Showing posts with label Hilary Davidson. Show all posts
Showing posts with label Hilary Davidson. Show all posts

15 May 2018

Giving Thanks

by Barb Goffman

It may be six months until Thanksgiving, but when the urge to thank people moves you, I say, go with your urges.

Writing fiction might feel like working in a vacuum because so much of the time the author is sitting alone in front of a computer, typing away. Even if the writing occurs in a public place, the writer is essentially toiling alone (except for the voices in her head). But we all need help from time to time, and it's a wondrous thing to work in an industry--the mystery community--where people are willing to help others, even eager to do it. They were helped along the way, and they like to give back by helping others.

Take Barbara Ross. She's a mystery writer from New England. Last month she gave a presentation to my local Sisters in Crime chapter in Virginia about promotion--what works and what doesn't. We didn't pay her to do this. She was going to be in the area and has a bit of expertise in this subject and didn't mind spending a chunk of her day sharing her knowledge with others, so she did. Mystery writers do things like this for others all the time. Heck, it's what so many of the blog posts here at SleuthSayers aim to do: help other writers. To all the Barbara Rosses out there, thanks.

There are other people we writers often turn to for assistance: subject-matter experts. I was reminded of this recently when I was answering a question posed to me about my newest short story, "Till Murder Do Us Part." The question was: Do police officers really use peppermint-scented masks to avoid terrible odors at death scenes. (A sheriff's chief deputy wears just such a mask in my story.) And my answer was yes, some do. I got the information from a subject-matter expert who gives his time, free of charge, to help authors get details right. It's also how I knew to call this particular character a chief deputy. So to Lee Lofland and all subject-matter experts who help authors get their  lingo and other details right, thank you.

You don't have to be a professional in any particular field, however, to have useful information for an author. Personal experience can be wonderfully helpful. When I was writing "Till Murder Do Us Part," I needed to know what it looked, smelled, and sounded like when a cow exploded. There's only so much information I could find online. I needed someone with personal experience to answer my questions. Bless my Facebook friends; they came through. None of these people are farmers, but they all spent time on farms growing up, had firsthand knowledge with exploding cows, and didn't mind providing pertinent details. So thank you to my friends Bob Harris, Gwen Mayo, and Teresa Wilder for their help with these details. And thank you to everyone I know who has, over the years, shared personal information that enabled me to get details right. Everyone is an expert in their own lives, after all. You just need to know who to ask about what.

For instance, if you need information about writing, ask some writers. Just today, I had a friend who was feeling down because she hasn't yet had luck selling her first novel. (It's great--I've read it--but sometimes these things take time. Not every agent is right for every author and book.) I figured it might help her to hear from other authors who had a lot of rejection before they had success, so I asked my Facebook friends to share their stories. And did they. About thirty authors shared their stories of querying and querying and querying until, finally, they had success.
Not the right paper for professional
queries, but very pretty





Three of these authors sent out more than 400 queries each, and for two of them, when they finally got published, their first book was nominated for major awards. These are perfect examples of the importance of persistence. Hearing these personal stories helped my friend, and my heart was warmed that so many people shared what some might think is embarrassing information in order to help another writer have confidence to continue querying. Rejection is just a step on the journey to success, but it's never easy. So to all my fellow authors who shared their stories on my Facebook page yesterday, and to authors everywhere who regularly share their insights to help others get published, thank you.

The list of people to thank feels endless, which is lovely, because it shows that wherever you turn, there are helpful people. Thank you to the agents, editors, and publishers who have taken a chance on me and other writers. Every one of us was new at some point and needed someone to give us our big break. Thank you to all of you who've done that.

Thank you to the bookstores, librarians, reviewers, and bloggers who buy our books and share them with the world. You help make our dreams come true. And finally, we authors would be nowhere without readers. You buy our books, enabling us to buy our food and feed our dreams. So thank you.

Before I end, a little BSP with a little more thanks thrown in: First, the launch party for Chesapeake Crimes: Fur, Feathers, and Felonies (in which I have my cow story, "Till Murder Do Us Part") is this Sunday, May 20th, at the Central Library in Arlington, VA, from 2 - 4 p.m. If you're in the DC area, I hope you'll come to the event and share in our celebration. Books will be sold and snacks will be served.

Second, this past week I was honored to have my short story "Whose Wine Is It Anyway?" nominated for an Anthony Award, along with stories by fellow SleuthSayer Art Taylor and authors Susanna Calkins, Jen Conley, Hilary Davidson, and Debra H. Goldstein. You can read my story on my website by clicking here. Art's story is available here. Debra's story is available here. Hopefully Susanna's, Jen's, and Hilary's stories will be available to read for free online soon. In the meanwhile, you can buy the books these stories were published in. Congratulations also to SleuthSayers Thomas Pluck, nominated in the best paperback original category, and Paul Marks, nominated in the best anthology category.

Thank you to everyone who took the time to send in ballots for the Anthony Award nominations, and especially thanks to everyone who listed my story on their ballot. With so many good stories published each year, receiving an honor like this is, well, an honor. A true honor. So ... thanks.

If you have someone you'd like to mention or thank who helped you on your life's journey, I welcome you to do it in the comments. And thanks for reading.

20 March 2018

Dubious Writing Advice

by Michael Bracken

My story “Montezuma’s Revenge” appears in Passport to Murder (Down & Out Books), the Bouchercon 2017 anthology edited by John McFetridge, and I participated in the convention’s group signing. As author of the second story in the anthology, I sat at a long table sandwiched between Ellery Queen’s Mystery Magazine editor Janet Hutchings (author of the first story) and Hilary Davidson (author of the third). Hilary was quite the draw, and adoring fans wanting to spend extra time with her caused the line to back up in front of Janet and me. At some point one of the autograph seekers, whether truly interested or just trying to kill time before talking to Hilary, asked about writing short stories. I said I always start with apostrophes.

Knowing whether you want to use many apostrophes or only a few has a significant impact on your writing. If you choose to use many apostrophes, your work will be filled with contractions, an informal style best suited to first-person narration. If you desire few apostrophes, you will write in a formal style best suited to third person.

That’s one of the many tips, tricks, and techniques I’ve stumbled across during my long literary adventure. Much of my formal education came erratically—a class here, a semester there—and I did not graduate college until I was 48. Though my B.A. is in professional writing, I was writing professionally long before graduation, and most of what I know are things I taught myself along the way.

GOT IT?

I agreed to join SleuthSayers shortly before the Toronto Bouchercon, and during the convention, Robert Lopresti suggested I use this forum to discuss my loathing for a particular overused word, a tirade he’s witnessed and written about in Criminal Brief (January 9, 2008):
“Michael hates got with a passion and while I don’t feel that strongly about it, I agree it needs to be considered carefully.”
Got is a lazy word used by lazy writers, and it can almost always be replaced by a better, more descriptive word or phrase. Without context, it has so many possible meanings that it has no meaning at all.

For example: “Bob got to his feet” could mean “Bob stood” or it could mean “Bob rolled out of bed and dragged himself across the floor to where he’d left his prosthetic limbs the night before.”

How about “Bob got his new T-shirt dirty,” which could mean “Bob received his new T-shirt dirty” or “he dirtied his new T-shirt while dragging himself across the floor.”

Or, “Bob got his revolver,” which could mean “Bob comprehended the philosophical and moral implications of his reliance on weaponry to mask his underlying fear of diminished masculinity following prostate surgery” or “Bob retrieved his revolver from the nightstand.”

IT WAS, WAS IT?

It was may be the worst two words with which to begin a sentence, and is an even less desirable way to begin a story. Sure, Charles Dickens did it, but few of us are Charles Dickens. It was adds nothing to a sentence, delays getting to the meat of the matter, and is the literary equivalent of a math problem, where “It was a dark and stormy night” translated into a simple math problem becomes:

It = a dark and stormy night.
Solve for It.

Almost every sentence that begins with It was can be revised into a more active, more powerful sentence. Thus, “It was a dark and stormy night when Bob shot the neighbor” could easily become “On a dark and stormy night, Bob shot the neighbor” or “Bob shot the neighbor on a dark and stormy night.”

“It was blood” could become “Blood oozed from the gunshot wound” or “Blood stained his neighbor’s shirt.”

THAT THEN?

Two t words continue to vex me: that and then.

That is sentence filler, often unnecessary for comprehension.

Remove that and “Bob knew that his neighbor was dead” becomes “Bob knew his neighbor was dead,” an ever-so-slightly better sentence.

Then is more a personal bugaboo than something I see other writers use and abuse. My characters tend to do something and then do something else. Thus: “Bob dropped the gun and then hobbled from the house on his prosthetic feet,” which is better written as “Bob dropped the gun and hobbled from the house on his prosthetic feet.”

HAD ENOUGH?

I picked up my newest trick from Marvin Kaye, fiction editor of Sherlock Holmes Mystery Magazine, who writes about had in the magazine’s submission guidelines:
“I have a special problem with the word ‘had,’” he writes. “Boiled down, here is what’s wrong with some (not all) compound past tenses—except for fiction written in present tense, our convention is to put things in the simple past. The reader, of course, translates the action into it ‘just happening.’ But as soon as a compound verb is introduced, such as ‘she had already bought the book,’ the action is shoved a little into the past [...]. Thus, in this magazine, unnecessary ‘hads’ are deleted, so that the above would be rendered as ‘she already bought the book,’ which now seems to be ‘just happening.’”
Remove had and “Bob had shot his neighbor and had fled the scene” becomes “Bob shot his neighbor and fled the scene.”

THEN IT WAS THAT WHAT HE HAD GOT

Don’t be Bob. Don’t shoot the neighbor on a dark and storm night, especially if your prosthetics will slow your escape.

Eliminate six simple words from your literary vocabulary (or significantly reduce their use)—got, it was, had, that, and then—and you’ll see a significant improvement in your writing. Your stories will be cleaner and your pacing faster.

Oh, and count your apostrophes to determine if your writing is formal or informal.

For more dubious writing advice, join me and several hundred other writers and fans at Malice Domestic, April 27-29. I’ll be moderating “Make It Snappy: Our Agatha Best Short Story Nominees,” where I’ll be trying to ferret out how and why Gretchen Archer, Barb Goffman, Debra H. Goldstein, Gigi Pandian, and Art Taylor wrote their Agatha-nominated short stories. I will also be a panelist for “Precise Prose: Short Crime Fiction” and will be signing copies of the Malice anthology, Mystery Most Geographical, which contains my story “Arroyo.”