students now that my personal and professional schedule has become less hectic. My current student attends school and has a job. I have no preference. An advanced student makes my role easier, but I am willing to work with beginners. When the student wants to learn and makes the effort, I’m happy to help.
Could you describe the support Engin gives a volunteer like yourself? Is there anything else you think would be helpful? I am not well versed in everything they offer. When I saw the option to have a mentor, I immediately requested one. My mentor was able to answer all the questions I had before my first session. The monthly volunteer Zoom meetings are likely beneficial, but I haven’t been able to take advantage of them yet. Both of those can potentially help volunteers better manage any negative impact sessions have on them. Empathetic individuals can become emotionally overwhelmed when regularly interacting with those in difficult situations. I discuss some aspects of my volunteer work with my therapist and am able to properly process accompanying emotion. Some people don’t realize they need therapy, are resistant to it, or are unable to access it. It might be helpful for Engin to periodically check in with volunteers about their psychological state.
Many tutors become friends with their students even after their sessions stop. Do you see yourself doing that? Becoming friends with future students is a possibility. I do intend to stay in touch with my current student. She is an exceptional young woman. I am hoping her future is a happy and healthy one
In this issue: The Celwyn Series book signing, MWA news, a reader’s POV, reviews, and an article on book trigger warnings.
Celwyn’s Cats
She has read all the books in the series, have you?
Book Signing!
Please join us on May 4th from 2-4 p.m. Barnes and Noble 1530 Black Lake Blvd. Olympia, WA.
Lou Kemp will be signing all of the books in the Celwyn series, including book 5, The Wyvern, the Pirate, and the Madman. Mystery writer Linda Norlander will also be there, signing The Death of Goldie’s Mistress and her Cabin by the Lake Series.
Linda Norlander has been busy. Not only will she be signing copies of her new book on 5-4-24 in Olympia, but she also has a new short story in this year’s Malice Domestic’s anthology Mystery Most Devious. Her story is called, The Plan.
There will be some copies of Left Coast Crime’s new anthology on the table, too.
An opinion from author Benjamin X. Wretlind. If you have questions or a rebuttal of the issues raised here, please forward them through the Loukemp.com contact page.
1. Are trigger warnings needed? When are they mandated and does that need to change?
In my opinion, trigger warnings are not needed and should not be mandated. Books have contained challenging and potentially upsetting content throughout history, and readers can choose what they are comfortable with. Mandating trigger warnings infringes on creative freedom and treats readers like children who can’t think for themselves. In the same breath, however, I agree with the argument that times are changing as have reader perceptions. That is not necessarily a good thing. Mandating anything in the creative realm is a step in the wrong direction.
Trigger warnings were initially designed to assist individuals with posttraumatic stress (PTSD) symptoms in determining whether or not to engage with potentially triggering material; however, they have been linked to perpetuating avoidant behaviors that sustain the PTSD. Temporary relief can be obtained by avoiding trauma reminders, but persistent avoidance is connected to long-term psychological disorders and heightened posttraumatic stress symptoms (Pineles et al., 2011).
2. Do trigger warnings violate freedom of speech?
This is a different question. There is an argument that trigger warnings are a violation of free speech, and yet I don’t necessarily buy into that absolutist opinion. In 1975 the U.S. Supreme Court ruled that “[T]he Constitution does not permit the government to decide which types of otherwise protected speech are sufficiently offensive to require protection for the unwilling listener or viewer. Rather, … the burden normally falls upon the viewer to avoid further bombardment of [his] sensibilities simply by averting [his] eyes.” (Erznoznik v. City of Jacksonville, 1975).
Yes, trigger warnings can be considered a form of censorship that stigmatizes certain content and pressures authors to avoid difficult topics. But they also give people the freedom to walk away from something they might feel would be triggering. Free expression means authors should be able to write what they want without warnings being forced upon their work by others, but if not including it impinges on the right to be free from triggering content, then does it constitute a violation of another’s right? I will argue that in a university or school setting, trigger warnings—while well-intended—can be used as a get out of class free card which is one reason the American Association of University Professors (AAUP) is against them.
As someone who does not sit on the U.S. Supreme Court, though, I would have to say “I have no idea” to this question.
3. Do trigger warnings help or hurt sales?
My gut reaction is that trigger warnings likely hurt sales overall, and yet I have no data to back that up. They might make books seem more controversial and off-putting than they really are. I don’t know. Most people read to be challenged, not coddled. There is an argument that the small minority who demand trigger warnings probably don’t read that much anyway, but I doubt that’s true, either.
Typically, trigger warnings are a specific type of content warning designed for those who have experienced trauma or PTSD. Content warnings, however, are different, and that’s where the problem with this whole argument lies. Someone who suffers clinically from PTSD may be “triggered” by content that reminds them of past events. In this case, they probably wouldn’t buy or read that book and having a heads up may help. But can we stop calling them “trigger warnings” then? They are, in fact, content warnings like the kind you see handed out by the Motion Picture Association of America (MPAA). Tell me in one or two letters what I can expect from this book, and I’ll decide if it’s worth my time.
Again—I WILL DECIDE. Not the government, not a publisher, not some arbitrary committee made of members who do not know me.
There is no BAA (Book Association of America), and please don’t argue that it should be the government that sets up a censorship body. That’s frightening, and also goes back to my first point: trigger warnings should not be mandated. You want to put them in, put them in. You want to leave them out, leave them out.
4. Should an author have a say in trigger warnings (content or even having them) whether an indie or with a publisher? Freedom of speech should cover any lawsuit, if at all, right?
The author should absolutely have the final say on any content warnings, if they are even included at all. It’s the author’s intellectual property and creative work. No one, including publishers, has the right to label or categorize an author’s writing against their will. And yes, lawsuits challenging compelled trigger warnings on First Amendment grounds would likely succeed. See the case of Erznoznik v. City of Jacksonville (1975). If that gets overturned, I would recant this statement.
5. Considering books for children are in the children’s areas in bookstores, is this trigger needed?
I despise this argument. Physically, we can say someone is a child at this or this age, but mentally, children can be physically much older. I really don’t believe trigger warnings are needed for children’s books—remember why trigger warnings were created in the first place (for those who suffer from PTSD). But content warnings might be appropriate. They do that in movies, so why not books?
Here again is the problem. Who decides what “rating” a book gets? Age recommendations and general content expectations already exist for children’s literature. Parents can easily avoid more mature content for their kids if they so choose. Adding trigger warnings to children’s books is utterly unnecessary and against their intended purpose in the first place. It may also absolve parents of their accountability—something we don’t need, even if times are changing.
6. But, how would a parent on Amazon know of the violence content when they need to? Violence level is not a filter on the choices next to children’s books (that I can find) Or, should the parent be responsible to read the blurb where it talks about the book? What if the blurb didn’t disclose violent content?
It’s the parent’s responsibility to determine if a children’s book is appropriate for their child, not Amazon’s, not Barnes and Noble’s. Do you want to force a corporation to adopt a governmental mandate that restricts free speech? Again, see what the Supreme Court had to say. Parents can read the description, flip through the book in a store, look at reviews, etc. If a children’s book contains notably mature elements, the publisher may mention that in the blurb, but they should never be obligated to. Ultimately, it’s up to the parent to vet their children’s reading material.
Are we coddling to parents to who don’t want to accept responsibility for their buying choices?
7. What do writers organizations say about trigger warnings? What should they say?
I do not know what writers’ organization have to say about trigger or content warnings and my search really came up with nothing good. It seems to me the debates are prevalent amongst members, and if any of them have come out with a definite statement, then it’s so buried in their website that it’s unreachable.
That said, I do know what the American Association of University Professors (AAUP) has to say:
Institutional requirements or even suggestions that faculty use trigger warnings interfere with faculty academic freedom in the choice of course materials and teaching methods. Faculty might feel pressured into notifying students about course content for fear that some students might find it disturbing. Of course there may be instances in which a teacher judges it necessary to alert students to potentially difficult material and that is his or her right. Administrative requirements are different from individual faculty decisions. Administration regulation constitutes interference with academic freedom; faculty judgment is a legitimate exercise of autonomy (AAUP, 2014).
It’s not a writer’s group, but there is an interesting point in this statement: “Administration regulation constitutes interference with academic freedom…” You can change that to “Government regulation—or regulation of any sort from any entity—constitutes interference with creative freedom…” and you get the message.
Writers’ groups should strongly condemn trigger warnings as antithetical to creative and intellectual freedom.
8. Would a voluntary simple rating everyone could agree to work? Or is it even needed? Should book jackets mimic what movies do in their warnings on language?
I’m actually fine with this. Like I’ve said before, give me a letter or two that says there might be content I could be disturbed by and I will make the choice of whether or not to read it. I will take responsibility for my actions. I will be in charge of my own choices.
As a writer, I probably wouldn’t use a voluntary rating system myself, however.
And that should be my choice.
Take away my choice and you have a whole new argument.
Bruce, M. J., Stasik-O’Brien, S. M., & Hoffmann, H. (2023). Students’ psychophysiological reactivity to trigger warnings. Current Psychology, 42(7), 5470–5479. https://doi.org/10.1007/s12144-021-01895-1
Charles, A., Hare-Duke, L., Nudds, H., Franklin, D., Llewellyn-Beardsley, J., Rennick-Egglestone, S., Gust, O., Ng, F., Evans, E., Knox, E., Townsend, E., Yeo, C., & Slade, M. (2022). Typology of content warnings and trigger warnings: Systematic review. PLoS ONE, 17(5), 1–14. https://doi.org/10.1371/journal.pone.0266722
Pineles S.L., Mostoufi S.M., Ready B., Street A.E., Griffin M.G., & Resick P.A. (2011). Trauma reactivity, avoidant coping, and PTSD symptoms: A moderating relationship? Journal of Abnormal Psychology. 120(1), 240-246.
Bio: Benjamin Wretlind has several speculative fiction/science fiction series, including the Transit Series and the Aebris Series. His non-fiction books include Creating Atmosphere with Atmosphere which is a great book for writers who like effective scene setting. The Widening Gyre is out on Amazon along with his newest, Aebris Storm.
A Sampling of Reviews
Review of Deadly Keepsakes a cozy mystery by Anita Dickason
Reviewer: Karen Siddall5.0 out of 5 stars A modern Gothic romantic suspense/mystery like Phyllis A. Whitney. Reviewed in the United States on July 25, 2022
“Deadly Keepsakes” is a modern recreation of the Gothic romantic suspense novel in the vein of such great authors as Phyllis A. Whitney or Daphne du Maurier. Rather than the setting of the big house on the dark, remote, craggy-cliffed island, author Anita Dickason has reimagined the genre by placing the story smack in the middle of hot and sunny, small-town Texas.
Dickason amps up the suspense from the very start with Tori fleeing her home in Springfield, only months after her mother’s death, to escape the intimidation and revenge of the Russell family. But thankfully, Tori is a bright, capable, and determined heroine (unlike some of the fragile, helpless females of old), and she takes matters into her own hands to keep herself safe.
When she reaches her new town in Texas, she is immediately surrounded by the influential, successful people at the core of Granbury society: men who seem to feel they know more about what’s in her best interests than she does. I was so glad to see her set them straight quick, fast, and in a hurry. Two handsome men are also personally interested in the new heiress, and both are deliciously suspicious. But our girl keeps a wary eye on them both, though. Even as she feels attracted to one, she doesn’t let this blind her to his possible participation in the strange goings on. She keeps them both at arm’s length as she figures things out.
Review of The Bench, a thriller from Ty Carlson Reviewer: Sandra Bruxvoort 5.0 out of 5 stars Achingly sad…with a twist. Reviewed in the United States on January 29, 2022
“Love isn’t a feeling. That’s called infatuation. Love is what happens after the infatuation fades, when it becomes the choice you make every morning. Will I stay committed to this person, or will I choose to do what I want based solely on what’s best for me? Choosing to work with that person—whether you want to or not—that decision is what we call ‘love.’” A treat. Reading The Bench is a little like falling in love. You set upon the path, objectively recognizing that although this story is new, you can’t quite shake the feeling of familiarity as you fall deeper and deeper into the heart of it. You give yourself over to it completely. By the time you realize what’s happening, it’s gone, and you’re crying. And it isn’t until you look back that you see the signs were there all along, but that doesn’t ease the emptiness that sits with you. I guess it’s a bit like grieving in that regard, too. You’re left to pick up the pieces, and you wonder, “Well, what do I do now?”
Ty’s writing is emotional and atmospheric while not being flowery. He writes real people with real vices (and real demons), and his characters feel like people you actually know in real life.
Being from Arkansas, I loved coming across the local Easter eggs. I also thought the themes presented were so tragic and poignant for the times. There’s a strong sense of lost time and of places long forgotten that are felt heavily throughout the book.
The Bench casts a light on the whole matter of ethics and technology’s place in society. Whether a line exists, and if so, where? This is why I enjoy good science fiction—you get to explore the implications of technology by being plopped into a story about everyday people.
Review of Hare Today Gone Tomorrow a cozy by Pat Pratt Reviewer: Hussong’s Cantina 4.0 out of 5 stars It moves faster than a hare! Reviewed in the United States on November 3, 2023
“Pat Pratt’s cozy is full of personality and the scenes keep the plot moving. At no point did the story drag. The writing isn’t complicated, opting instead for smooth reading. The author used great economy in her introduction of the characters and their descriptions—another way of keeping things moving and interesting. One thing this series displays is the friendship within the retirement home, and dispels the myth that because they are old, the residents can’t be useful and intuitive. A grumpy narrator is featured, one who “says” she doesn’t like animals. That is novel and interesting, while in reality the narrator is vulnerable to the welfare of Frodo the dog. I liked the character Bernie the best for his unwavering persistence in the face of the narrator’s bad moods and attempts not to get too close to him. As the story moves along, clues fall into line along with the mis-directions while the action rolls forward. Bonus: if you want a killer rhubarb cake recipe, there is one just before chapter 31. This is pure cozy, and a great tea drinking read. As part of the tidying up, the original chars that brought them this murder case are looking forward to a better life, and the Children’s choir won the regional title!
Review of Talia, Heir to the Fairy Realm, a adult fantasy by Joel C. Flanagan-Grannemann Timothy Wolff 5.0 out of 5 stars Entertaining yet surprisingly dark novel Reviewed in the United States on March 29, 2024
Thoroughly enjoyed this buddy read, though I admit the tone changes were wild lol. What starts off with carefree characters trying on clothes and dancing somehow becomes a super dark examination into betrayal, war crimes, and other atrocities. It’s kind of like Ferngully meets the Poppy Wars, which is a sentence I never expected to write.
The world-building was my favorite part. There are plenty of interesting tidbits for both the humans and fairies, and some hilarious phrasing. Looking forward to whatever happens in the next two books of the trilogy
Review of Robert J. Lewis’ Shadow Guardian, an unusual thriller Reviewer: Roger Robb A Great Sequel!!!! Reviewed in the United States on July 31, 2023
“This is the second book in the “Shadow Guardian” series. I had been anticipating the book after reading the first one which I loved! I loved this one as well! I couldn’t stop turning the pages until the end! Now I am having to drum my fingers until the third book comes out! 5 stars reading from me!
The story continues with the adventures of Diego and Alex (from the first book) where they had to work hard to keep Alex safe from that bad wolf who seemed to really had it out for him. In the meantime, their friends, Esmeralda and Freddy had been trying to keep the bad wolf contained until they could find a spell to break it. Diego and Alex felt frustrated with Esmeralda and Freddy for defending/denying the bad wolf’s behavior and couldn’t understand why. That’s where I’m going to stop and have you pick up the book to read to find out why and how! Happy reading!”
Review of Stacy Wilder’s Carmel Conundrum, a romantic mystery Karen Siddell Reviewed September 3, 2023
“Carmel Conundrum” is the second book in Stacy Wilder’s “Liz Adams Mystery” series and is a follow-up to last year’s popular and entertaining “Charleston Conundrum.” Accompanied by her lie-detecting dog, Duke, PI Liz Adams is on vacation in Carmel, visiting the attractive, attentive, and well-heeled Brad O’Connor and checking out the oceanfront property she inherited from her best friend, Peg. Liz decides to mix pleasure with business to stop whoever is using Brad’s confidential client information to create fake online identities that could destroy his company and reputation should it become public knowledge.
The main character, Liz Adams, may have discovered the perfect antidote to the emotional trauma of her divorce. Brad is a charming and kind man who seems genuinely into her, likes Duke, and appreciates her professional skills.”
Gina Rae Mitchell
Three Reasons I Love Reading Children’s Literature By Gina Mitchell Full list available on https://ginaraemitchell.com/
I am a firm believer in adults reading children’s books, even if a “child” is not present. There is so much adults can learn from literary jaunt through the children’s book section at your local library or bookstore. This is a snippet of my post, “7 Reasons Adults Should Read Children’s Books”
Fresh Perspective: Children’s books often tackle universal themes in a simple and accessible way, offering valuable insights and reminding adults of important life lessons.
Creativity and Imagination: Children’s literature tends to be imaginative and creative, inspiring adults to reconnect with their own sense of wonder and imagination.
Broadening Perspectives: Reading children’s books from diverse cultures and backgrounds can help adults gain a deeper understanding of different perspectives and experiences. Reading children’s books can be a hidden, delightful, and enriching experience for adults, reminding them of the joy of simplicity, the power of imagination, and the enduring magic of storytelling. So, pick up a children’s book today and expand your horizons
Upcoming on Gina Rae Mitchell’s blog the week of May 7th:
** Book Review – AXION: The Memory Rights Uprising by David Shulman, London producer, director, author
**Short Story Book Review – Cut & Thirst by Margaret Atwood
**Friday Finds – A curated list of books, Indie Author news, recipes, crafts, and trivia contests.
**Book Review – Legacy of the Witch (Book 1 of The Mystery School) by Kirsten Weiss
“….But truthfully many more characters deserve to die than there are authors willing to kill them….”
As a reader, what do you look for when trying a new author? ( Cover, theme, recommendations, or?)
I’m starting with reviews or word of mouth from specific sources whom I am familiar with their tastes. Reviews can be helpful but require some framing to analyze the reviewer themselves to be useful. I’ve purchased many novels (particularly fantasy) over the course of my life on the strength of an imaginative cover and it’s never been a particularly great idea.
When you read reviews, do negative reviews influence you?:(or if not a review reader, talk about why you do or don’t do reviews)
If it’s a negative review by an anonymous or unknown source it’s more likely to pique my interest than not. If a book can provoke a strong negative reaction it is a lot more likely to have something interesting to say and suggests an interesting experience from the read. I value a reading experience that challenges my thoughts and knowledge and expects my engagement for full value.
Do you stick with one genre, or love several of them? If you plan try a new genre in the near future, which one and why?
I don’t really categorize or judge value based on a concept of genre, It is for me too vague a descriptor and a vast number of quality books don’t hesitate to cross genres within themselves. A “fantasy” book can just as easily be a hard-boiled detective novel with noir influences or a classic swords and sandals adventure that’s far more concerned with pure swashbuckling action. Both may be satisfying and well written fantasy novels that provide entirely different reading experiences. I try to enter into a read with as few prejudices as possible and expect any “genre” elements to be incidental to a well-constructed narrative.
If you have had an author kill off a favorite character, what was your reaction? It is supposed to be good for a series to do that—do you agree?
The context does matter of course and every early death is not necessarily the best narrative decision, particularly when done for pure shock value. But truthfully many more characters deserve to die than there are authors willing to kill them. I enjoy fiction that isn’t afraid to give characters the endings they have earned or may strive to, and death is unfortunately an excellent and often natural way to provide closure and redemption for such arcs. It was certainly a formative moment when I read A Tale of Two Cities as a child and spent hours debating the value and morality of Carton’s sacrifice.
If you read a new author and were not happy with the book, what kind of things do you see that swayed your opinion? (Not enough drama, or tension, or action. Or plotting?)
“Boring” is the kiss of death. However what I find boring and others may find boring are entirely different things as I have a significantly dryer taste than many readers. I can handle being challenged on a huge number of technical issues or even process jargon with an effective companion or narrative support (Patrick O’Brian threads this needle brilliantly but even so many bounce off his works due to the jargon still) but if I genuinely find a book tedious or plodding I am likely to lose interest rapidly. Exploring and elaborating on conflicts between the characters and their environments is an essential key to maintaining my interest in a story and is critical to maintaining any kind of narrative momentum in the greater plot.
What is New with the Celwyn Series?
What is new?
Book 6? it is still in queue for editing at the publishers and due out this fall. It introduces a new direction and genre to the series, and I’m pretty sure you will like it—a weird imagination is a shame to waste.
For book 7, Lucky and Mrs. Nemo, nothing has changed since the last newsletter. About half of the rougher-than-sandpaper- first draft is still in the middle of my desk and not input into my pc. (And no screaming fights with the Dragon software about it have occurred) The good news is that I have about six months to get that done and edited. It is probably a sign of a sick mind when you meet your publisher’s deadlines by that much. However, I wanted to get on paper something that had been swirling around in the back of my mind like a Tasmanian devil chased by a rabid dog.
While on a river cruise in Germany, I recently wrote about 150 pages of book 8. There was none of the usual drama in my head….what will I do? what will I write? oh that is terrible!! More tea!!! ( then rip it up and throw it). Instead, I could do no wrong—- the words literally flowed like the Danube. Most interesting of all? I liked what I wrote. There is no tentative title for book 8, no hints forthcoming until I complete the first draft. I can’t afford another trip right now, so let us pray the magic continues.
For months, I’ve been volunteering with the non-profit group Engin to help Ukrainians speak and write English. No degree needed, or experience. Just an hour a week per student you want to help. The sessions are over Zoom. Engin supplies support and everything you need. Engin is a non-profit, and donations are always welcome. My students waited more than 8 months for a volunteer, and still others are hoping for a volunteer match soon.
If you can donate or volunteer, even for an hour a week, they would be so happy to hear from you.
Celwyn’s Cats The Beauty and the Beast. Guess which is which.
Book Signing!! Please join us on May 4th from 2-4 p.m.
Barnes and Noble: 1530 Black Lake Blvd. Olympia, WA.
Lou Kemp will be signing all of the books in the Celwyn series, including book 5, The Wyvern, the Pirate, and the Madman.
Mystery writer Linda Norlander will also be there, signing The Death of Goldie’s Mistress and her Cabin by the Lake Series.
Before this signing, Linda will be on a panel with other amazing writers for:
Left Coast Crime Conference, Seattle Shakedown, April 11-14 in Bellevue, Washington.
Interview with Victoria Ventris Shea
Bio: Victoria Ventris Shea began writing historical fiction of the Pacific Northwest at the recommendation of a psychic, despite disliking history. Her approach was to focus on the characters; real people with families like ours today. She retired from a career in education in Washington state and currently lives with her husband on Whidbey Island, home of Penn Cove mussels. Every day she enjoys reading, research, writing, cooking, yoga and her family who live nearby.
About Victoria’s historical novel, SHAGOON:
This multi-cultural historical novel begins with Ana’s Tlingit mother whose fierce love for her warrior husband and son launches a change for future generations. Ana, born of Wolf Clan, was meant to die in the Alaskan forest,. She was a naked newborn left with moss in her mouth while her mother fought to keep Ana’s brother. The babies were born with a deadly condition and although twins, the Wolf spirit has other plans.
My first book, SHAGOON, was hardest. It was 110,000 words. I cut it severely to hit the “sweet spot” of 80,000, then went back to fill some in again. The section breaks (blank space to show a change in time or setting) were left out of the paperback which made the story confusing. It resulted in some bad ratings out of the gate. That took time to clear up.
Did the plot flow as you wrote, or did you need to change anything major?
That plot was easy. It appeared in my research like a map to travel around the Pacific Rim and included the love interest which became the main conflict: love or duty.
What did you discover in research that was interesting?
In many Native American cultures of the past, twin babies were killed. That was the impetus for me to write SHAGOON; I needed to save a twin.
Which character is most like you?
I’m most like my main character’s mother. As the mother of twins, she fights valiantly to save her babies. She does not follow tradition for tradition’s sake and is relentless.
What happened when you killed a favorite character?
I killed my main character’s father. It was traumatic for me. I stalled for two weeks, then wrote it at 3 a.m. through the tears, sobbed for hours, and mourned for days.
Do you write for yourself or for readers?
I choose the story for myself since I will be writing it for about two years. I try to write it in a way that will be interesting to the reader.
Could we have a preview of your next book’s plot?
In THE GHOSTS OF WHIDBEY ISLAND the first settlers from the Oregon Trail come to live with the indigenous Skagit people in Washington Territory. Life is rugged. Still, relations are good until the governor arrives.
Mystery Writers of America members (and the public are invited) The Edgars May 1, 2024
The Writing Duo of Kate Jenkins and Morgan Moreau
Kate Jenkins and Morgan Moreau began writing together in 2009. They’ve only met once in person, but their chemistry as authors shows in their fantastic books, The Fractured City and The Coming Rebellion due out in May 2024.
Bios:
Kate Jenkins enjoys writing fantasy, sci-fi, and romance. She lives in a small town in Idaho with her autistic teen, her parents, four dogs, and six cats. She loves gaming, especially first-person shooters and asymmetrical horror games. She’s a K-pop enthusiast and harbors a secret love of K-dramas and Anime. Her favorite tropes are currently enemies to lovers, there was only one bed, coffee shops, time travel fixes it, and soul mates/soul identifying marks.
Morgan Moreau’s literary interests span across various genres. Her affection for The Little Mermaid profoundly influenced her vibrant red and purple hair, mermaid tattoos, and a growing collection of mermaid memorabilia. She lives in Alabama with her dog, Scarlett. Her current passions include higher education and watching the 1995 Pride & Prejudice once a month. Morgan is a fan of vampires, pirates, mermaids, and superheroes, and she hopes to incorporate them into future works.
The Coming Rebellion Legends of Coralia, book 2
Synopsis: Following a late-night escape from Quenall, Queen Collette and her friends journey to a neighboring kingdom, hoping to gain allies to help put Collette back on the throne. After Nawalya experiences a series of deadly visions, she struggles with revealing the possible futures to Whyldon, Tolan, and Collette. Back in Coralia, Zephraim and Rhoslyn are crowned the new King and Queen, but Lord Riken’s return threatens the success of the union.
We’ve never lived in the same state, or even the same side of the country, so all our writing takes place online. Originally, we discovered each other online and have only met in person once (at Disney World of all places!!). We met in an online RPG (role playing game) and began writing together in that capacity. When we decided we wanted to write books together, we already had experience plotting, creating characters, and putting stories together.
Our Writing Process
Our writing process is straightforward. We consider ourselves “pantsters.” We know the overall plot of the book, the important points we have to hit, but otherwise, we let the story and characters lead where they will. We often write scenes out of order, and we often work on multiple books at once. For example, we are currently writing chapters for books 4 and 5 in the Legends of Coralia series.
Next, we put the scenes in order and fill in the gaps along the way. Kate describes the writing process as, “It’s like we are playing a two-person D&D campaign where we split the characters and forgot who the DM is at times.” Truthfully, many of the stories we currently write, or want to write in the future, usually come to life when one of us goes, “what would happen if…?”
Morgan likes to watch the 1996 Pride and Prejudice miniseries while writing and editing. Kate is a recent fan of Hazbin Hotel and gets inspired to make book memes by the cartoon.
Character creation can be mutual or individual depending on the scene and the needs of the story at the time. If individually created, the one of us who is doing the creating is the person who names the character, creates their background, appearance, and other relevant details. When developed together, the combination of who does what can vary wildly. We each have characters we are the primary writer for, though we write for all characters as needed. The primary writer for a character is usually the person who does the creating. For example, Morgan is the primary writer for Collette, and Morgan is the one who created Collette.
How we communicate
Most of our writing takes place on our private discord server (instant messaging platform). We have channels for each of the books in our series, and we will write under the appropriately labeled channel. We will write out chapters or scenes in a sever channel (where each of us can see what is going on and comment). We tend to share a similar view of the story and where it is going, but creative differences do arise. Usually, where there are creative differences, we simply talk them out. This can involve going through the repercussions of each of the possible paths forward and choosing what we think works best. If something ends up not working, we can change it or use it later. Usually, by the time we do our read through before submission, we will consider these points and make sure they work as intended.
As we write, Morgan transfers the writing to a Google Doc for editing. Usually, the editing process at this point is ensuring the cohesiveness and flow of the chapter. We also try to make sure the scene remains in one POV. We haven’t heard of other writing teams writing this way, but the process works well for us. Once the scene is fully put together, we do an initial read through to make sure everything fits together and flows well. Our goal is to make sure no one can tell which of us wrote any particular line. We also take this time to search for passive language, overuse of certain words, and more.
We talk on and off all day, every day. Most conversations happen on the server, but we have a chat with some other authors on Instagram. We also call each other through the server or on the phone a few times a week. Morgan likes entertainment when she drives, so Kate usually gets called upon in those instances. The latest phone conversation involved Morgan cheering Kate’s son on while he played a video game.
Some Ideas For What to read Next
An Interview with Mystery Writer W. M. Gunn
Bio: WM Gunn is native Texan who spent over 30 years in the pharmaceutical industry in sales, sales management, and training and development where he developed, wrote, and delivered programmed instruction, technical seminars, and product launches. In 2009, he took those writing skills and began writing novels, novellas, and short stories.
I would assume every author has a different take on the process of writing, and I am no different. Sometimes I lead the story to its conclusion, and sometimes the story leads me. Sometimes I may wake up in the middle of the night and write for hours, only to discover the next morning that it was best completed with the DELETE button.
Where do your characters come from? It is easy to establish relationships (good and bad) with the characters you create. After all, they are products of your own mind, or approximations of people you know or meet. You infuse them with personality traits and quirks you exhibit or see in others. You see their models at the grocery store, the movie theater, the gas station, church, and a bar on Saturday night. Here are some of my character examples:
1. Jakob Sofer was a 28-year-old man when he got off the boat at a port in Jamestown, Virginia. In Ireland he had been an indentured servant, and now embarked on a new life in a new world.
2. Ichiro Hisakawa was a 16-year-old Japanese-American imprisoned in a concentration camp with 12,000 others in California in 1942. They became the enemy because of their race – not because of what they did.
3. Huntington’s Disease, a devastating killer, slowly ravaged 11-year-old Maria and took a grave toll on her widowed father, Pedro. He was desperate to save his daughter, but nothing could be done until she wrote a letter to Santa.
What is unique about your unusual characters? Here are a few examples:
There was an assassin who suffered from epistaxis (nosebleeds) who went on a Boos Cruise on Halloween and along with another couple got more than they bargained for.
Follow Corporal Dean Cummings on Omaha Beach on D-Day after he died.
Then there is Commander Gretchen Moreno and her trio of Synthetic Space Sanitation robots named Larry, Curly, and Moe.
Oh, and did you hear about the time Klaatu and Gort got into an argument? Or when Satan held court on a tree stump. He stood on his toes, knees bent, and hunched over at the waist. He had a long, red-orange muzzle, teeth as sharp as daggers, one blinding red eye, and one a deep pool of black like the tunnel to death. He faced Thomas Barton, better known as Red Smoke of the Keechi Creek tribe.
Since the late 1980s, I had an idea for a book. I never wrote anything down, but I knew how the story would begin and how it would end. It rolled around in my head for 20+ years until I retired in 2014 and finally put it down in my computer in about six weeks. My new career in writing had begun, but I was in no hurry to publish. Since that novel, I have written eleven more novels and two novellas but am only now beginning to publish. I have also written somewhere around 300+ short stories, many of which appear on my website under Storytime with Bubba, a rather unusual character to say the least.
We launched Holmes, Moriarty, and the Monkeys on March 1. This is a 19,000-word whodunit novella on Amazon Kindle ebooks. On the hearth in front of the Holmes and Moriarty Society’s massive fireplace are three stone statues of monkeys – Mizaru who holds its hands covering its eyes, Kikazaru with its hands covering its ears, and Iwazaru who covers its mouth. The story begins as Osgood Ridley, the owner of the mansion, and one of the society’s founding members, turns up dead. But as more bodies are found, the H&M Society’s true purpose is slowly revealed. When the statue of the fourth monkey, Sezaru, appears on the hearth, the questions begin to outweigh the answers. The members of the society realize that this is no longer a job for amateurs. Now it is the job for two police detectives to solve the mystery.
Upcoming: In May 2024, we will launch another novella entitled Chasing the Sun. As the sun moves from the East to the West comes the story of a group of adventurers following the trail of treasure from the Civil War last heard of in the 1880s. Ride with them as they encounter Union soldiers and Confederate Gold, Maximillian’s Lost Treasure and Indians, and a haunted cave of treasure and death.
The journey from writing to publishing is a significant milestone for any author. However, it’s crucial to approach this process with careful consideration, balancing the desire to see your work in print with the commitment to ensuring its quality and proper formatting. Here are some insights and tips to consider as you delve deeper into ways to make this transition easier.
Strive for Quality Over Speed
Develop Your Skill
Embrace Revision
Align with Your Goals Formatting Matters: Professional Appearance
Consistency is Key Resisting the Urge to Publish: Patience Pays Off
Seek Feedback: remember, the first draft is for the writer, but the final draft is for the reader. By prioritizing quality over speed and ensuring proper formatting, you can increase the likelihood of your work resonating with readers and making a lasting impact.
The Celwyn Series YouTube channel
What is New with the Celwyn Series?
What is new?
Not as much as I’d hoped. About the half of the handwritten draft for book 7 has been put through Dragon (voice activated software that is supposed to save my hands but can’t consistently spell the names of the main characters) and into a digital format.. No comment on the software other than to say that someday there will be a horror novel about it. I’m working on the title.
Book 7 will be called Lucky and Mrs. Nemo.
The mini-synopsis: Swango is still traveling with them on the Nautilus, and his flamboyant and rude tendencies remind everyone alternately of Celwyn or Pelaez. He is not as irritating as Pelaez (who he hasn’t met yet) and mostly means well. But, his way of participating is unusual and never planned. After attending to a deadly assault on Findbar Island, the adventurers leave for Spain to confront Doctor Lazlo and Mrs. Nemo, and when Tellyhouse is threatened, they return to Prague. Things shift again, and the Nautilus races west—-and for Kang’s sake, Celwyn hopes they arrive in time.
A coming attraction—– I’m planning on several companion books to the Celwyn series. Once exists now, The Sea of the Vanities, and it is set a bit earlier, in the 1850s. The next involves Pelaez, Celwyn’s obnoxious brother in 1945 England at a mansion called Farm Hall. There may be another before then.
Great Reviews:
Recently, on her blog Gina R. Mitchell featured a review of the Celwyn book 5, The Wyvern, the Pirate, and the Madman.
Here are two more reviews for book 5. A big thank you to Stacey Wilder, and Sandra Cox. Love you all. Link to the reviews: https://www.goodreads.com/…/203518795-the-wyvern-the…
About the Series:
The Celwyn Series is a steampunk fantasy filled with murder, mystery, and magic. The series stars the immortal magician Jonas Celwyn , Bartholomew the widower from the Sudan, and Professor Xiau Kang an automat who is also a doctor and scientist. As they travel the world they become part of the Nautilus and Captain Nemo’s adventures.
If you’d like a bulleted synopsis of any of the first 4 books of the series, please contact me at: https://loukemp.com/ If you have a comment on the newsletter or would like to participate in the Author Debates or the ongoing article “A Readers Point of View” in future issues, contact me there.
Synopsis Book 6. Swango, available fall 2024
The story begins in Hong Kong after Celwyn, Bartholomew, and Professor Kang are attacked. The identity of their assailant is interesting; and it portends an event that will challenge them all.
Pelaez is back, which makes life aboard the submarine rather tense while everyone tries to kill him. Before they can leave Hong Kong, the magician uses a unique method to retrieve half of Captain Nemo’s crew from their shore leave before they are killed. Months later, when Celwyn and company arrive in Prague they must bury one of their family who has been cruelly murdered.
From there, the adventurers reboard the Nautilus to travel to the Castell de Ferro in Spain. They expect a dangerous and supernatural reception and need more protection than what Celwyn can provide. At the magician’s suggestion, they plan to invite his acquaintance, Swango, aboard. Captain Nemo suspects Swango may be an asset, but the man also brings much more than assistance onto the ship.
For months, I’ve been volunteering with the non-profit group Engin to help Ukrainians speak and write English.
No degree needed, or experience. Just an hour a week per student you want to help. The sessions are over Zoom. Engin supplies support and everything you need. Engin is a non-profit, and donations are always welcome. My students waited more than 8 months for a volunteer, and still others are hoping for a volunteer match soon.
If you can donate or volunteer, even for an hour a week, they would be so happy to hear from you.
Celwyn’s Cats: Mirror Mirror on the wall, my name is Mr. Handsome.
The Wyvern, the Pirate, and the Madman Book 5 of the Celwyn series is here.
It is 1870, and the immortal magician Celwyn, the automat Professor Xiau Kang, and Bartholomew, a scientist and widower from Sudan, set out on another adventure.
The adventurers leave the North Sea aboard Captain Nemo’s Nautilus, chasing a pirate ship and Captain Dearing. The pirates have kidnapped friend and vampire Simone Redifer, and they have stolen something precious from Captain Nemo.
Meanwhile, in Prague a dastardly murder forces Professor Kang back home.
The Wyvern, the Pirate, and the Madman is a steampunk fantasy filled with murder, magic, and adventure.
A different kind of interview—-with a book publisher.
Bio: 4 Horsemen Publications emerged in response to a publishing world that doesn’t give promising authors a shot at the big-time. Our favorite works are ones from authors who aren’t afraid to challenge themselves–-like you! We look for strong writing and engaging storytelling to create a quality book series for readers across the world. We are comprised of a group of dedicated professionals who want to help authors find their voice in the literary world. As a women-owned business, we publish, encourage, and support own voices and diverse works for all genres. We look forward to bringing the publishing apocalypse. Visit 4 Horsemen
1. Tell us about the beginning of 4 Horsemen? Trials and successes.
It began in 2020 with three of us and the idea that we could do publishing better than the way it was being done by most large traditional publishers. Our motto is “Bringing the Publishing Apocalypse.” It has been a bumpy road, as is any new business, but I have always had the motto of being radically transparent and honest with my authors. We are partners in this. The success of 4HP depends on the success of my authors. We are a team and through everything I never lose sight of that.
2. In your opinion, what will the future of publishing look like.
I believe that more smaller traditional and hybrid presses will help to continue to make a change in the publishing world. The older “Big 5,” as people like to call them, are not changing rapidly enough with the times. They do not act like partners with their authors so they do not set them up for success.
3. In this issue, we cover the debate between formally educated writers and self-taught writers. On the question of which does better commercially, do you have an opinion? Also, do you think formally educated writers have the same, or better, an imagination than those who break the rules of writing?
I think any author can be successful if they never stop learning. It is important for authors to know that writing, while appearing to be a solitary endeavor, is actually a team effort. Editors and beta-readers will be your best friends, even if they piss you off sometimes. An author once told me when he gets his edits back the first thing he does is send the editor a thank you note before opening them, then have a stiff drink, and then start revising the next day. As long as you work on your craft, you can be amazing.
4. Which genres sell the most with 4 Horsemen, and why?
We are very lucky that we sell across the genres. I think this is because we allow our authors to tell the stories they want to tell. We do not simply say “Romance is selling!” and try to only do that.
5 Which cross-genres work best at 4 Horsemen?
I do not think there is a best cross-genre. I instead love seeing how our authors find the best ways to tell the most interesting stories. I encourage authors everywhere to do this. A reader doesn’t usually know what they are looking for until they see it exists.
6. How much do you put yourself in the shoes of the reader when choosing whether or not to add an author to 4 Horsemen’s roster?
I start with is the author able to write well and tell a good story. I do not have much that we say “no” to because, like readers, I am always excited to find a new voice.
7. Do you hear anything from the readers on where they want a particular series to go? Do you get feedback from disgruntled readers about cliff hangers in a series?
Readers hate cliff hangers unless they know the next book is coming. I think the feedback goes to the author more than to us as a publisher. However, when I do meet readers at live events, I love seeing how they react to our books. I always want them to find their new favorite.
8. What is your opinion of Ai and how will 4 Horsemen approach it?
AI writing is totally off limits just as ghost writing is for us. The unfortunate thing about AI is in order to “generate” work it has to scrape the internet for similar work to mimic—-this means it is stealing art from others. I am hoping at some point this is not how AI approaches things and that AI is clearly labeled so we can continue to avoid it.
9. What do you think new authors should decide before they begin their book? Should it be who they are writing for (themselves or their audience)? Do you have other criteria they should consider?
I think the best advice for authors is to WRITE! Also do not edit yourself as you go. Get it all on the paper and then go back through. Stories should pull the reader in and make them want to stay buckled up for the whole ride. So when you write, you will have a whole iceberg in your brain, make sure enough of it hits the page so your readers are engaged. Most important, write your story the way you want to tell it. Then find a brilliant editor to make your words sing!
10. Could we have a preview/synopsis one of 4 Horsemen’s new series?
There are a few coming up but we are excited about some new rapid releases that you will be able to get a three book series over three months. Our newsletter and social media has links to all of the excitement that is coming. https://l.instagram.com/?u=http%3A%2F%2Flinktr.ee%2F4horseme…
11. What trends in genres of books do you see on the horizon? Will Romance continue to dominate, or?
Romance readers tend to go through 5-10 books a week. Most other readerships are not that fast. I think however, romance readers would love different takes, different stories and a cast of characters they are not used to. They want happy endings, or at least happy for now, but the sky is the limit on everything else.
Podcasts: Some favorites from authors and other podcasters.
Definition of podcast: a digital audio file made available on the internet for downloading to a computer or mobile device, typically available as a series, new installments of which can be received by subscribers automatically or by visiting the site.
Here are some opinions from authors and others closely related to the publishing industry:
JOURNEYS IN ACTIVE FANDOM
There are a lot of fans out there, but how did they, and more importantly, how can you, turn your passion into something creative? Join us each week as we meet fans who have moved from being consumers to creators. If your interests spring from speculative fiction and related fandoms, join us; whether you’re a model builder, cosplayer, artist, writer, fan-publisher, or club organizer, you’ll find something of interest with The Halfling and the Spaceman.
All About Agatha is a podcast all about Agatha Christie: the Queen of Crime, a real-life Dame of the British Empire and author of sixty-six mystery novels that spanned the Twentieth Century, defining a genre. For five years, Catherine Brobeck and Kemper Donovan revisited these novels in publication order, ranking them according to pre-set criteria (plot, character, etc.). Tragically, Catherine Brobeck passed away at the end of 2021. Since then, Kemper has completed the podcast’s ranking project, and now contents himself with interviewing like-minded obsessives, dissecting new adaptations, and trying to solve the age-old mystery of why Christie–and Christie alone–endures as powerfully as she does. There is always something to talk about where Christie is concerned!
“I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.” – Virginia Woolf
If you look back over the history of literary awards, few women have received top awards. Only sixteen women have won the Nobel Prize for Literature, and only thirty-one have won the Pulitzer Prize. Reading Women reclaims the bookshelf by interviewing authors and reviewing books by or about women of a wide variety of backgrounds and experiences.
Partners in Crime Podcast
I will say that we are a storytelling podcast – not an interview podcast. We feature mysteries in two ways. Our main M2D4 stories are filled through a call process that happens about 8 months before the start of the season. Stories are featured as a podcast episode and collected into a e-book / print anthology. The next call will go out May/June of 2024.
Our second option is a Toe Tag. We do readings of first chapters along with full book reviews that drop as a podcast bonus episode. These are sold through Partner In Crimes Virtual Book Tours. Here is their link: https://partnersincrimetours.com/ Tina Wolff, host
The My Imaginary Friends podcast is a behind the scenes look at the journey of a working author navigating traditional and self-publishing. Fantasy and paranormal romance author Leslye Penelope shares insights on the writing life, creativity, inspiration, and this week’s best thing. Perfect for readers and writers alike!
Steve and Chip host Too Much Scrolling. They are avid readers and often treat the show as a book club with their listeners. They also love to interview authors. https://toomuchscrolling.podbean.com/
I started “The Memoir Channel” because truth is indeed stranger than fiction and ofttimes more inspiring. True stories can uplift us, empower us, expand us, heal us, and hopefully, bridge the gap between us. If we step into another’s shoes for a few pages, maybe we can shift our prejudices, soften our judgments, and gain a deeper understanding of others and ourselves. The Memoir Channel aims to explore and support the writers of true-life. — Niki Smart stories www.youtube.com/@memoirchannel
The Paperback Podcast by Pagan Malcolm: This podcast has stopped running, but it still contains useful knowledge of authorship, publishing, and even navigating mindset shifts.
The Creative Penn Podcast by Joanna Penn: Joanna Penn is well-known in the author world, and her podcast is great for writers of all stages. There are lots of episodes about writing, publishing, marketing, and entrepreneurship.
The Author Revolution Podcast by Carissa Andrews: Carissa Andrews is an amazing force to learn from in the author world. She’s all about manifesting your millionaire author destiny. And while that might sound a little woo-woo, it’s all about the mindset shift for the better, and it’s backed by science! Her podcast also has episodes on writing conferences, entrepreneurship, marketing, and more.
S. W. Raine, author of The Elements Trilogy
My favorite podcast is the Story Darlings. I’ve been interviewed by them several times and they are so much fun. Another good podcast is the Freya’s Fairytales podcast. I was recently on that one and she was really wonderful, sending me a little gift afterward for being a guest! https://storydarlings.com/podcast/
Ty Carlson, author of the Dadirri saga books
The one podcaster I know of is Marsha Casper Cook’s Podcast called Michigan Avenue Media Podcast www.michiganavenuemedia.com. I hope to do one with her soon. Krysten Lindsay Hager often teams up with Marsha as well. I’m checking with one other person, and I’ll let you know if she does them.
Tricia La Rochelle, author of the Sara Browne series
Words & Pictures Podcast
Hi, I’m DJ Bowman-Smith, and I host the Words & Pictures Podcast. I started the podcast about a year and a half ago to reach out to other writers and creatives in the publishing world. I interview writers, artists and book cover designers. Listeners like me are fascinated by all the stories and insights from self-published and trad authors at all stages of creativity – beginners and experienced. All genres are welcome. This year, I will be slotting in some solo episodes to share my own knowledge and experience of the writing life.
The Picky Bookworm podcast is a show that seeks to highlight and promote authors through weekly chats. Each chat features a different area of the writing process, and helps readers find new authors and books for their collections.
Along with weekly chats, Pamela also features occasional “book chats,” where she and a guest get together and discuss a specific book. These book chats are randomly scattered through the podcast schedule, and offer a fun way to find a new book or enjoy someone else’s reading experience.
You can find The Picky Bookworm on most major podcast directories, as well as Pamela’s website, thepickybookworm.com
Mysteries to Die For is a podcast where we combine storytelling with original music to put you at the heart of mystery. All of our stories are structured for you to beat the detective to the solution. Get ready to dive in. Happy hunting, detectives.
Recommended by assorted members of the Pacific Northwest MWA
Interview with Urban Fantasy Writer S. W. Raine
Bio: Raine is Canadian, born and raised, and constantly moved between Ontario and Quebec with her military family. She moved to Michigan, USA, in 2004, where she currently still resides with her husband and son. She has always had a vivid imagination and loved reading and writing from a very young age. She published her debut steampunk adventure in 2020.
Does your own reading stay within your writing genre, or do you have a different genre for yourself (and why)? I’m a mood reader, meaning my mood dictates what I’ll read next. But I read a wide variety of genres, so it’s not uncommon for me to read some thrillers, sci-fi, or even romance, despite not being a big romance fan. But steampunk and urban fantasy are my favorite books to read, which is why I became a steampunk and urban fantasy author to begin with.
When you do research, do you have (alive) sources that you interview in person or by other means? Do you have a sample of what you have discovered that was especially interesting? Sometimes! My mum is actually my best resource when it comes to military (in my steampunk novels) and law-related things (in my urban fantasy novels) because she was a military court reporter. I also hired a Black Jamaican sensitivity reader to help make sure one of my steampunk characters was accurate. Other than that, I do extensive research online or in books. I was particularly proud when I’d done a bunch of research on jet ejections and parachutes, and a beta reader, who’d worked with those in the military, was especially impressed with the accuracy.
How much do you put yourself in the shoes of the reader? Do you hear anything from them on where they want the series to go? I pay attention to the feedback I receive from readers. Not so much regarding the direction of a book or series, but moreso about what I can improve on. The best example is the reviews for my urban fantasy book, mentioning the slow pacing at the beginning. I took that feedback to heart and am currently fixing the pacing in the next one to not repeat the same mistake.
Rise of Sky Pilot, Raine’s latest Straying from his noble dreams, Benedict joins a band of rogues for an easy mercenary job. But when the sole survivor of a sky pirate attack is found in the Atlantic, Benedict is thrust into a dangerous race against a poisonous alchemical threat set for the Great Lakes. Can Benedict foil the sky pirate’s plans and reclaim his dream life, or will he find new ambition?
The Author Debates: Formal Training as an Author, or Learn as You Go?
Richard Koreto Is formal university or college training needed for someone who intends to be a successful writer?
In brief, no! What is needed a sense of curiosity and a willingness to read—a lot. I’ve known terrific writers with little formal education but never one who didn’t like to read.
Does a university degree in writing give an author a leg up on success, or stifle their creativity?
I have a degree in English. It gave me a leg up in the sense that it introduced me to writers I may not have read on my own. I’m thinking of Henry Fielding in particular: “Tom Jones” runs about 240,000 words and never gets boring. A formal education is not essential but it’s a big help.
Looking at the opposite, that formal education can stifle creativity, is ridiculous. You never lose anything by getting other people’s opinions or reading other works.
Does a lack of professionalism in their writing hurt a new writer? Does it take them longer to look professional without the formal training?
Oh—that’s a great word “professionalism.” Every Agatha Christie novel shows “professionalism,” a mastery of characterizations, plot and theme, even though she had virtually no formal training. There is an innate talent but it also comes from sensitive reading. I read books where characters disappear for no reason, where I realized I’m 1/3 the way through and nothing has happened. Those are not professional, and efforts like that will hurt a new writer. The problem isn’t a lack of formal education, but the inability to learn by reading. Yes, good teachers can help, but you have to make the effort yourself.
Does a lack of professionalism in their writing hurt a new writer? Does it take them longer to look professional without the formal training?
Basically, a manuscript needs to reflect an understanding of how a novel works. For example, do you have characters who are unnecessary in developing the plot? Are there scenes that fail to advance the story or clarify a protagonist’s motives? Training can help a lot, but if you’re disciplined, you can do it yourself. I take a close look at books my literary idols, such as Agatha Christie and Georges Simenon, and don’t just read them—I study them! What is the pacing? How many character are there? If you’re disciplined—a big if—you can get there on your own.
Does a great imagination balance a less than stellar delivery of the story? Can formal training fix both?
Yes. Imagination is great. But the greatest imagination isn’t going to get you anywhere if you can’t deliver a story. No one should be allowed to write a novel until they’ve read “Great Expectations.” Dickens had great imagination, but he really knew how to tell a story. I have been blessed with teachers and others who have told me when my books have gone off the rails and that I need to fix something.
How much do the publishing industry’s business practices affect a non-trained author’s success? Is the formal university training a match to the current publishing industry?
I read a LOT of self-published books. Many of them are talented but badly structured. Did these writers not take notes on how a novel is structured? I worked in publishing in the 1980s and knew a lot of talented editors who had the time and patience to work closely with writers. I don’t know if that’s still as common as it was. You don’t need formal training, but most of us need someone looking over our shoulder.
Is indie publishing a match to a formally trained author?
As I write this, I’m halfway through a really terrific self-published police procedural, Shitamachi Scam, by Michael Pronko. The author is not only talented, but he has clearly read a lot of great police procedurals and had the wit and humility to learn from them. He was a perfect match. Not everyone is.
Do agents favor formally trained authors?
Agents favor authors who produce well-written commercial fiction. Period.
Bio: R.J. Koreto is the author of the Lady Frances Ffolkes, Alice Roosevelt and Historic Homes mystery series. He has published stories in EQMM, AHMM and multiple anthologies. He’s also been a merchant seaman, textbook editor, magazine writer and award-winning financial journalist. R.J. grew up in New York City and graduated from Vassar College with a degree in English and Latin. He and his wife have two grown daughters and divide their time between Rockland County, N.Y., and Martha’s Vineyard, Mass.
In his latest book, Death Among Rubies:
Lady Frances Ffolkes finds more trouble than expected in this second cozy mystery from R. J. Koreto.
Lady Ffolkes is incensed when she finds out that her dear friends Gwendolyn and Thomasina have been subject to vicious threats. Promising to uncover their attacker, she travels with them to Kestrel’s Eyrie, the fabled estate belonging to Gwen’s family. But soon Frances faces an even greater problem, when Gwen’s father, a powerful diplomat, is stabbed to death with his prized ruby dagger.
Benjamin X. Wretlind Is formal university or college training needed for someone who intends to be a successful writer?
While formal writing programs offer valuable training, they are ultimately optional for authorial success. Self-taught indie authors can also thrive through dedication to their craft and embracing innovation independently. Raw inspiration and authentic vision matter most.
Does a university degree in writing give an author a leg up on success, or stifle their creativity?
When it comes to creativity and originality, indie authors have innate advantages. Unconstrained by legacy publishing gatekeepers or rigid academic program standardization, indie writers are free to manifest their unique creative identities and follow their artistic muse intuitively. This resonates with readers who crave authenticity, not some formulaic convention. The bourgeois should not tell the proletariat what to read. Hasn’t this point been made enough? Fundamentals still matter, of course—even mavericks refine technique over time through practice and feedback. But rules should guide, not limit, bold creative expression.
Does a lack of professionalism in their writing hurt a new writer? Does it take them longer to look professional without the formal training?
Regarding writing quality and professional polish, indie authors and formally trained writers both have pros and cons. Without structured guidance, indie works often seem less refined initially. However, the most dedicated learn by doing, improve through reader reviews, and take risks. Whereas publishing houses favor trope-laden and sickeningly pedestrian writing with broad commercial appeal over daring outside-the-box works with actual substance. So while conventions serve a purpose for clarity, highly stylized rules also constrain voices that don’t conform. It becomes an exclusive industry, not an inclusive one, and therefore fails tests of diversity and equality every day.
Does a great imagination balance a less than stellar delivery of the story? Can formal training fix both?
In the end, great writing emerges mysteriously from some ineffable combination of talent, dogged persistence and luck—formal credentials be damned. Boundary-breaking indie authors succeed by pioneering new platforms that skirt around conventional gatekeepers, and hungry niche audiences eagerly await writers who speak their language. Savvy social media fluency certainly amplifies buzz today, but viral fame is not essential. What matters most is that indie authors stay radically true to their creative core, where their most powerful voice lives.
How much do the publishing industry’s business practices affect a non-trained author’s success? Is the formal university training a match to the current publishing industry?Do agents favor formally trained authors?
Legacy authors will always have prestige, but indie writers are claiming more influence every day thanks to publishing’s slow demise. It’s like an upended goldfish that doesn’t know it’s dead yet. Arguments against this come from the inside, not without.
Bio: Benjamin X. Wretlind is a speculative fiction author who writes science fiction, dark fantasy, magical realism, and some horror. He is the author of several novels, novellas, and creative writing books and is a full member of the Science Fiction and Fantasy Writers Association.
Book 4 of the Transit series: The Widening Gyre When Abel, exiled from the Col’kasid, is discovered by a scout team from an unknown tribe, he finds himself embroiled in a struggle for peace. Together with Kaius, a New Emilian who understands the past, and Gideon, the great-grandson of the founder of the Col’kasid, they face a daunting task: bridging the divide between two societies with vastly different beliefs and histories.
The Aebris Rising series; While fishing on the watery planet Minor Pales, Levi Hurley finds an alien who claims to be from the impossible island of Aebris. Rather than throw his odd catch back, he smuggles the creature onto the Amesware Abyss, a prison mining rig.
Benjamin’s works include non-fiction such as Creating Atmosphere with Atmosphere: How to Use Weather as a Literary Device.
Some Ideas For What to read Next
The Celwyn Series YouTube channel
What is new with the Celwyn Series?
What is new?
The basic first draft of book 7 is complete, and now the endless, really endless, editing begins. The first phase is a once through check for what is missing and obvious mistakes. Next will be adding in parts missing in scenes, and maybe a chapter or two. Then the reverse, eliminating things that are not needed. None of the major characters dies this time, but there are some close calls and new additions. By this time next month I hope to have the handwritten draft transcribed into digital format and not have a screaming fit while trying to shake the voice activated software out of my pc.
The title for Book 7 is Lucky and Mrs. Nemo. For now, the mini-synopsis is: Swango is still traveling with them on the Nautilus, and his flamboyant and rude tendencies remind everyone alternately of Celwyn or Pelaez. He is not as irritating as Pelaez (who he hasn’t met yet) and mostly means well. But, his way of participating is unusual and never planned. After attending to a deadly assault on Findbar Island, the adventurers leave for Spain to confront Doctor Lazlo and Mrs. Nemo, and when Tellyhouse is threatened, they return to Prague. Things shift again, and the Nautilus races west and for Kang’s sake, Celwyn hopes they arrive in time.
About the Series:
The Celwyn Series is a steampunk fantasy filled with murder, mystery, and magic. The series stars the immortal magician Jonas Celwyn , Bartholomew the widower from the Sudan, and Professor Xiau Kang an automat who is also a doctor and scientist. As they travel the world they become part of the Nautilus and Captain Nemo’s adventures.
If you’d like a bulleted synopsis of any of the first 4 books of the series, please contact me at: https://loukemp.com/ If you have a comment on the newsletter or would like to participate in the Author Debates or the ongoing article “A Readers Point of View” in future issues, contact me there.
Synopsis Book 6. Swango, available mid 2024
The story begins in Hong Kong after Celwyn, Bartholomew, and Professor Kang are attacked. The identity of their assailant is interesting; and it portends an event that will challenge them all.
Pelaez is back, which makes life aboard the submarine rather tense while everyone tries to kill him. Before they can leave Hong Kong, the magician uses a unique method to retrieve half of Captain Nemo’s crew from their shore leave before they are killed. Months later, when Celwyn and company arrive in Prague they must bury one of their family who has been cruelly murdered.
From there, the adventurers reboard the Nautilus to travel to the Castell de Ferro in Spain. They expect a dangerous and supernatural reception and need more protection than what Celwyn can provide. At the magician’s suggestion, they plan to invite his acquaintance, Swango, aboard. Captain Nemo suspects Swango may be an asset, but the man also brings much more than assistance onto the ship.
For months, I’ve been volunteering with the non-profit group Engin to help Ukrainians speak and write English. No degree needed, or experience. Just an hour a week per student you want to help. The sessions are over Zoom. Engin supplies support and everything you need. Engin is a non-profit, and donations are always welcome. My students waited more than 8 months for a volunteer, and still others are hoping for a volunteer match soon.
If you can donate or volunteer, even for an hour a week, they would be so happy to hear from you: [email protected]
An Interview with an Engin Volunteer
Beverly, a volunteer from New York City, has been with Engin for about 5 months. The non-profit teaches Ukrainian citizens to speak English.
What do you get out of volunteering with Engin? Do you learn things about Ukraine? I get the satisfaction of feeling that I am helping someone achieve their goal as well as the great pleasure of developing a friendship. As a retiree, developing useful lessons also helps me maintain my mental faculties!
Yes, I do learn about Ukraine—inadvertently. My student prefers not to talk about the war but we do talk about her life—and that is daily life in Ukraine.
Do you have to be a teacher to volunteer, or just have common sense and a good grasp of English? No, you don’t have to be a teacher. I am not a teacher. Common sense and a good grasp of English are very useful.
How often do you meet with your student, and how long are the sessions? We meet once a week for an hour. Sometimes the lessons extend beyond the hour if we have the time and the lesson seems to require it.
Does Engin provide support for lessons and questions?
Yes. Engin is very supportive.
First, its volunteers go through a virtual training program which provides the basics for how it all works. It is sensitively designed and answers most questions. Engin has a series of handbooks that reinforce what you’ve learned in the training program. It also, importantly, offers many lesson plans, some quite elaborate, with articles, games, videos and YouTubes that you can share with your student. You are not obliged to use these lessons, but they are there should you want them.
Engin also offers “mentors” for volunteers—these are experienced volunteers whose very experience with Ukrainian students help to clarify potential issues. They can also prompt your own creativity in developing lessons. Engin uses YouTube and other on-line programs to help with technical issues.
But if you have a specific question, you are encouraged to write directly to the program and you will get a response generally within a week that answers most questions. Engin has a series of handbooks that reinforce what you’ve learned in the training program. It also offers lesson plans, some quite elaborate, with articles, games, videos and YouTubes that you can share with your student. You are not obliged to use these lessons, but they are there should you want them.
Engin also offers “mentors” for volunteers—these are experienced volunteers whose very experience with Ukrainian students help to clarify potential issues. They can also prompt your own creativity in developing lessons. Engin uses YouTube and other on-line programs to help with technical issues.
If you have a specific question, you are encouraged to write directly to the program and you will get a response generally within a week.
Celwyn’s Cats: Toodles gives new meaning to the term writers block.
Interview with mystery author Kemper Donavan
Kemper Donovan is the author of The Busy Body, the first in a series for Kensington Books. He is also the author of the novel The Decent Proposal, and the host of the podcast All About Agatha, dedicated to the one and only Agatha Christie, in which guise he has been featured in the L.A. Times, made appearances on BBC TV and Radio New Zealand, lectured at multiple festivals and conferences, and written for the official Agatha Christie website, agathachristie.com. He attended Stanford University and Harvard Law School, and now lives in Southern California with his husband and two daughters.
Do you have your next book’s plot already in your head? Could we have a preview? I do indeed; the second book in my series takes place entirely on a boat! What I’ve done is to retain the first-person narrator from my first book—an enigmatic ghostwriter whose name we never learn, and who functions as a Watson/Hastings-type “sidekick” character. But instead of following both her and a detective as a sleuthing pair from book to book, my sidekick will be teaming up with different detectives in each new setting. In her sophomore outing, she’s taken a job as a lecturer on a “literary cruise” populated by fellow writers and the avid readers who pay to learn from them. Naturally, this cruise does not go according to plan…. If a new writer approached you, what advice would you give them? I would tell them to make sure they enjoy the process of writing, whatever that means to them. There are a lot of different ways to write, and many days I feel like I still haven’t figured out the optimal process! But I try to enjoy it, because now that I’ve had two books published, I can appreciate that it’s the writing process itself that not only forms the heart of the endeavor, but is the only part of a writing career over which a writer has total control. That is a beautiful thing! We writers should do everything we can to wield that power wisely. Can you see yourself using A.I. in your books? Absolutely not! And the forcefulness of my answer is why I will be eating my words several years from now! Actually, I’m trying to incorporate the themes (and hand-wringing) around A.I. that we all seem to be engaging in these days into a new mystery, so in a way I suppose I am making use of A.I., just not in the actual construction of the book (perish the thought!).
Kemper’s The Busy Body is a mystery with a contemporary tone/milieu and a classic “puzzle” construction in the best tradition of the Golden Age of Detective Fiction. This is something that Richard Osman and Anthony Horowitz have had astounding success with recently, and it is my intention to reach the same audience with this book. I’ve been an avid scholar of Agatha Christie for seven years now, by way of my podcast All About Agatha, and my book is an homage to the Queen of Crime, deliberately employing some of the tricks and tropes that worked so well for her.
Cross Genre Books: What are they and what should authors and readers know?
Cross genre books marry one or more genres together in a book or series. Common examples are romances with a strong mystery element, horror and sci-fi together, fantasy with romance, the list goes on. So do the challenges and rewards.
Here are some opinions from authors and others closely related to the industry:
I think that cross-genre books are what make us see the value in things we may not normally read. A sci-fantasy book might turn someone who only reads fantasy to sci-fi, or vice versa. I think it also opens up the mind to see things from a different perspective. Sometimes, a near-future romance like the bench, may venture into the thriller genre and dig at the reader’s sense of safety or help them redefine parenting like in a domestic thriller/sci-fi blend. It’s all perspective, but we read to grow, and what better way than branch out? ––Author Ty Carlson, author of Convergence of Gods
I am a huge fan of books that cross genres. Mix in a little romance with a suspense thriller, and you’ve got yourself an intriguing combination. My Sara Browne Series (Flickering Heart, Revive, and Handfast) definitely blends romance with suspense, and I wouldn’t have it any other way. I like to keep the reader guessing while swooning a little at the same time. Fantasy is another popular genre that blends well with romance. Books such as Discovery of Witches, and Twilight have done quite well. Bring it on, I say. —Tricia LaRochelle, author of the Sara Brown Series
We really enjoy cross-genre books… and they aren’t anything new. The romance community has been doing it for ages (romantic suspense, paranormal romance, etc.). Sometimes single genre books can be a bit formulaic. With cross-genre books, that formula can get shaken up a bit. Today a mystery set in outer space, tomorrow a romance set in the multi-verse. Cross genre writing maintains interest, keeps boredom at bay and might earn writers some new readers. Win win all around! —Goddess Fish Book Tours and Blog
I just finished reading James Lee Burke’s “Every Cloak Rolled in Blood.” He writes the mystery/crime novels with Detective Dave Robicheaux as the protagonist. I know what to expect—action, vivid descriptions and complex characters. In “Every Cloak Rolled in Blood,” though, he adds ghosts and spirits mixed with real history giving the story a dreamlike quality. I loved it. His book is a prime example of melding several genres into one great story. The key is in the skill of the writer to make you believe and care enough to relax and enjoy the book. —Linda Norlander, author of Death of Goldie’s Mistress
I believe that cross-genre books are usually enriched by each genre. We know from Diana Gabaldon’s Outlander series how popular it is to combine a number of genres: romance, history, and fantasy. A murder mystery is interesting, but even more so if the whodunnit happens to be on Earth during the year 2500 AD (science fiction). A protagonist in a thriller faces terrible twists of circumstance, and these are amplified if they happen during World War II—a historical period of major upheaval. Ultimately, what matters the most is how well the book is written. —Hilary Tiefer, author of The Secret Ranch
Some might think writing is writing. The genre doesn’t have an impact. After all, it’s the story, not the genre. Right? Not for this author. I discovered shifting from crime thrillers to cozy mysteries posed a new set of challenges. In my thrillers, the emphasis is on the crime, and how the characters solve it. In my cozy mysteries, the emphasis is on the characters, and how the crime impacts their lives. —Anita Dickason, author of Murder’s Legacy
I am a big fan of cross-genre books. I think that it can challenge both the author and the reader to deepen their experience with the characters. It is this genre crossing that can create new ways of approaching tired stories and breathe new life into stale concepts. I always look for stories to take me someplace new and to get a reaction. Staying within a single genre all the time can lessen this experience. —Rob Southgate VP of Marketing at 4 Horsemen Publications
Cross-genre books can work really well! A mash-up between settings, themes, topics, and tropes that are normally siloed off from one another can produce something fresh and exciting, a new reading experience for us all to enjoy. Of course, some combinations either don’t work or are attempted with an unpracticed hand, and the results aren’t always revelatory, but I think of it like fusion cuisine: if we aren’t willing to combine old things to make something new, we’d be missing entire vistas of culinary adventures. As with food, so with books. I’m for it, and I encourage anyone who’s interested to try to make it work!. —Peter Angus, author of Fabyan Place
I personally love cross-genres as they broaden the horizons of the storylines and characters. The more crossovers you have, the less rules you have to play by and it creates a much richer world and intriguing story in my opinion. My favorites include murder mystery and romance. I have read many slow-burning series which not only have the “will they/won’t they” moments but also the “will they even survive” trope which enriches the reading experience so much. As a writer, I find this equally fulfilling as it is challenging since it can invoke an insecurity on whether or not I am satisfying the needs in my own writing when I include multiple genres in my work. —Lucas LaMont, author of Roman’s Reckoning
Cross-genre books offer a fresh and innovative approach to storytelling, providing readers with a unique and engaging experience. By combining elements from different genres, these books have the potential to attract a broader audience, appealing to readers who enjoy diverse storytelling styles. Authors of cross-genre works benefit from creative freedom, allowing them to explore a variety of themes and infuse more creativity into their narratives.
However, these books face challenges in marketing and categorization, making it difficult to find a specific target audience. Additionally, readers may experience confusion when navigating a story with multiple genre elements. Critics might also struggle to objectively assess cross-genre books, approaching them with preconceived notions about specific genres. —Gina Ray Mitchell, Book reviewer and Blogger
Cross genre books provide opportunities to create fresh characters and narrative paths—and can become new genres in their own right, if they take. However, if they don’t, publishers will dread them. Not everybody is Picasso, and not everybody likes cubism—even Picasso’s. In short, I’m all for them—caveat venditor notwithstanding. ––Taggert Rehnn, author of Lucca’s Return
Interview with Mystery Writer Lane Stone
Lane Stone lives in Alexandria, Virginia and Lewes, Delaware with her husband, Larry Korb, and their standard schnauzers, Cordy and Emma. She’s the author of The Big Picture art thriller trilogy. Book one, THE COLLECTOR was followed by THE CANVAS. She is also the author of several cozy mystery series.
She has a post-graduate certificate in Antiquities Theft and Art Crime. She is represented by Birch Literary.
When you do research, do you have (alive) sources that you interview in person or by other means? Do you have a sample of what you have found out that was especially interesting?
Several museum security executives and operations managers have graciously spent time with me. I tried to thank them in the acknowledgment of The Canvas. Sure, I’m in their debt, but the future is, too. What these people do is important because art is important.
If you were to write in another genre a few years from now, what would it be? (this could also be flipped to a genre you wrote in earlier and why you changed to this genre)
I wrote cozy mysteries for years before switching to thrillers. DEAD MEN DON’T DECORATE was my last cozy. I felt restless and knew it was time to make a change. I wanted a bigger playground, for one thing. Now I can use international settings. And I wanted to write about a truly outrageous heroine. Emma Kelly’s secret life is just that. I’m calling this my Larry’s good girl gone bad phase. I’m having a blast.
Have you thought of writing non fiction? If so, what kind and why?
Weeeelll, my agent is about to start shopping a narrative nonfiction project for me. It’s about American nuns in Poland at the start of World War II. The birth of the blitz was in Warsaw in September, 1939. The US Department of State advised them to leave, but they stayed – saving the lives of Jewish children and playing an important role in the Polish Underground. I’ll keep you posted on this on my author Facebook page, Lane Stone Writer.
What are you writing now and what will it focus on? Will it have a solid ending or leave things open for more?
I’m writing book 3 in the Big Picture Trilogy right now. And since this is a trilogy rather than a series, I will hopefully nail the landing. Everything has to be wrapped up. And Emma Kelly has made quite a mess. (Double life, yada, yada.)
In the second installment in the Big Picture Trilogy, The Canvas, (Level Best Books, 11/21/23) Emma unmasks her foe – a family whose name is synonymous with art. The body count rises, culminating in a terror attack outside the walls of the Vatican. And they’re only getting started.
How long can she protect the greatest collection of art the world has ever known and her secret?
Interview with cozy fantasy writer Katie Andrews
K.E.Andrews has always been an avid reader, which sparked her passion for writing at an early age. Most days she spends her time daydreaming about stories and making mood boards. When she’s not writing, she tends to her plants, plans out her next crafting project, and binge-watches shows on Netflix. She currently lives in Powder Springs, Georgia with her family and three cats.
When you do research, what tools do you use?
I love doing research for my books. Google is my best friend obviously when I need to research niche things like a region’s climate, what plants might grow there, or when the button was invented. I love watching documentaries about cultures and places I’m using for inspiration because I get a visual to help me write the world and scenes I want to include in my book. With Hills of Heather and Bone, I spent some time in Scotland over the yards, and I went on a lot of tours of the country and learned a lot of history that I applied to the story. That was my favorite research I’ve done because I got to travel over the country, take in the scenery, and learn a lot about modern and ancient Scottish culture.
How much do you put yourself in the shoes of the reader? Do you hear anything from them on where they want the series to go?
I usually try to put myself in a reader’s shoes to see how they might react to certain characters or plot twists and what things might be exciting and impactful to read. My beta readers offer great feedback and I try to listen to the suggestions they have. For my trilogy, I’ve heard readers talk about theories they have and what they hope my characters will do and sometimes it’s something I already have planned, but some of it I take and see if that will enhance the story. Most importantly, if I read my story and don’t enjoy it, chances are a reader won’t either.
Andrews’ Hills of Heather and Bone is a finalist in the Self-Published Fantasy Blog Off competition. She is working on a revision to the second book in her dark fantasy trilogy and writing more cozy fantasy short stories.
A Reader’s Point of View.
Questions asked of reader “Beverly”
How much does the hype about a new author affect your choice to try them?
Not at all. Reviews are what attract (or repel) me.
When you are deciding on whether to try a new author, what is the first thing you look for and what makes up your mind to try them?
I don’t care if it is a veteran author whose books I’ve enjoyed or a brand new author—I read the reviews and they guide me as to whether to buy. I also like to page through books in stores—sometimes the first few pages are compelling enough for me to try it. Of course, I make mistakes. If I am still trudging through a book by about P. 50, I just toss it. Life is too short and there are too many good books out there!
Please name your favorite book and why it is your favorite. Did you read other books by this author?
Sorry. I don’t have “a” favorite. When I am reading a book that enthralls me, then that is my favorite at that time: The Goldfinch, Call It Sleep, almost all of Henry James, Middlemarch, Beloved-–more recently, Klara and the Sun, Trust. I do have a favorite genre, however.
What was the most recent book you read that did not live up to its hype? Why?
Ninth Street Women. A history of five women artists who worked alongside the fabled New York abstract expressionists of the 1950’s. As women, most were ignored although ultimately they became an influential part of the revolution in modern art. It is a fat doorstop of a book, filled with intimate detail, sympathetic … but in the end, it is very very repetitive. It needed a good editor. I finished the book but often skipped and scanned.
Right now, what genre are you into and why do you love it?
Memoirs, biographies and autobiographies. When done well, they bring an immediacy and perspective to place and history, and of course, to the dynamics of human relations. The subjects can be famous (the Roosevelts, Auden, Elie Wiesel, Patti Smith) or obscure, but if the book is good, you, the reader, emerge enlightened and enriched.
Serving Filet Mignon on a Garbage Can Lid
I’ve said it before and I’ll say it again: a cheap tattoo isn’t good, and a good tattoo isn’t cheap. It does not matter if you like tattoos or not, since the saying can be applied to anything that takes skill. There isn’t an excuse out there that I haven’t heard before or said myself when I was a greener writer. If you want to be a rule breaker, you first must understand the rules, how to properly follow them, and establish yourself in the industry as someone who knows the craft. Otherwise, you will come across as an amateur and no one deserving of a second thought. No one wants that. No one wants to write and be dismissed.
Consider this: if you give the meaning of the words you write, the story you weave, and the worlds you build great thought and scrutiny, why would you want to skimp on an editor? You have heard this before, but I am always hearing whispers of not needing an editor or using a family member to proofread.
A few things to that point:
* If you don’t think you need an editor, please step back and take a hard look at yourself and your resistance to seeing yourself as anything but perfect. You are not.
* Every writer, great and small, needs an editor. If you are like me, both an editor and a writer, do not be so bold as to think you can properly edit yourself. As the writer, you are far too close to the story to see what you are missing or words misspelled. Since you know the story in your head, everything that is missing or wrong on the page will be filled in mentally. Not so great a situation.
* If you don’t know the difference between editing and proofreading, please educate yourself on this.
Analogy and example: The writing industry is not just about the words on the page and the story you intend to tell. It is very much about how it is delivered. I have a couple of friends who are in different bands. One friend has toured the world and made a name for himself in his niche genre. We will call him “Sam.” The other has toured Chicagoland. We shall call him “Lenny.” A while back, Lenny asked what he was doing wrong. His band’s music is top-notch. The recording on the album was very professional and sounded great. They were playing shows and had a great stage presence. So I contacted Sam for some advice.
He took a look at their album cover, website, and Facebook page, and listened to their music. He immediately came back to me and said, “They are serving Filet Mignon on a garbage can lid.” They had put all this time and effort (talent, too, but for this story it is not important) into the album, but everything else went by the wayside. He said that no legitimate label with any sort of pull would give them a second look because if they weren’t willing to make themselves look as best as possible, why should a label spend their money on it?
It does not matter how good your story is, just as it did not matter how good their album was. Yes, if a label picked them up, they would re-record everything they already made. But it would not have been money wasted, just as paying an editor in order to present a professional manuscript to a publisher who is then going to send it through multiple rounds of further edits a waste of money, since the money spent is an investment in yourself and your career.
Whether you are trying to be a traditionally published author or a self-published author, presenting your work to a potential publisher, agent, or reader in as professional a way as possible can only help make you look better and more knowledgeable in your craft than handing over something full of errors. I can ramble on for days about the importance of a quality editor and the need for one.
At the end of the day. Finding the right editor will not only make your work look more presentable, but they will also help you tell the story you want to tell in the best voice you have.
I am always open for questions if you have them and am currently accepting new clients if you are looking for an editor. I can be reached at [email protected] or use the link below.
I hope everyone has had a wonderful start to the year. Keep writing!
The Wyvern, the Pirate, and the Madman Book 5 of the Celwyn series debuts January 2 2024! Available now!
It is 1870, and the immortal magician Celwyn, the automat Professor Xiau Kang, and Bartholomew, a scientist and widower from Sudan, set out on another adventure.
The adventurers leave the North Sea aboard Captain Nemo’s Nautilus, chasing a pirate ship and Captain Dearing. The pirates have kidnapped friend and vampire Simone Redifer, and they have stolen something precious from Captain Nemo.
Meanwhile, in Prague a dastardly murder forces Professor Kang back home.
The Wyvern, the Pirate, and the Madman is a steampunk fantasy filled with murder, magic, and adventure.
Author Debates: Does a new author need a literary agent?
R.J. Koreto is the author of the Lady Frances Ffolkes, Alice Roosevelt and Historic Homes mystery series. He has published stories in EQMM, AHMM and multiple anthologies. He’s also been a merchant seaman, textbook editor, magazine writer and award-winning financial journalist. R.J. grew up in New York City and graduated from Vassar College with a degree in English and Latin. He and his wife have two grown daughters and divide their time between Rockland County, N.Y., and Martha’s Vineyard, Mass.
Please describe why you believe that a new author does need a literary agent.
At a minimum, an agent knows what publishers work with what kinds of books. It is possible, but difficult, to find this on your own, and even then a good agent knows nuances about which publishers are looking for what kinds of books. A really good agent (which I’m blessed with!) knows what is selling. What topics, settings or subgenres are peaking right now? I have lots of ideas. My agent is very frank telling me about some of them, “that kind of thing isn’t selling right now.”
How much of your opinion is based upon the assumption it will be an agent that is a good, or bad, match for the new author? Some authors are lone wolves and take no advice. That might be an issue as the alternative of publishing as an indie.
I’m going to answer this question with one example: “Writing the Blockbuster Novel” is written by Albert Zuckerman, one of the most prominent literary agents of all time. He got permission from thriller author Ken Follett to post side by side Follett’s original manuscript and the edited version. I always tell myself, “Follett made changes recommended by his agent and editors. When I am better and more successful than Follett, I will stop listening to advice. Until then, I’m keeping my eyes and ears open.” So that’s why an agent can be so useful, even essential. Of course, you do want an agent sympathetic with what you’re trying to achieve. And not everyone can get an agent. But at least find someone who can help you, if you decide to go independent.
Does the loss of control of their own work by having a publisher have anything to do with your point of view? Or does a new author need the guidance of a publishing house?
Everyone needs guidance. I don’t see it as “loss of control.” I see it as “getting advice.” In financial matters, agents and publishers are opponents. But working on your book, they’re on the same side! They want a successful product. As I writer, I know it’s hard to give up control. I remember being told to cut out an entire chapter, including a character I very much liked. “But it doesn’t move the plot forward,” I was told, so I removed it—everyone was right. I did bring the character back in the next book in the series, where I could weave him into the plot.
Is there anything else you have to say on the subject?
Another point: if you’re the right kind of writer you may not need an agent. I have an author friend who’s very savvy, extroverted and organized. She worked as her own agent and I was amazed at what she achieved for herself. I simply don’t have the personality for that. I’d probably call a publisher and say, “I have a good book you might want to publish. Actually, I’m sure you already have enough. I’m sorry to have bothered you.”
The prolific science fiction writer Isaac Asimov never had an agent, but got a very strong start as a short story writer that helped him make the leap into writing novels. I admire people who can go directly to publishers themselves. I joked at a conference that I became a writer because I was told I wouldn’t have to deal with people—”that turned out to be bait-and-switch.” So in the end I think it’s not so much about what you can do as what you’re good at.
Also for many new authors, especially those in niche genres or with a strong personal marketing platform, the traditional gatekeeping role of agents can be bypassed.
Death Among Rubies by Richard Koreto
Lady Frances Ffolkes finds more trouble than expected in this second cozy mystery from R. J. Koreto.
Lady Ffolkes is incensed when she finds out that her dear friends Gwendolyn and Thomasina have been subject to vicious threats. Promising to uncover their attacker, she travels with them to Kestrel’s Eyrie, the fabled estate belonging to Gwen’s family. But soon Frances faces an even greater problem, when Gwen’s father, a powerful diplomat, is stabbed to death with his prized ruby dagger.
Anne E. Beall is an award-winning author whose books have been featured in People Magazine, Chicago Tribune, Toronto Sun, Hers Magazine, Ms. Career Girl, and she’s been interviewed by NBC, NPR, and WGN. She has also published in several literary journals including Minerva Rising, The Raven’s Perch, You Might Need to Hear This, Sad Girl Diaries Literary Magazine, and Grande Dame Literary Journal. She received her PhD in social psychology from Yale University and is the founder of the strategic market-research firm, Beall Research.
Please describe why you believe a new author doesn’t necessarily need a literary agent.
The necessity of a literary agent for a new author is not as absolute as it once was, primarily because of the evolving landscape of publishing. With the rise of self-publishing platforms and digital media, authors now have tremendous access to publish and market their work independently. This democratization of publishing allows authors to retain more control over their work, enjoy higher royalty rates, and directly engage with their audience. For many new authors, especially those in niche genres or with a strong personal marketing platform, the traditional gatekeeping role of agents can be bypassed. For example, E.L. James self-published “Fifty Shades of Grey” and built a huge following that led to a major publishing deal and the blockbuster film series.
How much of your opinion is based upon the assumption it will be an agent that is a good, or bad, match for the new author? Some authors are lone wolves and take no advice. That might be an issue as the alternative of publishing as an indie.
It’s true that agent-author relationships vary. A great agent who can really sell your work, and who has access to major publishers could skyrocket your success. These individuals can offer industry expertise and they have valuable connections. However, many people have had their work rejected by many agents. And not all agents are equally effective for every author. For example, Kathryn Stockett’s book, The Help, was rejected by over 60 agents. It was only when she found Susan Ramer that she was able to sell the book to a traditional publisher.
Some authors, particularly those who are self-motivated, well-versed in the industry, or have a clear vision for their work that doesn’t align with traditional publishing norms, might find an agent more restrictive than beneficial. The ‘lone wolf’ authors, who prefer complete creative and business control, may find self-publishing more fulfilling and effective. I’ve known several authors, including myself, who have successful books that were not published with an agent. I’ve also known other authors who have agents and they’ve felt stifled and told me their work didn’t benefit from this relationship. Their books have not necessarily done well, and they don’t earn much from them.
Does the loss of control of their own work by having a publisher have anything to do with your point of view? Or does a new author need the guidance of a publishing house?
The loss of control over one’s work is a significant consideration. Traditional publishing, often accessed through agents, can mean giving over significant control about major editorial decisions, marketing, and publication timelines. For some new authors, this trade-off is worth the guidance and resources a publishing house provides. However, others may prioritize retaining complete creative control and flexibility, making self-publishing a more appealing option.
Is there anything else you have to say on the subject?
There is not one optimal path for everyone; agents can work for some authors and not for others. It depends on so many factors. The decision to find a literary agent should be based on your specific goals, the strengths you have, and the specific demands of the market you’re writing for. In today’s diverse publishing environment, success can be found through various paths, and the role of a literary agent, while still significant for many, is just one of several options available to authors.
Only Prince Charming Gets to Break the Rules by Anne Beall.
Explore the fascinating link between gender stereotypes in fairy tales and real-world life with Only Prince Charming Gets to Break the Rules: Gender and Rule Violation in Fairy Tales and Life. This thought-provoking book carefully analyzes 200 folktales and fairy tales from around the world, uncovering a universal disparity in how male and female characters are punished for breaking the rules.
Celwyn’s Cats: No cat, just Celwyn’s fat hummingbird. It’s feathers look dark until it turns its head and you see the red.
Interview with Historical Fiction Novelist Mim Eichmann
Mim Eichmann is a graduate from the Jordan College of Music at Butler University in Indianapolis, IN. The Chicago-area based author has found that her creative journey has taken her down many exciting, interwoven pathways as an award-winning published lyricist, short story author, songwriter, musician and novelist. www.mimeichmann.com
For the premise of one of your books, please show how the outcome could have been changed if history had been different. (i.e. what if a certain known fact had never occurred and something else did?)
An example is the third and final novel in my historical fiction series, TAYVIE’S STORY, which will be published in the summer 2024. Much of the book takes place in Occupied France during World War II. Most of Europe and the United States were still recovering from the devastating losses suffered during the Great War (World War I), along with the resulting pandemics, and they made some extremely risky investment practices that ultimately plunged the civilized world into the largest economic depression in global history. This contributed greatly to the chain of events that completely paralyzed the resources of entire nations and allowed the Nazi Party to rise to power. If the internal turmoil facing individual nations had been even modestly overcome at any point, it’s highly doubtful the Nazi party would be anything other than an isolated footnote in our history books.
Which of your books was the hardest to write, and why?
Ironically, I never had any interest in researching or writing about Europe during World War II when I began working on TAYVIE’S STORY. That time frame roughly parallels another of my books, MUSKRAT RAMBLE. However, once I’d fallen into my typical rabbit hole trance of research, I became quite fascinated!
Mim Eichmann is quite proud of A SPARROW ALONE (2020): “a provocative coming-of-age saga of female empowerment set during the historic 1890s Cripple Creek, Colorado gold rush.” The novel is the first of a (standalone) historical fiction series, Amazon best seller and semi-finalist in the 2020 Illinois Library Association’s Soon-to-be-Famous Project.
Interview with fantasy author Jeff Ayers
Jeff Ayers is an author and avid reader of fantasy and science fiction stories. He began playing with the idea of writing a book way back in middle school, and has been practicing ever since. He is an English teacher living in northwest Arkansas (Go, Razorbacks!) with his wife, two kids, and two dogs, whom he loves very dearly.
Who are the audience who buy your books, and does that surprise you?
I wrote the Skate books with young adults in mind – fantasy readers who are just getting to their adult lives. I’ve found that many of my readers fall outside of that scope, with some below, and more above. It wasn’t my expectation going in, but I am glad to find that my work is appealing to a broader range of readers than I first anticipated.
If you were to write in another genre a few years from now, what would it be?
The first full book I ever wrote (it was never published; don’t go looking for it) was science fiction. I don’t imagine I’m completely done with that yet. I may branch out into some form of horror as well. I love reading good narrative non-fiction, but I don’t think I’ll be dipping my toes into that any time soon as a writer.
How much do you put yourself in the shoes of the reader? Do you hear anything from them on where they want the series to go?
One of the things I have to consider during the writing process, especially during rewriting and revision, is the reader’s perspective – questions about plot points, whether this is interesting enough, whether the reader will care about what’s happening, clunkiness of sentences. The reader’s experience has to be at the core of what we do.
Most of what I hear from people who’ve read my books are questions about the next installment, which is wonderful because it shows interest in what I’ve done, and questions about the timing of the next installment, which is terrible because I don’t go as quickly as I’d like.
Book 2 The Rag and Bone Chronicles
Skate the Seeker
Beware of Spilling Ink!
Skate is a thief, trained and owned by the local crime syndicate, the Ink. When she tries to burgle a shut-in’s home, she gets caught by the owner—a powerful undead wizard. He makes a deal with her: “borrow” books from other wizards in return for a place to stay.
Caught between her growing fondness for the wizard and her past with the crime syndicate, Skate doesn’t know where her loyalties lie. But she’d better figure it out, because there’s a new player in town, one whose magical hypnotism puts them all at risk.
The sequel, Skate the Seeker, is out now!
Goddess Fish Promotions: Great for Readers and Authors Alike
Goddess Fish Promotions, Judy and Marianne, was established October 14, 2008. Why? When Marianne became a published author and got her the first taste of trying to promote a book on a budget, there was only one other virtual book tour company in place at the time, and their fees were simply too high for a small press author. Things have changed, and Goddess Fish is one of the big fishes in the industry.
2. Please discuss virtual book tours as an opportunity to interact with an author, read a sample, and more.
We believe a tour is more than introducing the public to your book. It’s also about creating relationships with your readers and building your online presence. Readers are more likely to buy books from authors they feel a kinship with, with one they know, with one who matters. We recommend tours with interviews and guest posts (which can be repurposed on the author’s own blog or website after the tour) in order to build rapport with potential readers. We believe building your brand and following is the most important thing.
3. Book tours include contests and ways to find great new authors. We require a giveaway during our tours as an incentive for people to actually come visit the post. It’s a “loss leader” to get people there to read about you and your book, and hopefully have them fall in love with the story and want to know more. It doesn’t have to be huge–we actually haven’t found a correlation between larger prizes and more traffic. Just something to get potential readers to give your tour a try.
Celebrating Fifteen Years of Helping Authors Succeed! We offer book editing services, graphic design, virtual tours and more…
Interview with memoire novelist Christine Skarbek
With an MA in journalism from the University of Iowa, Christine Skarbek has worked as a foreign student exchange coordinator in Atlanta GA, written op-eds for several newspapers, and co-authored three screenplays. One of these screenplays is a biopic on the life of Polish Countess Krystyna Skarbek and is currently being pitched in Hollywood. It is based on the interviews Christine conducted with the Countess’s WWII associates in the early 1990s.
Do you read mysteries or thrillers in your spare time? No, I spend whatever free reading time I have perusing histories and biographies.
How hard is it for you to get into what the reader expects from your writing? I always consider the reader and try to frame my message in such a way as to bring the reader into my world.
Will you ever write fiction? I would never attempt to write fiction. Though I admire true novelists, I am just not a creative person and do not know how to structure a plot or character arc, etc.
Did you have any difficulties editing your memoire? Thankfully I had someone read the rough draft and asked her to see if there was one overarching image she took away from the whole. She said it is a kaleidoscope. That gave me a framework and I began to reread it to see what fit inside the framework of a kaleidoscope. Everything that fit, I kept. If it didn’t fit, I eliminated it. It proved to be the best way to edit it.
Artificial Intelligence & Editing
Let’s talk AI. AI can be a helpful tool in many situations. It is, however, not meant to replace the human touch. AI has no nuances, no emotion, and no subtlety … no matter how hard it tries. It only knows what it is taught and cannot adapt or think critically beyond the input given.
Why am I saying this? To quote someone whose name at the moment I can’t remember, “Why would I want to take the time to read something someone didn’t take the time to write?”
The same can be applied to AI as a sole editor. Sure, it can help with some things. It can help point out areas that might be incorrect. But sometimes, it suggests corrections on things that are, in fact, correct. Also, it does not allow for authors to speak in their “author voice.”
There are no split infinitives or extra phrases allowed. AI always tries to cut down the text to the bare minimum of what is needed. While that is a general rule of thumb for storytelling, if every author followed the rules so strictly, there would be no need for more than one author.
So, for all you self-published authors, first-timers working on your manuscript, or anyone else who thinks that Grammarly or ProWritingAid is good enough, please understand that it is not; editing is much harder and more nuanced than AI can understand.
Never abandon the human touch for the sake of saving money. As someone said about not wanting to take the time to read something someone didn’t take the time to write, why would anyone want to spend money on a book the author didn’t think was worth spending money on themself? A good editor isn’t cheap, and a cheap editor isn’t good.
Note from the newsletter editor-in-chief aka Lou Kemp; I’ve had many editors over the years and I liken them to cars — I’ve have had a everything from a nice dependable Chevy to a Rolls Royce. Joseph Mistretta is a classic red MG. Joseph’s self-proclaimed shameless self-promotion offer: If you are looking for an editor, until January 15, 2024 please feel free to email me the first 10 pages of your manuscript (see formatting specs below) and for those pages I will send you back edits free of charge. If you like what you receive and want to continue working with me, then hooray!
Formatting: 8.5 x 11 page size with 1-inch margins all around. Lines double-spaced. Times New Roman 12-point font. Saved as a .docx. Email to [email protected]. Subject line: 10 Page Holiday Offer.
I will gladly look over those pages and get them back to you asap!
Reading Goals for 2024: 10 Tips to Success!
Have You Set Reading Goals for 2024? By Gina Mitchell
Reading goals are personal targets individuals set to regulate and enhance their reading habits. They can include the number of books to read, a specific genre exploration, or dedicating a certain amount of time to reading each day.
Setting clear reading goals can help you stay motivated, broaden your literary horizons, and make reading a more intentional part of your routine. Whether it’s a goal to read a certain number of books in a month or to delve into a new genre, tailoring your reading goals to your preferences can make the experience more enjoyable and rewarding.
Personalized Targets: Reading goals should be tailored to your preferences and pace, considering factors like the number of books, genres, or specific authors you want to explore. This personalization enhances engagement and satisfaction.
Measurable Objectives: Set clear and measurable targets, such as a specific number of books to read within a timeframe or allocating a certain amount of time each day to reading. Measurable goals help track progress and maintain accountability.
Diverse Exploration: Encourage a diverse range of reading materials. Whether it’s fiction, non-fiction, classics, or contemporary works, diversifying your reading goals broadens your literary horizons and introduces you to new perspectives.
Consistent Habits: Establishing a regular reading routine can be as important as the goals themselves. Consistency builds the habit of reading, making it easier to achieve and maintain your set objectives over time.
Reflection and Adaptation: Regularly assess your progress and adjust your reading goals accordingly. If a particular goal becomes too challenging or if you discover new interests, be flexible in adapting your objectives to ensure that your reading experience remains enjoyable and fulfilling.
Personal Growth: Reading goals contribute to personal growth by expanding knowledge, improving critical thinking, and enhancing communication skills. It’s a journey that goes beyond the pages of a book.
Flexible Approach: Reading goals can be tailored to individual preferences and schedules. They don’t have to be daunting; even small goals, like reading a few pages each day, can make a significant impact over time.
Entertainment and Escape: Reading is not solely about self-improvement; it’s also a form of entertainment and escape. Encourage non-readers to explore genres that align with their interests, offering an enjoyable and immersive experience.
Community and Connection: Share the social aspect of reading. Joining book clubs or discussing books with friends can create a sense of community. Reading becomes a shared experience, fostering connections and conversations.
Mindful Break: Reading provides a mindful break from digital screens and daily stress. It’s a valuable opportunity to unplug, relax, and engage with a story or topic at your own pace. It’s a form of self-care that can fit into any lifestyle.
The Celwyn Series YouTube channel
Authors: what music do you write to, or need, for background and inspiration?
About 25% of the authors interviewed said “I don’t.” Susan’s succinct response illustrated it nicely:
“Absolutely none. I write in the peaceful quiet.” – Susan McCormick author of The Antidote and The Fog Ladies series.
Here is the list of those who love a great, or inspiring, background:
Waking Gods playlist on Spotify, Kait Disney-Leugers author of Antique Magic
Any blues by Albert King– especially, “Born Under a Bad Sign.”, Curt Colbert author of All Along the Watchtower
Carol King’s Tapestry, MJ Miller author of of Phantom of Execution Rocks
Anything by Jo Blankenburg (mostly the albums Valkyrie and Elysium) Benjamin X. Wretlind author of The Widening Gyre
Bolero by Maurice Ravel, Bob Van Laerhoven author of The Shadow Of The Mole
“Heart of Glass.” I renewed my love affair with Deborah Harry, Richard Koreto author of The Turnbull Murders.
The soundtrack to the Phantom of the Opera, Lou Kemp author of The Violins Played before Junstan
Bela Fleck Drive, Joel Flanagan-Grannemann, author of Fairy Court in Exile
90s/00s rock and anything by Christopher Tin, Jeff Ayers author of The Rag and Bones Chronicles
Alternative rock and movie soundtracks, K.E.Andrews author of Hills of Heather and Bone
Meditation music on YouTube, Tricia Larochelle author of the Sara Browne mystery series.
“Lo Fi” It’s very “chill.” Lucas Lamont author of Roman’s Reckoning
“Legend Anthology” by Two Steps from Hell (the Instrumental songs) Kimberly Werntz author of The Adventures of a Traveler’s Wife.
As much Beethoven and Dvorak as possible. Christine Skarbek author of Confronting Power and Chaos: the Uncharted Kaleidoscope of My Life.
