Reading is Still the Best

I’m a reader turned writer, who still reads. Why? Because fiction is still my favorite form of entertainment. Not movies. Not computer games. Not TV. Not sports. It is a good book or short story. And because I like reading good stories, I started writing stories I would like to read. Consequently, I’m under no delusion that everyone will like what I write. I do know I will. And hopefully others will too.

So what do I like to read? I took a look through the BISAC subject heading list and came up with the following 10 genres/categories and listed a few favorites to go with each. The list is not exhaustive and the moment I post this, I’ll probably remember a delightful tale I forgot to include.

Action & Adventure

This is a broad category. I prefer my action/adventure to be a bit dark and touched with the fantastic or the supernatural.

H Rider Haggard so often fits the bill. King Solomon’s Mines is difficult to beat.

Robert E Howard in his short life wrote in a wide array of genres/categories. Some of my favorite stories feature his character Solomon Kane. Dark tales, touched with the supernatural, and with plenty of action.

Alternative History

I’m actually new to the genre, having come to it via steampunk. I haven’t read many alternative history stories and those I have read haven’t been overly memorable. The one I’ve enjoyed the most is Sydney Padua’s The Thrilling Adventures of Lovelace and Babbage.

However, the one story that does stick in my mind is not something I read. It’s the original Star Trek episode “Bread and Circuses”. A very fine alternative history story indeed.

Apocalyptic & Post-Apocalyptic

I admit I’m fussy when it comes to this genre. What I like is the cozy catastrophe, that sub-sub-genre which focuses on the aftermath of the disaster and what the survivors end up doing.

There are some notable classics here, such as The Day of the Triffids by John Wyndham and The Earth Abides by George R Stewart. Terry Nation’s book Survivors is disturbingly dark.

Fantasy

A very broad genre this, with many sub-genres. I confess I don’t read much fantasy anymore. I got burned out on all the magic and uninspired Tolkien rip-offs.

Generally I like my fantasy dark, sliding off into the horror genre, with a touch of the supernatural.

My all time favorite here is the gothic novel Dracula. However, I very much enjoyed Artemis Fowl. Very imaginative.

Ghost

Who doesn’t enjoy a good ghost story? One of the best I’ve read of late is Crispian Thurlborn’s A Bump in the Night. Very funny and philosophical.

Generally, though, I prefer my ghost stories over in the horror genre. One of the best is Robert E Howard’s “Pigeons from Hell” and he even includes a zuvembie, another name for a zombie.

Horror

I love a good psychological horror story with supernatural overtones. Slasher stories stay away. Can’t stand them.

Ben Willoughby’s recent contribution Raw Head is a well-done riff off of an old Southern legend.

One of my favorite stories is T.E.D. Klein’s “The Events at Poroth Farm” and the novel expanding on the story The Ceremonies.

Robert E Howard’s story “Black Canaan” is superb, as are so very many of his other tales. And many of H P Lovecraft’s stories are well worth re-reading, such as “The Transition of Juan Romero”, “The Call of Cthulhu”, and “The Shadow Over Innsmouth”.

My interest in horror goes all the way back to my elementary school years and a slim paperback of Edgar Allan Poe’s tales. Add to that Conrad Aiken’s “Silent Snow, Secret Snow” and Saki’s “Sredni Vashtar” and I was hooked.

Mystery & Detective

I’m very fussy when it comes to mysteries. In fact, I don’t like mysteries per se because I’m not all that fond of puzzles. What I like are detective stories, preferably private detective stories, with a little bit of mystery tossed in.

I suppose Dupin and Holmes are to blame for this bias on my part. After all, they are very often more interesting than the mysteries they solve! Quite honestly, some of Holmes’ adventures are not very good and how Poe could bore us with “Marie Roget” is a question worth asking. Nevertheless, Dupin and Holmes live on. They are eternal.

My favorite private detective is Nero Wolfe, created by Rex Stout. Wolfe and Archie Goodwin are my dynamic duo.

Noir

Cornell Woolrich is perhaps the noir writer par excellence. Rear Window is a modern classic. I don’t read a lot of noir. But if I do, Woolrich is first in line.

Science Fiction

Like fantasy, like mystery, the science fiction genre is huge, with many, many sub-genres. I tend to prefer space operas and harder sci-fi as opposed to science fantasy.

The Player of Games by Iain Banks and Men, Martians, and Machines by Eric Frank Russell are favorites. So is Groff Conklin’s superb collection of short stories Omnibus of Science Fiction, which contains one of the finest stories H P Lovecraft ever wrote “The Colour Out Of Space”.

Sea Stories

“I must go down to the sea again, to the lonely sea and the sky,

And all I ask is a tall ship and a star to steer her by…”

Masefield had it right. The lure of the sea and a tall ship, sails filled with the wind. The list of classics is endless. Yet, as much as I love sailing ships, I haven’t read any sea yarns for quite awhile.

The ones that stick in my mind are The Dark Frigate by Charles Boardman Hawes, The Narrative of Arthur Gordon Pym by Poe, and Conrad’s The Secret Sharer and The Nigger of the Narcissus.

Of course there are many more great stories I didn’t list. Share your favorites. I’m always on the lookout for a good story or book to read.

Miss Fisher’s Murder Mysteries

Having just published the third book in my Justinia Wright, PI series and two short stories which take us back to a time before the series begins, I’ve had mysteries on my mind. And of late, I’ve been watching Miss Fisher’s Murder Mysteries.

I find the showed delightful. The characters are superbly drawn. They have history. They have issues. They are like real people. The mystery, on the other hand, is usually light and often flawed. On one episode, Miss Fisher gets an important clue by looking at a typewriter ribbon – a carbon typewriter ribbon. Oh, did I mention the era is the 1920s? Now that is what I call I gaping plot hole. But in spite of such faux pas, I thoroughly enjoy the show because the characters are so very lifelike. And the show is really about the characters.

For me the best stories are not plot-driven, but character-driven. I don’t give two hoots for the plot. In my mind, the plot is only there because the characters do something. Where’s the plot in Waiting For Godot? The story seems to get along quite nicely without one. Or how about The Remains Of The Day? The plot, such as it is, is merely the vehicle for us to listen to the ruminations of Stevens. Or what about The Moon Is A Harsh Mistress? Lots of plot there and yet the plot is merely the vehicle for Heinlein to present his picture of a libertarian utopia. In that sense, any plot could have worked. The plot in and of itself is non-essential. It’s the characters acting (giving us a plot) that is the real story.

Another example is Raw Head by Ben Willoughby. Willoughby creates two characters, has them do their thing, and the result is a strongly character driven story. Just as Ray Bradbury said it should be.

Christine by Stephen King, in my opinion, is a case of where the plot actually gets in the way of the story. And I think it was probably due to his having to write his book to a certain length for the publisher. But whatever the reason, two-thirds of the way through the book the story was told and yet King went on having the car create more and more senseless havoc, gore, and mayhem. For me, the extended and senseless plot ruined the book. Plot to my mind is highly overrated. Follow the Bradbury formula and your story will be told. After all, that is the real point of the plot. To tell a story. And your characters will do that for you.

So if the writers of Miss Fisher’s Murder Mysteries leave gaping plot holes, why bother watching? I think there are lots of reasons. Namely, the characters. Miss Fisher, a complex rich socialite with the past. Her companion, doc, who is in some ways miss fishers polar opposite. Inspector Jack Robinson, I somewhat stated police detective who gradually appreciates Mrs. Fisher's talents. Constable Collins, who provides us with comic relief. And the list goes on.

Of course, this setting also contributes to the charm of the series: Melbourne in the 1920s. It is the perfect stage for larger than life liberated woman to walk apart.

There’s lots to like in Miss Fisher’s Murder Mysteries. Do give the show a try.

Heinlein’s 5 Rules of Writing for Indies

The other day I was wandering around Dean Wesley Smith’s website and noticed he has an online workshop covering Robert Heinlein’s 5 Rules of Writing. It had been quite a while since I’d read them (we’re talking decades here), so I refreshed my memory. I found a discussion on Robert J Sawyer’s website.

Both Heinlein and Sawyer direct the rules to those who want to be traditionally published. For Heinlein, he had no option. For Sawyer, he is entrenched in the traditional world and has no need to change them. However, I have little desire to pursue the traditional publishing route and thought I’d adapt them for indie authors. So here they are:

Heinlein’s 5 Rules for Indie Writers

#1-You must write

This should go without saying and yet so many writers don’t ever actually write anything. They talk about writing, take courses, frequent writing forums, or dream of the writer’s life. But when it comes to putting pen to paper or fingers to the keys — they don’t do it. Or if they do, and actually finish something, they are forever rewriting it because it isn’t quite good enough.

To be a writer, YOU MUST WRITE.

#2-Finish what you start

You can’t be a writer or even learn the writing process unless you finish what you start. Weak beginning? Flabby middle? Dull ending? Unless the work is a completed whole, you can’t see what works and what doesn’t.

In my forth coming novel, But Jesus Never Wept, I knew I was having problems in the middle. I resisted the urge to stop and fix them and bulldogged to the end — and then went back and fixed the problem areas, which were fewer than I had thought.

#3-Don’t rewrite, unless your editor says so

Rewriting is not writing. Writing is writing.

When I was submitting and getting my poetry published on a regular basis, I’d watch many poets on various forums rewrite the originality right out of their work. They’d end up with a flabby, lifeless thing done to death by committee.

Resist tinkering. We can tinker endlessly. There is always something that can be improved. But at some point you must resist the urge and say, “It is good enough.” And then move on.

However, if your editor (and all indie writers need an editor, whether paid or volunteer) says something needs to be fixed — pay attention. Ultimately, you are the publisher and may decide to reject your editor’s advice. But if he or she is saying something needs to be fixed, there is a good chance it does. Only then, do you rewrite.

Remember, rewriting is not writing. It’s rewriting. And we are writers, not rewriters.

#4-Put your work up for sale

In the old days, this was submitting your work to editors and gathering rejection slips. Thank God we don’t need to go that route anymore.

Today, the indie version of Heinlein’s point is to offer your work for sale and see if the reading public likes it or not. This is the publishing part of being a writer/publisher. Get the work out there. Promote it. Let the reader decide. Not some biased editor.

And if the public is not enthralled, listen to what they’re saying. But don’t automatically kowtow to their whim. Not everything we write will appeal to everyone. Sometimes you have to go with your gut. If your gut is telling you the work is good, then go with it. Realizing your audience on that particular work may be a small one. Leave the work up for sale and move on. The worst thing you can do is to remove work from sale. Build your backlist.

Which brings us to

#5-Leave your work up for sale

Maybe your book or story isn’t selling today. Or maybe the sales have fallen off. Don’t give in to the temptation to take the work down. That’s the beauty of being a writer/publisher. You can leave your book or story available forever. There is no publisher who is going to remainder it on you. No publisher telling you it isn’t selling enough copies. No editor rejecting your current work because your past work didn’t sell enough.

We can leave our work up for sale for as long as we want. We can market on our own schedule. We are writers and publishers. Our writing career is in our own hands.

Just remember: what isn’t selling today, may very well sell tomorrow.

#6-Start your next work

This is Robert Sawyer’s addition to Heinlein’s rules. And it’s a good one.

You can’t be a writer if you aren’t writing. And rewriting doesn’t count. Because it isn’t writing. It’s rewriting. The prolific authors of the past and those of today, the one’s who are writing to make money from their writing, start a new project upon completion of the old.

Write, publish, and start writing your next work. It is what Anthony Trollope did. When he finished one book, if there was still time left in his morning writing session, he took out a new sheet of paper and started the next book.

Like a mother robin, kick those babies out of the nest to make room for the new ones.

Writer’s write. If you’re stuck on a book or story, start a new one. A writer can always write about something. Don’t let writer’s block be an excuse not to write. I always have several books in progress. If one is giving me trouble, I put it aside and work on a different project. I am always writing. No day goes by that I haven’t written something.

Your mission

Follow these six rules and you will have a steady stream of work coming off our pen and hitting the virtual bookshelves. And with a little bit of luck and marketing handiwork, you may end up earning more money writing than from your day job. That’s my goal.

Happy writing!

Favorites

Agatha Christie came to loathe Poirot and finally killed him off. Doyle grew to hate Sherlock Holmes, killed him off, brought him back to life, and finally retired him.

Personally, I find it difficult to hate my children. Perhaps, though, they haven't been with me long enough. I haven't chronicled adventure after adventure to the point where I'm sick of the chronicling. To the point where I feel them to be too intrusive or where they've moved in and taken over. Hopefully, though, that day of loathing will never come.

However, even though parents aren't supposed to have favorites amongst their children, I admit that I do. And the two who are my favorites have lived in my imagination the longest. They are Justinia and Harry Wright. That intrepid sister and brother team of private investigators doing their best to make sure the most exciting thing in Minneapolis and St. Paul is vanilla ice cream.

Why are Tina and Harry my favorites? I'm not sure I can say exactly. For I am certainly very fond of Lady Dru Drummond. My spunky, very modern journalist, who knows what she wants and does her best to get it. I very much like her 1950s alternative history world, with all those retro-futuristic gadgets and, of course, airships.

And what about Bill Arthur? My anti-hero turned superhero (well, almost) of The Rocheport Saga, who, after the apocalypse, does his best to stop at least a portion of humankind from descending into a new dark ages. Bill is very likable. He's unassuming, makes mistakes and owns up to them, is devoted to his adopted and natural family. He is human, all too human. An ordinary guy in very unordinary circumstances. I like Bill and his world very much.

One of my newest children is Rand Hart. Rand Hart and the Pajama Putsch was an enjoyable tale for me to write and I enjoyed reading it as well. Who can't love this slightly roguish professional gambler with the touch of ennui searching for the antidote to his loneliness? And there be airships here, too.

Or George? Poor George, in Do One Thing For Me, slowly realizing he's descending into old age dementia, beset by the unending grief over the death of his wife and taunted by the promise Beth offers him. Or is Beth just a figure of his dementia?

I love all my children. I just love Tina and Harry more. Is it because I enjoy most writing up their adventures? Recording the sibling banter between them? Dreaming of what it would be like to live their somewhat dreamy lifestyle or to enjoy one of Harry's fabulous meals? Perhaps.

Tina grew out Raleigh Bond’s Athalia Goode, with a dollop of my sister, and pinches of Modesty Blaise, Lara Croft, Nero Wolfe, and a sprinkle of myself to round out her creation. Harry is the faithful Watson and wise-cracking Archie Goodwin all rolled into one, with perhaps too much of myself included for good or bad measure.

Perhaps that's it. I'm personally invested in these characters. There's something of me in them that isn't in my other children. Maybe that's the reason that drives me on to write about their lives and their campaign to fight crime.

Book 3 in the Justinia Wright series, But Jesus Never Wept, should be out in time for your Christmas shopping pleasure. And if the Muse is kind I may also have a freebie story available for Christmas.

I'm 15,000 words into Book 4 and have 645 words written to start Book 5, which follows Book 4 immediately in the Justinia Wright timeline. Both should make their appearance in 2016.

Now that I've let the cat out of the bag, I'm hoping Bill, Dru, and Rand don't get too sulky about it. After all, I do love them. They, too, are my children. Tina and Harry, though, are my firstborn. Hm. I’m a firstborn…

Harry Wright’s Mac and Cheese to Die For

I confess right here and right now — I love to eat. The aromas and flavors of meat, cheese, vegetables, fruit, grains, spices, herbs, cakes, pies, bread are as delightful as a walk through a scented flower garden. But not only do I love to eat, I also love to cook. Consequently, food appears in some shape or form in all of my novels and many times in my stories.

Undoubtedly, one telltale sign I’m a foodie is my cookbook collection — hardbacks, paperbacks, and ebooks. I also have bookmarks on a wide variety of internet recipe sites. Another indicator is the near ecstasy that is evident when I venture into a grocery store or a cooking supply store. When I write, a cookbook is always nearby.

Harry Wright is private detective Justinia Wright’s brother. He is also her majordomo, chef, and assistant. With the alacrity of a juggler, Harry turns out fabulous gourmet dishes on a daily basis. Dishes such as Porcini Parmesan, roasted veggie with goat cheese sandwiches, caramelized onion tartlets, ratatolha niça, and Cock-a-Leekie.

At times, though, Harry will take a walk down the comfort food aisle and then we see dishes like NuNus and Hot Dogs and Mac and Cheese. Sometimes Harry leaves the dish simple and sometimes he fancies it up.

Today I thought I’d give you his Mac and Cheese to Die For recipe, which appears in the forthcoming Justinia Wright, PI novel But Jesus Never Wept. He doesn’t call it that. For him it’s simply Mac and Swiss Cheese with Bacon Crumbles.

The recipe below is a composite, he tells me, of several recipes out there on the World Wide Web. Let me know if you think it is to die for. Enjoy!

Mac and Swiss Cheese with Bacon Crumbles

Ingredients

Macaroni - 1 pound (Harry uses elbows)

Butter - 5 tablespoons

Flour - 1/4 cup

Milk - 3 cups (Harry uses whole milk)

Salt - (Harry uses about a 1/2 teaspoon)

Black Pepper - (Harry uses fresh ground and about 3/4 teaspoon)

Mustard - 1/4 teaspoon dry (Harry prefers a good English mustard, such as Coleman’s)

Swiss Cheese - 3/4 pound shredded

Monterey Jack - 3/4 pound shredded

Bacon - 6 slices, cooked crisp and crumbled (Harry’s been known to add a couple more slices)

Parsley - for garnish

Basil - for garnish

Rosemary sprig - for garnish

Directions

1. Cook pasta according to package directions and your liking. (Harry only cooks his pasta al dente.)
2. Warm milk on stove or in microwave.
3. Melt butter over medium high heat and whisk in the flour. Continue to whisk to make sure there are no lumps and to cook flour, about 2 or 3 minutes.
4. Add the warm milk and whisk the mixture until smooth. Reduce heat and gently simmer for four minutes, stirring occasionally.
5. When the sauce has slightly thickened, add salt, pepper, and mustard.
6. Add cheese and stir until sauce is smooth.
7. When pasta is cooked, drain, and reserve a 1/2 cup of the cooking water.
8. Add sauce to pasta. If sauce is too thick, add a little of the water to thin.
9. Top with the bacon crumbles and parsley, basil, and rosemary sprig.

Good eating!

The 10 Most Influential Fiction Writers of the Past 100 Years

From 1915 to the present, many writers have come and gone. Most of them are forgotten. Yet, a few linger in our memories. For some reason, the other day I was thinking about who would be considered the influential fiction writers of the past 100 years. That is, fiction writers who’ve had an impact on subsequent generations.

So I started kicking names around of those authors I’ve read and of those I hadn’t but who are considered by many to have had a profound impact. And out of my musing I came up with a list.

The list below is in the order the names came to me, which does not imply one is more important than the other. Without further ado, my list of the 10 most influential writers of fiction in the past 100 years.

1. Arthur Conan Doyle

Doyle makes the list because of Sherlock Holmes, who is undoubtedly the most iconic and imitated private detective ever created. Doyle’s influence reaches down to today’s writers of private eye fiction. We see his influence everywhere. We can watch modernized versions in Elementary and Sherlock. We can read innumerable pastiches. Without a doubt, Doyle’s creation is one of the most influential of all time.

2. H.P. Lovecraft

Lovecraft was a most uneven writer. When he was good, he was very, very good. And when he was bad, he was horrid. Nor was he a prolific writer. Yet, next to Poe, he is the single most influential writer of horror and the macabre. The best of his stories are models to learn from. His emphasis on atmosphere has had a lasting impact. Many writers have looked to Lovecraft as a source of inspiration. Writers such as Robert Bloch, Ray Bradbury, and Stephen King, to name but three.

Cosmicism, through his Cthulhu Mythos, is perhaps his most well-known contribution to the modern horror story, where terror is evoked upon the realization that this reality is but a thin veneer of that which is truly alien and not our friend.

But Lovecraft also wrote some very fine tales of dark fantasy and made frequent use of the dreamscape. He also contributed to science fiction. His “The Colour Out Of Space” is one of the all-time great stories of science fiction.

HPL is clearly a giant and yet the irony is that were it not for the efforts of Donald Wandrei and August Derleth to preserve his name and work, Lovecraft would most likely have disappeared with the pulp magazines that published his work.

3. J.R.R. Tolkien

Where would epic fantasy be without Tolkien? It is as though he single handedly created the genre. He didn’t, but it certainly seems like it. And his imitators are legion.

4. George Orwell

Orwell's portrayal of the horror that is totalitarianism and how technology in the hands of government is not a good thing for us reaches all the way down to folks like Snowden, who blew the lid on the US government’s spying on its own people. And just about everyone else.

I read 1984 when I was in my 50s. I found the book totally terrifying. The most impactful horror novel I've ever read. And the book isn't even classed as horror.

5. Isaac Asimov

The last 100 years have seen many great writers of science fiction. Asimov, to my mind, is clearly one of the most imaginative and influential of the multitude of science fiction writers. From style to writing practice, Asimov has had an impact upon many young writers. For myself, I can say I learned much from him.

6-7. Edgar Rice Burroughs and Robert E Howard

Where would adventure fantasy be without Burroughs and Howard? Clearly Tarzan can stand right next to Holmes as one of the most memorable characters ever created. And Howard's Conan, King Kull, Solomon Kane, Cormac Mac Art, and others are a tough act to follow. Anyone writing adventure fantasy today needs to start with these two.

8-9. Gabriel Garcia Márquez and Jorge Luis Borges

Magical realism is not hugely popular in English. Yet the impact of these writers cannot be underestimated. In many ways, Magical realism is that a literary offshoot of surrealism and the genre tends to appeal to a more literary reader. Nevertheless the works of Márquez, Toni Morrison, and Salman Rushdie are hugely popular and Stephen King’s The Green Mile demonstrates that magical realism has a broad appeal amongst many different writers in many different genres.

10. J.D. Salinger

Few modern novels have so captured teenage angst as has The Catcher in the Rye. Present day writers draw from Salinger in their attempt to address the issues of identity, belonging, loss, and connection and the none have improved upon what he wrote in 1951. And because these issues are even more in the forefront today, Salinger still speaks to us.

That's my list of 10 of the most influential Fiction writers in the past 100 years. And it should be noted that this is how the list stands today. It might be different tomorrow.

Let us know who you think are the most influential writers of fiction for you in the past 100 years.

Justinia Wright and the Maltese Falcon

Who doesn't enjoy working a puzzle to a satisfying ending? That written, I have to confess I'm not a big fan of puzzles. I enjoy mahjong and I play chess and that is about the extent of my puzzle solving endeavors. So why do I enjoy reading mysteries? A good question that.

I have to confess, when it comes to mysteries, I'm pretty fussy. They pretty much need to be private detective stories told in the first person by the "Watson". Third person narrative puts me right off. I'll accept a story told by the detective in the first person. It's just that it bugs the life out of me when he or she says he or she knows who did it but it won't tell us.

The other thing I'm fussy about when it comes to mysteries, is that I don't care a fig about the mystery. We all know the detective is going to solve the crime. So big deal. No matter how puzzling, the detective will undo Gordian Knot.

What I find fascinating is the detective him or herself. If he or she isn't an interesting person, then the author has lost me. That's because any story I read must have interesting characters who deal with the nitty-gritty of life. Machinations of plot hold no interest for me. It's the people. After all, isn't it people who make life interesting? And if people make life interesting, it is also people who make fiction interesting as well.

So if I don't particularly like puzzles, why do I write mysteries? After all mysteries are considered to be literary puzzles. I write mysteries because crime and murder are part of life. The dark side of people interacting with people. Macbeth murders the king and sets off a chain of events. We know he won't get away with it. What interests us is how his life falls apart.

We know Sherlock Holmes will solve the problem. What's interesting is his interaction with Watson, the suspects, and how he goes about collecting clues.

When I watch a movie directed by Yasujiro Ozu, there is barely any plot to speak of. What's of interest is the interaction of the characters and how they go about attempting to solve whatever is the problem in the story. And the problem is usually rather mundane.

For me, writing a mystery is no different than writing any other novel. I either start out with the characters or I start out with a scene and then people it. Then, as Ray Bradbury advised, I let my characters do their thing and the result is the story.

In writing my forthcoming Justinia Wright mystery, But Jesus Never Wept, I started with a scene: Tina and Harry’s client has just been murdered by seppuku, Japanese ritual suicide. That is what I started with. Along the way my daughter told me about the Yakuza, Japanese organized crime, I liked the color it could provide, and it entered into the story. How the Yakuza fit in I wasn’t sure, but figured that’s Tina’s job. She’s the detective, after all. I was over halfway through the book and had pretty much exhausted my list of characters before I figured out who did the murder and why. I was on pins and needles wondering if I’d finish the tale without solving the murder. Not really. Because Tina gets the culprit. It's what detectives do.

Near the end of my short story “Minneapolis’ Finest”, Tina tells Harry:

“First off, Harry, you read too many mystery novels. Every case in those books is a complex puzzle and things blow up and people are being murdered left and right. Real detective work is, for the most part, dull routine. Boring even. If mystery writers wrote what really happened, they wouldn’t sell a damn thing. Cozies are the worst. I pray to God you don’t read cozies.”

“I don’t.”

“Good. Detective work is dull routine mostly because criminals are dull and boring twits with big egos.”

And I think that is very much the case. Real crime is boring. Therefore mysteries, to be interesting, are for the most part fantasy. Fictional murders are complicated, done by a mastermind for nefarious ends. No mystery writer writes about a normal murder. If they did, who'd read it?

Because most mystery readers are looking for the puzzle aspect, I don't specifically call my mysteries “mysteries”. Justinia Wright is a private detective. The books are subtitled “A Justinia Wright, PI Novel”. The focus is on her as a person, not the puzzle. I think of it as I'm writing character-driven private eye stories.

In some ways I see The Maltese Falcon as the model. The Maltese Falcon is full of interesting characters, none of them, including Spade, are particularly likable. I think the mystery itself is weak, overshadowed by the MacGuffin. Did Brigid really kill Spade’s partner? Or did Spade just throw her under the bus? The story is a classic not because of the plot, the puzzle, in my opinion, but due to the interesting characters. And that's why I read mysteries. And write them, too.

One Year

A year ago I self-published four novels. That act was the fulfillment of a dream I'd had ever since I can remember. Now, on my one year anniversary as a published writer, I have seven novels, five novellas (three collected into one book), and a short story in digital print. Two more short stories will be out this month and next month I will publish my third book in the Justinia Wright, PI series.

How Did I Get Here?

Even though I wanted to be a writer, I never actually did a lot of writing when young. Those early years saw a few poems, stories, and plays. A couple things were published and my high school drama class performed one of my plays. The early and middle decades of my life, however, are littered with far more abandoned then completed projects.

Lack of encouragement is a dreadful thing and harsh words are destructive. I had yet to read Rainer Maria Rilke’s first letter to the young poet. I looked without and not within. Encouragement and support are important, and I seek to be so to others, but looking within and knowing one must write in spite of what others say is vital. When I did so, I knew I had to write.

In 1989 I wrote a novel in the span of one year. The novel, however, was not good and after a couple rejected queries I put it away and turned to poetry. Poetry, I found, was something I could much better sandwich in and amongst my other responsibilities and day job on a regular basis. And I’m proud to say I achieved something of a name in certain poetry circles.

Ultimately, I found I wanted a bigger canvas. Painting miniatures was fun and fulfilling to a point. I wanted bigger worlds. I wanted to create worlds.

Consequently, I returned to my first love: fiction. I wrote and wrote and wrote one abortion after another. I always got hung up on plot. I'd never plotted a poem. I just wrote them. For some reason, I thought I had to plot fiction. Once I disabused myself of that idea, the stories and books have flowed out of my pen and pencil. I had found what worked for me — just write the story. I found I was in good company, as well. Ray Bradbury didn't believe in intentional plotting. Create your characters, let them do their thing, and that's the plot. Works for me.

Why Self-Publish?

Why self publish indeed? Doesn't that smack of the old vanity press? Didn't I need an editor’s approval? Someone to put that imprimatur on my work that signified it was “good”?

I thought long and hard about going the traditional route or to self publish. I'm old enough to be permanently scarred with the fear of the vanity press.

Yet the publishing industry as we know it is no more then two hundred years old. Thoreau’s book A Week on the Concord and Merrimack Rivers was self-published after he couldn't find a publisher in 1849. Anthony Trollope commented in his Autobiography that a publisher of one of his early books was willing to publish the book at his own expense. That Trollope notes this is significant. It means even in the middle 1800s publishers weren't overly generous or willing to take risks on novice authors and that the author might have to defray the costs of publishing in part or in whole.

The world of publishing I grew up with was gone. Dozens and dozens of publishers no longer exist. One is left with the small press or the Big 5. The slush pile and its editor has been replaced by the agent taking on a new role — that of the editor.

Dean Wesley Smith challenges the myths that surround the publishing industry and agents. Every writer needs to read to his article on agents.

My personal experience with the writers I have known is that the publisher does not hold your hand, the publisher does not provide you advertising dollars, and if you do not sell and make them money — you are kicked to the curb. Publishing is a business. And too often a cruel business. Today a new author, even to be looked at by an agent, needs to have a platform (social media presence and blog or website, hopefully with lots of traffic) in place so that the agent can tell the publisher this person might be able to sell a book.

However, not only does an author have to have a platform in place — but the author’s novel must conform to arbitrary publisher and bookseller norms. A friend tried to interest an agent in her 100,000 word YA fantasy novel. The prospective agent she had queried flat out told her no one will buy a YA book of that length from an unknown author. The agent then suggested various ways to mutilate the novel to fit the norms.

Then there is the money. A lousy 10% at best from the publishing house versus a minimum of 35% and a maximum of 70% when self-publishing. I asked myself, Why if I have to do all the work myself do I want 10% instead of 35% or 70% and then give an agent 15% of that measly 10%? Why indeed?

And then there is Rilke’s advice to the young poet:

You ask whether your verses are any good. You ask me. You have asked others before this. You send them to magazines. You compare them with other poems, and you are upset when certain editors reject your work. Now (since you have said you want my advice) I beg you to stop doing that sort of thing. You are looking outside, and that is what you should most avoid right now. No one can advise or help you - no one. There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write. This most of all: ask yourself in the most silent hour of your night: must I write? Dig into yourself for a deep answer. And if this answer rings out in assent, if you meet this solemn question with a strong, simple "I must", then build your life in accordance with this necessity; your whole life, even into its humblest and most indifferent hour, must become a sign and witness to this impulse.

And if out of this turning within, out of this immersion in your own world, poems come, then you will not think of asking anyone whether they are good or not. Nor will you try to interest magazines in these works: for you will see them as your dear natural possession, a piece of your life, a voice from it. A work of art is good if it has arisen out of necessity. That is the only way one can judge it.

My decision seemed easy. Why ask some agent or editor if my work is good? If I have to build my own audience, do my own editing, buy my own advertising, and hold my own hand — then why not self-publish and at least have a shot at making a pile of money?

So I did. I kicked the rules to the curb and took advantage of modern technology. Gutenberg is dead. Brick and mortar stores are dying. The Kindle and iPad are everywhere. I haven't made piles of money. At least not yet. Then again I haven't paid a dime for advertising either. Nevertheless, I am making some money. My marketing plan is this: when I have at least four titles in a series, then I'll start looking at marketing on a big scale.

To pay for advertising on one or two books is the big mistake, in my opinion. With 3000 new books a day being published, one is easily lost in a sea of virtual ink. To market one book, with no follow up for the reader to buy, it is to my mind paying to be forgotten. At least in the indie publishing world.

But what about the traditional world? It takes a publisher two years to get your book in print. Perhaps less for a small press, but then they have little clout. If you don't have something to follow-up right away, you'll be lost in the traditional world too. Because it will take years for your next book to see print. And if your book isn't a good seller, it will get remainder. A sure fire way to be forgotten. In addition, publishers don't want to publish a follow-up novel in less than a year. They are afraid of you competing with yourself. All these rules. And who do they benefit?

As a self published author, I can publish as many books as I want in a year. They are never remaindered. After all, I'm the publisher as well as the writer. Robert E Howard once wrote to H. P. Lovecraft the reason he wanted to be a writer was for the freedom it gave him. I think Howard would have loved today's self-publishing world — it is the ultimate freedom.

What’s Next?

I'm having a blast. I write every day. I write the best story I can. I put many hours into editing and proofing so I can put out a quality product. I am learning every day new aspects of writing and publishing. All I can say is I'm having the time of my life. And I'm my own boss.

During this next year I'm building inventory. More novels. More stories. Then I will get serious about marketing and develop a comprehensive strategy. I continue to read and learn what works for writers and what doesn’t.

I confess I have a golden parachute. I'm retired. Sure, I'd like to make piles of money from my writing. But if I don't, I'm still a full-time writer. I write because I have to. I've gone deep into myself and found out I must write. I must create. My books have been born out of necessity. “A work of art is good if it has arisen out of necessity.” It's the only way Rilke could judge a work and it's the only way I can judge. No editor or agent say otherwise.

Justinia Wright, PI

I don’t know how it is for other writers. I can only speak for myself. However, I’d like to think other writers would feel the same. When I create a character the process is very human: a baby is born and he or she slowly matures to adulthood. In other instances, he or she springs forth from my head — as did Athena from the forehead of Zeus. In either case, one thing is clear: I love my children.

The child I have lived with the longest and who I confess I love dearly is Justinia Wright, private eye extraordinaire. Her origins go back to 1982 and Raleigh Bond’s short story “Meet Athalia Goode”. You can read about all that in my post “Out of Thin Air”.

Tina runs Wright Investigations in Minneapolis, Minnesota. Her older brother, Harry, is her “Watson” and majordomo. I first chronicled their exploits in 1989 in the novel Festival of Death. Being my first novel, I garnered a couple of rejections, realized it wasn’t very good, and put it back in the drawer where it quietly lay for some 25 years.

Last year I looked at the novel after completing The Rocheport Saga. A lot had changed in 25 years. Technology, society, and me. The novel was hopelessly out of date. Chapter 1 was about all I could salvage intact. So I set the book aside and wrote three novellas to get my head back into Tina and Harry’s world. Those stories form Book 2 in the series, Trio in Death-Sharp Minor. With the novellas completed, I re-wrote Festival of Death. The re-write is far and away better than the original. I published Festival last November and Trio last December.

Sad to say, sales have been poor. Then again readers have a gazillion mysteries to choose from and I’ve done very little marketing. That will come, however.

This month I’m publishing to short stories which chronologically predate Festival of Death. The first I offer free starting today for a week or so: “Minneapolis's Finest”. Tina solves a mysterious break in for an old friend.

The second story will appear around Thanksgiving. “Sauerkraut Days” has Tina helping the local sheriff with the murder while attempting to set a world record in the sauerkraut eating contest.

Come December, writing time for Christmas, But Jesus Never Wept, number three in the series, will be published. I have the book back from my Beta reader and the cover art is ready to go. All it needs is a couple more read throughs to catch those nasty typos.

I had great fun writing But Jesus Never Wept. Tina is forced to face the demons lingering from her life before she became a private detective. We learn more, too, of Tina’s and Harry’s childhood. Philosophical, ethical, and theological questions abound. And on top of it all, true love takes a left jab and a body punch and is down for the count.

Early next year, the fourth of in the series should make its debut. And just in time for the political season. Campaign espionage and blackmail, with a dash of murder, have Tina and Harry scratching their heads.

I love the private eye novels. I suppose I have Conan Doyle to blame for that. My modest collection of Sherlockiana, Victorian sleuths, and Holmesian pastiches looks over my shoulder as I write this. Perhaps it’s what I want to hear, but I hear those sleuths saying, “Forget the sales. You love her. Tell her story.” And I suppose I shall.

Checkout where you can get the Justinia Wright books on my Novels page!