I've Got the Rhythm In Me

by Barb Goffman

Hell is freezing over. Anyone who knows me even slightly well will certainly think so when they realize that this week I am writing about .... yes, it's true ... sports.

I've never been into most sports. I don't like playing them. Or watching them. I've never had good hand-eye coordination, and every time a game comes on, I'm always itching to open a book.

But there are some exceptions. I like watching figure skating. (The beauty of the skaters gliding on the ice, combined with making flips and jumps and landing them with lightning precision--wow.)

And I'm a big fan of gymnastics too. Who doesn't remember Kerri Strug during the 1996 summer games, running on an injured ankle and vaulting herself and her USA teammates into Olympic gold?

There's one sport that mixes the beauty and athleticism of both skating and tumbling, and it has become a favorite of mine. Rhythmic gymnastics. And it's coming to a TV (or computer or other high-tech device) near you in just a few weeks, courtesy of the summer Olympics.

Never heard of rhythmic gymnastics? Maybe you've heard of it by its alternate name, something I've heard people sneer at: ribbon dancing. The entire sport was trolled during the last summer Olympics, with people declaring it's not a sport, that it's just dancing on a carpet with ribbons. The sport has been trolled so much that if you go to Team USA's website, they have a whole page explaining the athleticism involved in this sport. And yes, it is a sport. A beautiful one.

So what is it, for those who don't know? Picture a gymnast doing a tumbling routine, but at the same time, she has to keep a ribbon, hoop, ball, club, or rope constantly moving. The athletes perhaps are too good, making their routines look easy, which has encouraged

some people to declare rhythmic gymnastics to not be a sport. But these routines require skill and endurance, beauty and passion--sure sounds like a sport to me.

Not convinced? Check out Team USA's Laura Zeng compete with a ball during the 2015 World Rhythmic Gymnastics championships. 

So I'm excited for the rhythmic gymnastics portion of this summer's Olympics. The competition is scheduled near the end of the games, August 19 - 21st. Want to learn more in advance? NBC has some information about this year's USA team on their website. Click here to check it out.

If you've ever participated in rhythmic gymnastics, I'd love to hear from you in the comments. What's it really like? How hard it is to learn to do? Please share for those of us who love this sport. And for everyone else, what's your favorite part of the Olympics?

Writing What You Know -- the Hard Way

We've all heard this advice: write what you know. I've had editing clients take this advice the wrong way, thinking if they haven't experienced something themselves, they shouldn't write about it. In actuality, if you want to write about something and don't have enough information to get the details right, then do research. Learn all about it. Then you'll be able to write about what you know.
I got some firsthand experience Friday night about kidney stones. I'd never had one before, and I hope I never go through this process again. It started as a slight nagging pain, as if I'd slept wrong and a small area of my lower back had a knot in it. Within just two or three minutes, the nagging had become throbbing, and I swallowed an Advil. Not ten minutes later, the pain had become so acute that I thought I had really injured my back from briefly (thirty seconds, tops) carrying something heavy earlier in the day. (Last autumn, I aggravated some back muscles carrying home my escaped dog--I had no leash with me when I found him. A diagonal area across my back suddenly began throbbing hours later. This pain was similar.) I found the leftover pain medicine from the autumn injury and downed a muscle relaxer. Ten minutes after that, the pain was still increasing, and with tears in my eyes, I headed to the emergency room.

The pain came and went over the next few hours in waves. Sometimes I had no pain whatsoever. Three minutes later, I was crying for help, my pain a ten on the 1 - 10 pain scale. That is the way with a kidney stone, I've learned, which is what they diagnosed me with. My friend Becky Muth told me that she had kidney stone once. The pain of passing it was worse than when she had a baby, she said, so much so that she said she'd "rather go through childbirth again than pass another kidney stone." Mine hasn't passed yet (I don't think). I'm afraid of what's to come.

I don't know if I'll ever have the opportunity to use this firsthand knowledge in my writing, but I began thinking that perhaps I know people with firsthand knowledge that might be helpful to me and other authors. So I asked friends to share their stories. Here goes.

Having Nearly a Fifth of Your Teeth Pulled at Once

This tooth looks too happy.

I had my impacted wisdom teeth out long ago, and it wasn't fun. But it was nothing like what Becky (yes, same Becky from above) went through when she had six molars removed at once. Her words:

"I had six teeth extracted--all molars in the back. It felt like someone smacked me in the face with a baseball bat. The dentist's office miscalculated when I'd need [[to start]] my prescription, and the anesthesia started to wear off on the way home (about a thirty-five minute drive). I have an okay tolerance for pain as long as I have an outlet for general complaining, but this pain was so intense I couldn't speak. It hurt to nod my head when my husband asked me something. It was the first time I ever used painkillers around the clock. Two more dental visits are required to finish the work, and I'm dreading them. I'd probably choose the kidney stone. At least the medication for that caused me to sleep through a lot of the discomfort."


Experiencing Mysterious Back Pain

My friend author Meriah Crawford had terrible undiagnosed back pain. Turns out it was (is) a herniated disc in her lower back, but she didn't know that at the time. Her words:

"I have a herniated disc right now. It's given me my first real taste of what disability/chronic pain can be. Not sure I could handle it. What has struck me, though, is that it's less painful than the cramps I get (SO HORRIBLE), but I know cramps will pass and won't kill me. The fear (terror, at times) of the back pain gives it a whole other quality, though. I was genuinely afraid of becoming severely disabled or paralyzed through all this. When you don't know what it is, or you know enough to know it can be BAD, that's so much worse, at least for me."


Getting Pinned in a Car Wreck

My friend Diane Hale shares this harrowing tale:

"I was sixteen when it happened. One of those bizarre things; we had a sharp curve in the road, and the rear axle had crystallized, so when Dad thought it was a flat and tried to steer into the desert, it turned out the wheel was bent under the truck. He thought he was steering straight, but the front wheels were turned to compensate. When they hit a build-up of sand, it flipped us. [[The pickup]] flew forty feet before landing on the cab. I was stunned, blacked out when I thought I was pinned, then crawled out. My dad and I walked half a mile before a car came. I still wasn't feeling any pain, but turned out I had a broken pelvis. Perhaps I'm just one who's stunned first, doesn't feel pain until the adrenaline wears off. By the time help arrived (very rural area, a neighbor put a mattress in the back of his station wagon), I was beginning to hurt. I couldn't bend, so they had to pick me up and ease me onto the mattress for the hour-long ride to the hospital. [[It]] was so scary when I first woke up because I'm claustrophobic. Turned out I was sort-of pinned--between my dad and the back of the seat. I still vividly remember crawling out of the truck--both doors popped open--and seeing blood trickling down Dad's forehead. I was more worried about him than about me."

Having Undiagnosed Meningitis

A friend who wishes to remain anonymous tells this story:

"I had meningitis about seventeen years ago this summer. Through a series of horrible bouts of bad luck, I wasn't properly diagnosed and treated for a week. (A small-town doctor diagnosed it as a migraine and gave me pills for nausea and pain, which helped a little). By the time the worst came (I passed out and was sent to the ER), the pain was so intense that ending everything seemed like a wonderful relief. I was young, newly married, and had a six-month-old baby, but I was perfectly happy to accept death if it meant I could escape the pain. I want to stress that that all changed as soon as a neurologist got a hold of me and admitted me into the hospital--within days I felt like a new person who would never trade her life for anything. I've never thought it was a scary or unusual part of my personality, but when I hear of people in intense pain saying they prayed for death, I give a proverbial shrug and say 'yeah, I can see that'." 

Getting Your Nose Broken 

My friend author Alice Loweecey shares this story:

"I got my nose fractured at a karate self-defense class. The brown belt teacher was showing me how to break someone's nose. She made her hand into a stiff chopping weapon and promised to stop short every time. Once--fine. Twice--fine. Three times--WHAM! I literally saw stars and blood GUSHED out of my nose. It started to throb a minute later, and I got a wicked headache shortly after. It took forever to stop the bleeding and the next day my face swelled up and my got a very colorful bruise. To this day that side of my nose crackles a little and I can't rest sunglasses on it."

Being Stabbed

I'll wrap this up with a harrowing story from my friend author CiCi Coughlin, who has been shot and stabbed. Here she focuses on the stabbing, though she mentions the shooting too:

"The thing about an experience like [[being stabbed]] is it's rarely an accident. So, on top of the physical pain and trauma, you generally have a rash of emotions happening: panic, fear, a little bit of anger. There's also a sense of unreality, like it's such an extreme thing to be happening that you almost can't process that it's happening to you. In my case, it was a very unexpected attack when I was 18 and it was a fight for my life situation, so it wasn't just one stab, the end. By the time he stabbed me, I was already pretty banged up and had a concussion, so adrenaline was really high but I was also kinda wonky from the head damage. In some ways, I felt like I was both in the fight and outside watching, wondering who was going to win. 

"Physically, being stabbed was two things. First, it was like a major impact, like getting punched in the shoulder, but with the added issue of a blade. I was stabbed with a very thin, long blade, so that part was more almost a burning sensation, I suspect because the blade was so fine. The other thing is, with a stab wound, there's an in and an out and they are two very distinct sensations. In my case, there was about a five-second delay in between, so it was even more so. Plus, I was stabbed in a joint. The blade nicked the bone, and I had some ligament damage, though not a lot. But I also knew, sort of somewhere in the back of my mind, that it wasn't a potentially fatal blow, and I didn't lose blood as fast as I would have with a torso wound, so I wasn't as woozy as I might have been. Oddly, I'd already been shot in the same shoulder a year or so prior, so I can kind of 'compare.' At least in a shoulder like that, I'd far rather be shot. Might have been different if the shot hadn't gone all the way through, though. The knife actually did, too, so I had a skin puncture front and back. The difference with the knife, again, though, is it doesn't just go in, it goes in and comes out. So it's kind of a double trauma. Also, the bullet was a stray; no one was trying to shoot me, so there wasn't the kind of personal malice to deal with. Even if they had been specifically after me, it still would have been at something of a distance. Someone has to be really in your personal space to stab you, especially from the front. It's very personal and one-on-one -- kind of a twisted intimacy, if that makes sense."

I hope this information is helpful to my author friends. If you have any additional personal experiences you think might help other writers, feel free to share. And they don't have to be bad things. I've never jumped from a plane, for instance, and I never would, but I'd be interested in what that really feels like to do it. And I'd be interested in whether the perspective changes depending on whether the diver was eager or scared before the jump. Readers, please share your experiences, good and bad!

Warning! There's a Storm Coming!

We've all heard the famous advice--never start your story with the weather. Horrors! The weather! Run for your lives!
Actually, if a story began with a storm brewing so horrifically that people were actually running for their lives, that would be a good start. It would have action. Drama. It would draw the reader in.

But then there's the other way to start with weather, and it's the reason for the weather taboo: the dreaded story that begins with tons and tons of description, including about the weather, but no action. Imagine: Jane Doe awoke. She stretched her shoulders, looked out the window, and relished the bright rays of sunshine streaming down from the cloudless blue sky. It would be a lovely day, Jane knew. The high should be about seventy-five degrees, breezy. No chance of showers. Maybe she would barbecue tonight. It shouldn't be humid out there. It should just be delightful.

By this point, your eyes are probably glazing over. Or you want to strangle Jane for being so boring. When you use the weather this way, setting your scene yet having nothing happening, you are basically asking your reader to find something else to read. Anything else. Cereal box, anyone?

Yet imagine another opening to Jane's day: Thunder clapped, rattling the windows and scaring Jane Doe awake. Holy hell. Thunder in January? She trudged to the window. It was snowing like crazy out there. They hadn't predicted snow, but there had to be more than two feet on the ground. Jane's stomach sunk. She was alone and really low on food. Meals for Wheels would never be able to make it in this weather. Not for days, probably. Maybe a week. Or

more. She should have known something like this might happen again after the blizzard of 2010. She should have prepared. What would she do when the food ran out? What? Just then, her bird started chirping. Arthur. Sweet, friendly, beautiful Arthur. She loved him, just as she had loved Squeaky back in 2010. He had tasted unexpectedly good.

Now you may be grossed out, but you certainly shouldn't be bored. And that's the point: if you use the weather in order to propel the story forward, then it's a good use. With this idea in mind, two years ago, Donna Andrews, Marcia Talley, and I put out a call for stories for Chesapeake Crimes: Storm Warning. We told the members of the Chesapeake Chapter of Sisters in Crime to come up with crime short stories that put the weather front and center. And, boy, did they come through.

Stories were chosen by a team of seasoned authors (former SleuthSayer David Dean, current SleuthSayer B.K. Stevens, and Sujata Massey). The choices were made blindly, meaning the story pickers didn't know who had written each submission. Donna, Marcia, and I then began our editing process (we take a long time with the stories--they all go through multiple drafts).

Finally, the book came out in the last week of April. It has fifteen stories featuring crime mixed in with rain storms, blizzards, hurricanes, sleet, and even a shamal. You want a murder during a white-out at a ski resort. We have that. How about a locked-room murder mystery at a zoo's snake house, where people are stuck inside while a storm rages outside? We've got that too. We have stories of revenge and stories of guilt. Stories featuring characters on the fringes of society and stories featuring well-off expats. And in all the stories, the weather sets the mood and propels the action in ways you won't expect. That's the way to use the weather, as a vehicle to move the plot forward and set the mood.

I use the weather both ways in my story in the book, "Stepmonster," in which a heartbroken, enraged daughter seeks revenge long after her father's death while a storm rages on. The pouring rain sets a dark atmosphere, as the object of revenge cowers in fear, and the thunder offers a nice cover for certain ... sounds.

I'd love to hear about your favorite books or stories that put the weather to good use. Please share in the comments. And Storm Warning authors, please drop in to let the readers know about your stories.

And, finally, I'd like to give a shout-out to fellow SleuthSayers who were nominated for the Macavity Award on Saturday: Art Taylor for best first mystery for On the Road with Del and Louise, and B.K. Stevens for best short story for "A Joy Forever" from the March 2015 issue of Alfred Hitchcock's Mystery Magazine. (I'm also up for best short story--yay!--for my story "A Year Without Santa Claus?" from the January/February 2015 issue of Alfred Hitchcock's Mystery Magazine.) You can read B.K.'s story here. And you can read my story by clicking here. I'm trying to get links for all the stories together for Janet Rudolph, the woman behind the Macavity Award. I'll let you all know if and when that happens.

A Rose By Any Other Name ...

I've been so busy getting my house ready for sale (and it just went under contract!), that I jumped at the chance when my friend Sherry Harris offered to do a guest blog in my place today here on SleuthSayers. Sherry is the author of the Sarah Winston Garage Sale mystery series. Her newest book, All Murders Final!, came out in late April. Take it away, Sherry!

--Barb Goffman                        

A Rose by Any Other Name ...

by Sherry Harris

Which comes first for you, a title or a story? If you change the title, does the story change too? Last Friday I turned in the fourth book in the Sarah Winston Garage Sale series, A Good Day to Buy. Hitting send always makes me feel relieved and nauseated at the same time. An hour later I heard back from my editor. He loved the first chapter, would read the rest over the weekend, and hey, would I have any serious objections to changing the title to the planned title for the fifth book? What?!

I sold the series to Kensington on proposal, which means I came up with story lines and titles before writing the books. When I wrote the proposal, the titles of the first three books were Tagged for Death, Marred Sale Madness, and Murder As Is. Tagged for Death is the only title that stuck. Marred Sale Madness is hard to say so it became Deal or Die, which my editor wasn't crazy about so he came up with The Longest Yard Sale. And Murder As Is became All Murders Final.

 

When I sent the proposal in for the next two books, the titles were A Good Day to Buy and I Know What You Bid Last Summer. I had very specific plot lines in mind for each story. So when  my editor emailed about wanting to change the title of my next book, I closed my laptop (maybe with a little more force than usual), slightly concerned that the book I just wrote didn't match the proposed title. But my concern soon turned to intrigue. Could I pull it off? Ideas started percolating that might make the title work without massive rewrites. I called, emailed, texted, instant messaged, and sent smoke signals to my friend and freelance editor Barb Goffman. (Just kidding. Barb doesn't do smoke signals.) She came up with a great suggestion that worked perfectly with what I'd been thinking. 

Titles and matching plots are very important to me--especially with a title like I Know What You  Bid Last Summer. I wrote my editor and asked him if I could have the manuscript back. I told him I thought with some tweaks to the book, the plot would go along with the title. He agreed. I rewrote five scenes, and they weren't even complete rewrites, just plugging in a few things and changing a few paragraphs.

When I finished, I was happy, relieved even. The plot for book five is going to have to change, but I didn't really want to write the back-and-forth story (last summer, this summer) that I'd envisioned. We've already scrapped A Good Day to Buy as the title for the fifth book so if anyone has a suggestion for a title where "buy" can be plugged in for "die," let me know. Fair warning--my editor has already rejected Buy, Buy Love and Buy Another Day.

Readers: Do you have a favorite book title?
Writers: Which comes first for you, title or plot?

The Joys of Description

Me and my teapot :)
On Saturday night, I won
the Agatha Award for best
short story of 2015, and
I was just a little happy.
Kudos too to Art Taylor,
who won the Agatha for
Best First Novel.

by Barb Goffman

In search of blogging topics, I asked my friends for suggestions. This paraphrased question caught my eye right away:

How much detail should a writer use when describing the setting, what the characters look like, and what the characters are doing?

The amount of detail a writer should use is of course a personal matter. Some authors love expounding on setting and appearance, giving every detail so that a person could--if they had to--draw an exact replica of a room or a picture that would make a sketch artist proud. Other authors take a minimalist approach, preferring to leave setting to the readers' imagination. Readers' taste also varies, with some wanting to know every detail of each place and character's appearance, others not wanting their time wasted on that detail.
 
Given that readers' tastes do vary across the spectrum, an author obviously can't please everyone. I typically suggest something in the middle of the spectrum (though my personal taste is toward the minimalist side). You want to set the scene but you don't want to bore the reader or hold up the action.

When it comes to what characters look like, I suggest telling the reader one or two telling details, something to make the character stand out in the reader's mind. Does the character have a large mole on his cheek? Does she walk with a limp? Does she have extremely big hair? And I wouldn't limit myself to thinking a character's description only applies to what he or she looks like. Saying the woman who came to visit smelled like she worked in a kennel or her voice rumbled like she'd been smoking a pack of cigarettes a day for decades will hopefully be more memorable than simply saying she had shoulder-length brown hair and blue eyes.

This man's hair color and style are likely all you need to tell.

I suggest getting this type of detail in early, before the reader decides for herself what the character looks like. But don't force the detail in right when we meet the character if it doesn't work there.

If there's something important about the character's appearance, make sure you get it in early too. You wouldn't want your bank robber to be described as someone who sometimes slurs her words, and not show the reader until the end of the book that this character sometimes slurs.

Of course sometimes you need to give a little more detail in order to create a smoke screen. If something about a character's appearance is an important clue (or red herring), try to weave that detail into the narrative, hiding it among other details so it doesn't appear important. For instance, if it's important that Jane has dark green eyes, don't make that the only thing you say about Jane because then that detail will stand out. Instead tell the reader that Jane has ratty brown hair that looks like it hasn't been washed for a week. Her hair is so nasty you can hardly see her dark green eyes or the scar on her forehead she got from a bar fight. The reader will hopefully focus on the scar and Jane's nasty hair, with the eye color fading into the recess of her brain.

These same techniques can be used for setting. You want to create your world, but you don't need to spell out every detail to do it. Are you creating a charming town? Tell me Main Street has an old-fashioned ice cream shop and a Mom and Pop diner that's been there for decades. Let me know that a large green is adjacent to Main Street with some Revolutionary War statues and large shade trees people picnic under in the summertime. That's more than enough for me get the quaint picture you're trying to set. I don't need the name of every store, of every statue, of every street. But if it's an important clue that a certain statue was defaced, don't have that be the only damage done. Bury that clue in a report of the damage supposedly all done by the vandal.

As to detail of what characters are doing, I also advocate for minimalism. If you have two characters driving and discussing the case, I don't need to know each time the driver changes gear or flips on the turn signal. If you tell me that Bob is driving, I can picture what he's doing. I only need to know things that are unusual. If Bob is distracted and keeps looking at his phone or the radio or keeps checking out the rear-view mirror because he thinks they're being followed--things that are important to the plot--I want to know.

There are some actions you don't need to show at all. If your character is beginning a new day, I don't need to see her brushing her teeth unless her toothpaste is poisoned or someone is going to strangle her while she's working on her incisors. I don't even need to know she brushed her teeth. Just show her arriving at her office, finding it in disarray from the burglars who struck overnight. And if your

When brushing teeth, less is more.

character is going up a staircase, and you show the character heading to the staircase, she thinks a bit, and then she's at the top of the stairs, that's just fine. The reader can infer that she just walked up those steps. You don't need to show every step as it's taken unless you're trying to show that she's wobbly or that a stair is creaking or if someone is going to push her over the banister. (Such fun!)

Of course, again, everyone's mileage may vary about the amount of detail preferred. I'd love to know what you think. And please, let us know if you're a reader or a writer. Or both.

Murder Most Conventional: Interviews About The New Malice Domestic Anthology

By Art Taylor

As this post is published, Malice Domestic is already underway in Bethesda, Maryland—three days (plus!) of the best in traditional mystery. There are many highlights of the weekend ahead, including celebrations of this year’s honorees: Katherine Hall Page earning a lifetime achievement award; Victoria Thompson as guest of honor and Linda Smith Rutledge as fan guest of honor; Hank Phillippi Ryan as toastmaster; an Amelia Award for Douglas Greene; a Poirot Award for Barbara Peters and Robert Rosenwald; and a remembrance of the late, great Sarah Caudwell. Several of our SleuthSayers here are in the running for Agatha Awards, including both Barb Goffman and B.K. (Bonnie) Stevens in the short story category—for “A Year Without Santa Claus?” and “A Joy Forever,” respectively—and Bonnie again for her YA novel Fighting Chance, and I’m honored that my own book, On the Road with Del & Louise: A Novel in Stories, is a contender for Best First Novel honors. (Good luck to us all—and a second dose of best wishes to Bonnie, who recently broke her arm and won't be making the festivities herself!)

Another highlight of this year’s Malice is the return of the Malice anthology—this one with a focus on conventions themselves. Malice Domestic: Murder Most Conventional is presented by Katherine Hall Page and features 22 original stories and one reprint, including stories by Marcia Talley, Neil Plakcy, Victoria Thompson, John Gregory Betancourt, Su Kopil, Kate Flora, Charles Todd, Gigi Pandian, Hank Phillippi Ryan, Frances McNamara, KB Inglee, Kathryn Leigh Scott, KM Rockwood, L.C. Tyler, Nancy Brewka-Clark, M Evonne Dobson, Ruth Moose, Rhys Bowen, and Shawn Reilly Simmons. Our own SleuthSayers are among this batch of honorees too, with B.K. Stevens’ contributing “What Goes Around” and Barb Goffman doing double-duty both as a contributor with “The Best-Laid Plans” (the stories were chosen by blind submission) and as one of the editors, along with Verena Rose and Rita Owen—with Barb focusing on developmental and line editing.

Last year I edited the Bouchercon anthology Murder Under the Oaks, and one of the great joys of that process was working with first-time writers, so to celebrate the new anthology, I’m interviewing Marie Hannan-Mandel, author of “The Perfect Pitch,” and Eleanor Cawood Jones, author of “Killing Kippers”—two authors making their debuts as traditionally published authors—and also talking to Barb about her experiences editing the project and working with these two writers in particular.

Before the interview then, a couple of quick introductions:

• Raised in Ireland, Marie Hannan-Mandel now lives in Elmira Heights, NY. She is an assistant professor and chair of the Communications department at Corning Community College. She was shortlisted for the Debut Dagger award in 2013, longlisted for the RTE Guide/Penguin Ireland short story award in 2014, and received an honorable mention in the Writer’s Digest Popular Fiction award competition in 2014. Her short story “Sisters, Sisters” will appear in Adirondack Mysteries 3 in 2016.
• Eleanor Cawood Jones got her first writing job as a reporter with the Kingsport Tennessee Times-News and now work as a marketing director and freelance copywriter in Northern Virginia. Her independently published short story compilations include A Baker’s Dozen: 13 Tales of Murder and More and Death is Coming to Town: Four Murderous Holiday Tales.
• In addition to her own success as a short story writer—including the Macavity and Silver Falchion Awards—Barb Goffman also has a distinguished career as an editor, including both the new Malice anthology and the award-winning Chesapeake Crimes series, the newest book of which, Storm Warning, was just released.

And now on to the interviews—with Marie and Eleanor up first!

Tell us a little bit about your stories “The Perfect Pitch” and “Killing Kippers,” and given the anthology’s theme, how did your own experience with conventions—maybe Malice in particular!—inform your characters or your plot?

Marie Hannan-Mandel

MARIE HANNAN-MANDEL: My story is set at an inventors' convention in Maine where the first person narrator from New York City has come to persuade the hot-shot inventor leading her workshop to support her product. When a crime occurs she hopes that if she solves it the inventor will be so grateful he will back her.  I have attended many conferences and there are always representatives of various "types" in attendance--the pushy ones, the painfully shy ones, the beautiful ones whom everyone defers to, the famous, and the stalkers who are hyper-focused on getting to know the presenters. I tried to represent this mixed bag of people in a crime setting.

Eleanor Cawood Jones

ELEANOR CAWOOD JONES: Although not a single character in "Killing Kippers" is real, I did actually get snowed in at a casino-hotel many, many years ago where there was a clown convention going on. I was frankly astonished that clown conventions existed and the whole experience was distinctly surreal. So though the memory of that time is fuzzy, when it came time to come up with a crime-most-foul in a convention setting, that herd of clowns bulldozed their way to the forefront when I sat down to start writing. This is not your father's Stephen King clown story, although there is a clown front and center. I'm only sorry I didn't attend any clown panels while I was there. I think I could have been a great balloon-animal artist.

"Kippers" is written in first-person drunk from the perspective of a narrator who is not normally much of a drinker, which made room for some off-the-wall observations and interactions along the way. If pressed, I'd call it dark humor. And it's not just about murder, it's about life and joy and sadness and unusual friendships found in unexpected places.

Malice Domestic celebrates the traditional mystery and the book cover copy explicitly calls these cozy mysteries. How do you define those terms traditional and cozy for yourself, and how did that determine your approach here? Do you usually write in the traditional/cozy vein?

MARIE HANNAN-MANDEL: To me, cozy or traditional mysteries are those that focus on the gentler side of crime fiction. I'm not interested in gruesome description or detailed forensics. My focus is on the characters and why they do the things they do. I enjoy humor and try to use it where I can.  I almost always write what I consider cozy stories.

ELEANOR CAWOOD JONES: When I think of traditional and cozy I picture Miss Marple and some steaming tea and a paneled drawing room. I like to sit down in the comfort of my own home and go there to figure out with Miss M (or Poirot or any number of others) to enjoy the atmosphere of a whodunit. This applies to any number of settings, of course. Strange, but all the traditional mysteries I have read and no two are alike. They are comfortably familiar yet unique. But there's a certain feeling and mindset that goes along with reading one, and that's what traditional and cozy mean to me. Also, they are less violent and bloody than say, a traditional thriller, and thus considered less disturbing. For that reason, I wanted a milder, more bloodless plot and crime for Kippers, and though not a locked room setting, at least a self-contained area.

With that said, I do write some traditional mysteries, but I like to break rules. Some of my characters might just get away with it and I like to tamper with the definition of a bad guy—not everything is black and white and sometimes I find myself rooting for the villain. I also am extremely interested in motivation and personality of characters, and although plot is king I like to write about interesting people—even if they are only interesting in their own minds. Everybody has a story and everybody has a button just waiting to be pushed. I like to push the buttons of my characters and see what happens. So I stray into the thriller side but cozy is my home.

Finally, how did you celebrate the news when you heard that your stories had been accepted?

MARIE HANNAN-MANDEL: I took a walk on the beach in Ireland and skipped through the sand.

ELEANOR CAWOOD JONES: Best feeling in the world. I sprang up from my couch and walked around the house in circles, making celebratory shouting noises and trying to hold still long enough to text a few people who have been over-the-top amazing in their encouragement and support. Then I ate off that news for a week! All my favorite restaurants. Writing is fattening.

And now to switch perspectives on all this—a quick chat with Barb Goffman from the other side of the desk.

Barb, you’ve served as an editor here and also for several volumes of the Chesapeake Crimes series. Have you seen any differences in working with first-time authors or authors early in their career versus those who are veteran authors?

BARB GOFFMAN: While I'm happy to work with all authors, I love working with new and newer authors. Newer authors' stories often need more work than stories written by more experienced writers, but newer authors often are quite enthusiastic about doing revisions (sometimes several drafts) and taking advice that allows their stories to shine. I love helping them transform their stories from good to great.

More veteran authors can sometimes be less open to editing. Because they're more confident in their skills, if they like what they wrote and think it works, they might be willing to let issues slide. And that is their prerogative. But the best authors, no matter how experienced, are open to at least considering if there's a problem to fix. I've found that if I give a detailed explanation about why I have a concern about something, most authors—be they new or established—will try to address the situation.

Thinking about the anthology on the whole, what was it about Eleanor’s and Marie’s stories in particular that stood out as distinctive or memorable, or what can readers expect from the contributors by these two new voices on the mystery scene?

BARB GOFFMAN: Marie has a great, funny voice and has crafted an interesting puzzle with strong clues. In her early drafts, she had some inconsistencies and logic problems that distracted me when I read the story. When I pointed them out, she enthusiastically dug in and fixed them. The result is a much stronger story. With the logic issues resolved, Marie's voice really gets the chance to stand out. I hope everyone will take the time to read this story. It's a winner.

Eleanor's story is also very funny. (I write funny stories so perhaps that's why this element stood out to me in both stories, but I think it's something everyone will enjoy.) It takes skill to make a story involving death funny, and Eleanor does it. I also loved that she set her story at a clown convention. That's imagination at work. And, like Marie, Eleanor has a strong voice. Her first draft had a bit too much detail, but once that came out, her dialogue and internal monologue was able to really shine, making her story one readers will remember with a smile.

Malice Domestic: Murder Most Conventional is available at Amazon in both paperback and Kindle and is also for sale at Malice Domestic this weekend. A special signing by the contributors in attendance will take place at the opening reception, Friday, April 29, 9:15-10 p.m.

It's Aliiive!

by Barb Goffman

It's aliiiive!

Everyone, meet Plant.

Plant is my houseplant. I never bothered to name him (Her? How do you tell?) because I learned long ago not to get invested in plants. You see, no matter how much I've cared for and loved my plants, they all ultimately ... often quite prematurely ... have died.

We'll start with the pretty flowering plant I bought my mom for Mother's Day when I was in elementary school. (Okay, yes, technically this wasn't my plant, it was hers, but it was the beginning of my plant curse.) I planted it in the yard for her, and less than a week later our gardener mowed over it. Rest in peace, poor plant.

Moving onto sophomore year of college, I bought a little plant for my dorm room. Kept it on the windowsill where it could get lots of light. As the year went on, I noticed that no matter how much water I gave it, that poor plant was not thriving. I couldn't figure it out until the day I happened to set my hand on the windowsill and discovered it was freezing. And thus the poor plant clearly had been freezing all this time. Too bad plants can't shiver so I'd have had a clue. I moved it the plant to another location in the room but ... yep, you can guess ... it died.

The following year, my best friends went to a florist in town for my birthday gift. They explained my black thumb and said they wanted to buy a plant I could not kill. The florist sold them a peace lily. It was dead in a month.

A few years ago, a friend bought me an orchid plant. It had a bloom going when the poor thing arrived in my house, but that bloom withered quickly. I kept hoping for more flowers out of it, but I think the orchid must have felt my bad juju, because the poor thing didn't last very long.

And that brings us to Plant. Plant was a housewarming gift from some poor fool who didn't know that I am The Plant Killer. But the fool has been on me because Plant is now nearly ten years old. Heck, that deserves more than regular type. Plant is now nearly TEN YEARS OLD. I think Plant is living to spite me. I over-water it sometimes, Plant lives. I forget to water it sometimes, Plant lives. I better add Plant to my will, because apparently, no matter how hard I try (or don't try, as the case may be), Plant will live on way longer than I will. So, anyone want responsibility for Plant when I die? It clearly doesn't need a lot of work. Believe me, if I can keep Plant alive, anyone can.

In other news, the Malice Domestic mystery convention is in two weeks. Convention attendees will be able to vote for the Agatha Award in six categories. Fellow SleuthSayer B.K. Stevens and I each have stories up for the Agatha in the short story category. (B.K. is also a finalist in the children's/YA category! And SleuthSayer Art Taylor is a finalist in the best first novel category!) If you'd like to read all the short story finalists (and please, do read before you vote), they're available online here. Scroll down to the short stories. Each title is a link to that story. Happy reading!

Short Takes: The 2016 Nominees for the Best Short Story Agatha

by B.K. Stevens

"Being short does not mean being slight," Flannery O'Connor maintains in "Writing Short Stories." "A short story should be long in depth and should give us an experience in meaning." I think all the nominees for this year's Best Short Story Agatha would agree. The nominated stories include whodunits, suspense stories, and character studies. They include contemporary stories and historical mysteries, serious stories and humorous ones, realistic stories and stories laced with fantasy or whimsy. But all the nominated stories, I think, are long in depth, offering readers a variety of experiences in meaning.

All the authors of the nominated stories have contributed to this post. Each picked an excerpt from her story and commented on it briefly. I hope you enjoy these glimpses into the stories and also hope you'll decide to visit the Malice Domestic website to read the stories in full. And if you're going to Malice, I look forward to seeing you there.

 

"A Year without Santa Claus?" by Barb Goffman

Alfred Hitchcock Mystery Magazine, January/February 2015

Here's the passage:

"Look at this email from Santa."

"First someone poisoned Frosty's doppelganger," Stan read aloud. He turned to me. "Doppelganger? Who's he trying to impress with his fancy language?" 

Stan had never been a big fan of Santa's. Something about not getting a certain potato gun he'd wanted as a kid. I sighed loudly and tapped the tablet. "Read."

"Okay, okay." He looked back down. "First someone poisoned Frosty's doppelganger. Then my look-alike was run down. And now someone's offed an Easter Bunny impersonator. Shot him between the ears. New Jersey's too dangerous for me this year. Sorry, Annabelle. Maybe next Christmas. Love, Santa." Stan's eyes returned to mine. "Uh oh."

Uh oh indeed. I shook my head. This was a catastrophe. Santa couldn't skip out on our kids.

It's two weeks till Christmas, and Santa has just notified Annabelle, the head of everything magical that happens in New Jersey, that he's not coming there this year. A murderer is on the loose--it's not safe, he says. Annabelle can't let the poor kids suffer, so she sets out to catch the murderer. But even with her magical powers, Annabelle can't just conjure up whodunit. So she sets off to investigate the old-fashioned way, asking questions and taking names. But will it be enough? Can Christmas be saved?

To read the story:  http://www.malicedomestic.org/PDF/Goffman_Year.pdf

  

"A Questionable Death," by Edith Maxwell

History and Mystery, Oh My (Mystery & Horror, LLC)

In the following passage from "A Questionable Death," 1888 Quaker midwife Rose Carroll has brought a pregnant client of hers to see David Dodge, a physician at the new hospital in the neighboring town. Rose's client, Helen, has been showing symptoms of illness not related to her pregnancy.

"I'll need a small lock of your hair," David told Helen when he was finished examining her.

It had taken us twenty minutes to find a hack, we had to wait a bit to see David, and he had taken care with his examination, so it was now getting on for five o'clock.

"Why?" Helen asked, taken aback.

"Just to aid in assessing your health," David said, slipping me a look behind Helen's back. He handed her a small pair of scissors.

Helen shrugged, but handed the scissors to me. I clipped off a small bit from near her neckline and handed the deep brown lock to David, along with the scissors.

"Thank you for coming in," he said. "I'll have an answer for you within a day's time. And Rose, thanks for bringing her. I'll summon my carriage and driver to take you both back to Amesbury."

"That's very kind of thee," I said.

"I'll need to use the outhouse before we leave." Helen blushed a little.

"Oh, we have the new chain-pull toilets," David said with a note of pride in his voice. "The lavatory is just down the hall to the right. It's labeled Ladies." He pointed the way.

After the door closed behind Helen, I gave him a quizzical glance.

"My teacher in medical school would call it gastric fever." He gazed at me. "I suspect poison."

"Poison?" I whispered, moving to his side.

"Arsenic. I'll tell you for certain after I've analyzed the hair." His brows knit, and he went on, "Don't let on to her. Yet." 

This short scene comes about a third of the way through the story. It reflects the rapid changes in the late 1880s--the new chain-pull toilets in the hospital, the technology to analyze arsenic from a clipping of hair--contrasted with the horse-drawn carriages and Rose's Quaker way of speaking. It also gives the reader a likely cause for Helen's symptoms, which Rose will continue to investigate, and shows that she and David have a relationship as medical professionals in addition to their romantic one.

To read the story: https://edithmaxwell.files.wordpress.com/2015/01/questionabledeath.pdf 

"A Killing at the Beausoleil," by Terrie Farley Moran

Ellery Queen's Mystery Magazine, November 2015

My Agatha-nominated story, "A Killing at the Beausoleil,"is a prequel to the Read 'Em and Eat  cozy mystery novels, including the Agatha Award winning Well Read, Then Dead, as well as Caught Read-Handed and the soon-to-be-released Read to Death.

In this excerpt we meet Sassy Cabot and Bridgy Mayfield on their first day in Fort Myers Beach. The building manager of the Beausoleil is showing them their new rental apartment.

Bridgy leaned in. "Sassy, what a gorgeous place to start our new lives."

Pleased with her comment, K. Dooney went for super-wow. He tugged on one cord of a wall's worth of creamy vertical blinds, and, like a well-trained platoon, they made a snappy left turn. Florida sunshine streamed in between the slats and danced all around the room. I fell into an instant fantasy of sipping my morning coffee while sitting on the terrace, drenched in sunlight. Mr. Dooney yanked another cord, and the slats marched in unison, half column left, half column right.

Below us, great white birds with wingspans measured in feet, rather than inches, circled lazily around fishing boat bobbing in the Gulf of Mexico. The horizon pushed on forever.

A view that might seem nice enough standing on the beach appeared majestic from the fourth-floor window. I let out a deep sigh of contentment.

Usually the bouncy one, Bridgy was more restrained. She tapped K. Dooney on the arm. "Who is that man sleeping on our terrace?"

In Well Read, Then Dead Sassy mentions that she and Bridgy moved to Fort Myers Beach three years ago. A number of readers contacted me because they were wondering how Sassy and Bridgy settled into their life on Fort Myers Beach. So at the urging of the readers, I decided to write this prequel short story, which was published in Ellery Queen Mystery Magazine.

This particular scene comes early in the story. It is a favorite of mine because it gives the reader a glimpse of the vibrant south Florida setting while indicating trouble to come in the person of the "sleeping" man.

To read the story:  http://www.malicedomestic.org/PDF/Moran_Beausoleil.pdf

 "Suffer the Poor," by Harriette Sackler

History and Mystery, Oh My (Mystery & Horror, LLC)

Anne Heatherton, my story's protagonist, tours London's East End with a group of philanthropic women of means. The conditions that exist here in the 1890s appall the ladies. The group's leader expresses her view of how they should proceed.

"Well, ladies," Mrs. Pinckney, the group leader, announced, "we have a great deal to think about. But I am truly confident that we can make a difference. I believe it is our moral duty to share the blessings of our fortunate circumstances with others. But certainly not to be patronizing or morally superior. Don't you agree?"

The women nodded emphatically and whispered to each other as they moved toward the outskirts of the East End.

 This passage illustrates the dilemma of offering assistance to people who suffer from abysmal poverty and yet seek to maintain their pride and independence.

To read the story:  http://www.malicedomestic.org/PDF/Sackler_SUFFER_THE_POOR.pdf

"A Joy Forever," by B. K. Stevens

Alfred Hitchcock Mystery Magazine, March 2015

In "A Joy Forever," narrator Chris, an aspiring photographer, travels to Boston hoping to take a picture that captures "the spirit of New England." To save money, Chris stays with his crude, domineering uncle, Mike Mallinger. After a miserable day of failing to find a good subject for the photograph, Chris returns to the house, where Mike's second wife, Gwen, is working on an embroidery project. Gwen seems to be meek and submissive, seems to have surrendered utterly to Mike's bullying and abuse. She sympathizes with Chris's artistic frustrations and recommends patience, because "sometimes, you can't make good things happen right away." Here, Chris responds.

"You're sure patient." I walked over to look at her tapestry. "That's lovely, Aunt Gwen. Did you design it yourself? Are you going to fill in all that space with those tiny flowers? That takes more patience than I'll ever have."

The design consisted of a mass of flowers--not arranged in a landscape or vase, not forming a pattern in any usual sense, but a joyous profusion ordered by a harmony I could feel but not define. The colors were dazzling, the variety of flowers amazing. No two were exactly alike, and some, I was sure, bloomed only in her imagination, never in any garden. And each flower was composed of dozens of tiny stitches. Each must have taken hours to create.

She blushed--a proud, vibrant blush this time. "I'm glad you like it. I've been working on it for a long time. A long, long time. I take it out whenever I have a spare minute. So I can't do much at a time. But I work on it every day." Her smile hardened. "Every single day. I'll never give up, not till I finish. And when it's done--why, when it's done, it's going to be wonderful."

I hope this passage hints that Gwen may be keeping secrets, that she may be neither as helpless nor as harmless as she seems. I hope readers will sense that everything Gwen says may have a double meaning. She's talking about her tapestry, yes, but is she also talking about some other project she's been working on "every single day" for "a long, long time," some other project she'll "never give up"? Whatever that project is, "when it's done, it's going to be wonderful"--it's going to be a joy forever. This passage also continues the flower imagery I've tried to develop since the story's first paragraph, the imagery that represents Gwen's independence and suppressed creativity. And it juxtaposes, for the first time, Gwen's tapestry and Chris's photograph--two artistic projects that will come together again when the story ends.

To read the story:  http://www.malicedomestic.org/PDF/Stevens_Joy.pdf

The Authors

Barb Goffman has won the Macavity and Silver Falchion awards for her short crime fiction. She's been a finalist seventeen times for national crime-writing awards, including the Agatha, Anthony, and Derringer awards. Her award-winning story collection, Don't Get Mad, Get Even, includes seven of her nominated stories. She has two new stories scheduled to be published later this month. "Stepmonster" will appear in Chesapeake Crimes: Storm Warning (on sale 4/26), and "The Best-Laid Plans" will appear in Malice Domestic 11: Murder Most Conventional (on sale 4/28). Barb runs a freelance editing and proofreading service focusing on crime fiction. http://www.barbgoffman.com/

Edith Maxwell writes the Quaker Midwife Mysteries and the Local Food Mysteries, the Country Store Mysteries (as Maddie Day), and the Lauren Rousseau Mysteries (as Tace Baker), as well as award-winning short crime fiction. Her "A Questionable Death" is nominated for a 2016 Agatha Award for Best Short Story. The tale features the 1888 setting and characters from Delivering the Truth, which releases on April 8. Maxwell is Vice-President of Sisters in Crime New England and Clerk of Amesbury Friends Meeting. She lives north of Boston and blogs with the other Wicked Cozy Authors, and you can find her on Facebook, twitter, Pinterest, and at her website, edithmaxwell.com.

Terrie Farley Moran is the best-selling author of the Read 'Em and Eat cozy mysteries series. Well Read, Then Dead, winner of the Agatha Award for Best First Novel 2014, was followed by Caught Read-Handed in 2015. Read to Death will be released in July 2016. Terrie's short mystery fiction has been published in Ellery Queen Mystery Magazine, Alfred Hitchcock Mystery Magazine, and numerous anthologies. Her short story "A Killing at the Beausoleil," prequel to the Read 'Em and Eat novels, has been nominated for an Agatha award for Best Short Story. She also co-writes Laura Child's Scrapbooking Mystery series. Together they have written Parchment and Old Lace (October 2015) and Crepe Factor (October 2016). website: www.terriefarleymoran.com

Harriette Sackler serves as Grants Chair of the Malice Domestic Board of Directors. She is a multi-published short story writer. Her latest story, "Suffer the Poor," appears in History and Mystery, Oh My! and has been nominated for this year's Agatha Award for Best Short Story. She is a member of Dames of Detection and is co-owner, co-publisher, and co-editor at Level Best Books. Her nonfiction book about House with a Heart Senior Pet Sanctuary will be published in 2017. Harriette lives in the D.C. suburbs with her husband and their two dogs. website: www.harriettesackler.com

B.K. (Bonnie) Stevens is the author of Interpretation of Murder, a traditional whodunit offering insights into deaf culture, and Fighting Chance, a martial arts mystery for young adults. She's also published over fifty short stories, most in Alfred Hitchcock Mystery Magazine. Some of those stories are included in Her Infinite Variety: Tales of Women and Crime, a collection being published by Wildside Press. B.K. has won half a Derringer and has been nominated for Agatha and Macavity awards. This year, both Fighting Chance and "A Joy Forever" are nominated for Agathas. B.K. and her husband, Dennis, live in Virginia and have two amazing daughters, one amazing son-in-law, and four perfect grandchildren. www.bkstevensmysteries.com

Dynamic Duos - Part Two

by Barb Goffman and Sherry Harris

Songwriter Paul Simon may be an island, but for many authors we know, writing works better when people work together. Whether it comes from an editor or a critique group, feedback and brainstorming can be a hugely important part of writing. They also can be an important part of sleuthing. Characters usually need feedback as they try to figure out whodunit, which is one reason why the sidekick character is so prevalent in crime fiction.

Yesterday on the Wicked Cozy Authors blog, author Sherry Harris and I discussed dynamic duos in the writing process and how we've worked together. We also talked about dynamic duos in fiction, including my character Job and his unusual sidekick, God, from my story "The Lord is My Shamus" (available in my collection, Don't Get Mad, Get Even). Sound interesting? Pop on over to the other blog by clicking here. But then come back, because now we're going to wade into Sherry's fictional duos and then discuss some of our personal favorites by other authors.


Sherry, in your books, your main character, amateur sleuth Sarah Winston, has two friends who serve as her partner, but they both play very different roles. Can you talk a little about Carol and Stella?

Sherry: Sarah has known Carol for twenty years. They met right after Sarah met her now ex-husband, and they bonded as military wives. Fast forward to the present, and they've ended up living in the same town, Ellington, Massachusetts. Carol is invested in Sarah and her complicated relationship with her ex. She likes going to yard sales with Sarah, and Sarah knows that Carol will always be on her side. It's this long-time friendship that has prompted Sarah to step in when Carol is accused of murder (The Longest Yard Sale), and it's why the two work so well together when Sarah needs to think things through. And Carol's the kind of friend who tosses her car keys to Sarah without hesitation when Sarah's running away in All Murders Final! (coming out from Kensington on April 26th).

Stella is a new friend and Sarah's landlady. She isn't judgmental, listens, and is thoughtful with her answers. Since Stella is also single, she's usually up for a last-minute adventure, whether it's going to a karaoke bar or heading out in the middle of a blizzard. Because Stella is a new friend, Sarah sometimes feels more comfortable doing things with her that she'd never do with Carol, simply because their friendship is built on different interests. As you pointed out recently, Barb, the three of them have never hung out together--that might be something for a future book.

Do you have a favorite duo in a series, Barb?

Barb: There are so many great ones, but a duo that jumps immediately to mind is Stephanie Plum and her friend Lula in Janet Evanovich's seminal series about a New Jersey bounty hunter. Lula is always up for anything (especially going through the drive-through at Cluck-in-a-Bucket). If

The book that started it all

Stephanie needs to go on a stakeout, Lula's there to serve as a second pair of eyes. If Stephanie needs to find and capture someone who skipped court, Lula's there to help with the takedown. And if Stephanie needs to eat a snack, Lula is definitely there to eat the leftovers, and then some. Having a fearless friend when you're a bounty hunter is awesome. And having a friend who's a hoot is great when you're the star of your own series--readers love humor. What about you, Sherry? Is there a duo that stands out to you?

Sherry: I love Stephanie and Lula too. Another interesting duo is in Chris Grabenstein's John Ceepak mysteries. (Chris, if you are out there, please, I'm begging you, write more!) (Barb here: Me too!) The duo in this series is John Ceepak and Danny Boyle. John is a West Point grad and military

The first John Ceepak mystery

veteran with a strict moral code that he won't deviate from. Danny is a part-time cop, part-time party boy. Their relationship starts out with John as the mentor, and Danny idolizes him. But Danny brings something to the relationship too--smarts and a zest for life. They both approach the world very differently, but ultimately they learn from each other.

Barb and I both love the relationship in Julia Spencer-Fleming's Clare Fergusson and Russ Van Alstyne mysteries. Here is a completely different way to approach a duo from our first two examples. Barb, what makes them work?

Barb: Chemistry. It's one of those rare things that's hard to teach how to do, but wow, does Julia Spencer-Fleming do it well. These two characters are so wonderful together. They start out as friends, a sexual tension grows over the series, and then as their lives change, their relationship changes and grows. (I'm being vague because I don't want to ruin things for anyone who hasn't read the series yet. Go forth and buy all the books right now. You won't be disappointed.) Russ is the local police chief. Clare is an Episcopal priest. They're fun characters to spend time with--not

We love this book!

preachy. They both care about people and their town and are willing to stick their necks out for others, and for each other.

Sherry, am I missing anything?

Sherry: I love that Clare was an army helicopter pilot before she became a priest. It adds another layer of depth to her character. Also that Russ is married--that dynamic--priest and married police chief--is brilliant. I wish I could think of something as interesting and pull it off like Julia does. The first book in the series, In the Bleak Midwinter, has one of the best opening lines ever written.

It's amazing to us how different each of these examples are, yet how well they all work. Readers, do you have a favorite fictional duo?