Location, Location, and... What Was It?

 I was looking at A Textbook Case this week, the SleuthSayers page I created as a sort of informal manual on writing fiction. It consists of about sixty essays I wrote here and at other blog sites.  

I noticed that I had only one piece about settings, and  that one was about imaginary places.  This didn't really surprise me because I am not a big fan of descriptions of setting.  Elmore Leonard famously advised us to leave out the parts people don't read, and that is how I tend to feel about those descriptions.  But I admit they have their place - sometimes.

You can find some excellent essays on setting here at the SleuthSayers website.  In one of them I found this comment from O'Neil DeNoux:  "Setting is not just the name of a place or time period, it is the feeling of the place and time period. It includes all conditions – region, geography, neighborhood, buildings, interiors, climate, time of day, season of year." 

Good starting place.  I began thinking about descriptions of setting that really stood out for me and a few came to mind:

* The beginnings of Chandler's novels.

* Elizabeth Peters' descriptions of Luxor and the Valley of the Kings  in various Amelia Peabody novels.

* Doyle's descriptions of  Dartmoor  in Hound of the Baskervilles.

* Tony Hillerman's description of the Navaho Reservation.

* Hong Bay in William Marshall's Yellowthread Street novels.

Personally I am much more interested  in interior settings: descriptions of houses and rooms.  How many full size reproductions have been made of 221B Baker Street?  Rex Stout provided a detailed plan of Nero Wolfe's famous office but that doesn't prevent people from arguing with it or (very common)  picturing it in mirror image.  

If you want a real master class in describing interiors in an interesting manner open any of Mick Herron's Slow Horse novels.  Near the beginning of each one you will find a description of Slough House; each version is different, and each is intriguing. 

All this came to mind because I have a story in the current issue of Black Cat Weekly and setting is important in it.  All the tales in my "Bad Day" series take place in Brune County, which is fictional, but "A Bad Day For Good Samaritans" centers on a park which is very much based on a real one in my city. 

 Well, here is a little report I wrote on Facebook in 2020 about something that happened to me: 

The pond this week

My story begins with a similar situation except the mother is nasty (conflict is the kernel of fiction).  So I went to some trouble to describe the place.  But the other scenes in the story are afterthoughts, with hardly more than a few words of description.

The pond in 2020

I suppose the point I am making is that you don't go deep into setting unless it is crucial to the story.  That could mean it is part of the plot (as in mine) or part of the mood.  But as always in short stories, the rule is not one word  should be included that doesn't move the story forward.

Now over to you: what are your favorite fictional settings?


 

  

Six of a Kind

I had an unusual month recently, an experience I can only describe as almost John-Floydian.  It started on a Monday when an anthology was published with one of my stories in it.  That was actually expected.  But I was surprised on Tuesday when a second anthology appeared with one of my tales.  And then I was flabbergasted when it happened again on Wednesday.

A week later at Bouchercon I was delighted to sign copies of the conference anthology with yet another of my stories in it.  Since then, two more have appeared in magazines.

I assure you, this is not my usual publication record.  But let's take a guided tour of these six literary masterpieces.

"The Cage," in Better Off Dead Vol. 1: Crime Fiction Inspired by the Songs of Elton John and Bernie Taupin, edited by D. M Barr.  I actually wrote about this  at SleuthSayers in August.  It's a story about a high school student having a bad day, following him class by class.  IMPORTANT: This book is published by Down and Out Books, which is going out of business, so if you want a copy grab it fast! 

"Lucky Night" in The Most Dangerous Games, edited by Deborah Lacy.  The shortest of six stories.  A successful businessman goes back to his hometown and attends a poker game.  Crime deals itself in... 

"The Little Death," in Celluloid Crimes, edited by Deborah Well.  A few years ago I wrote a story for Monkey Business, Josh Pachter's anthology of stories inspired by the Marx Brothers, and my protagonist was Madame Matilda, a dwarf working in a circus in the 1940s.  By the end of the story she had solved a murder and been hired by a detective agency.  "The Little Death," in which she provides security for the prizes in an art contest, is actually her third adventure.  Numbers two and four have been purchased for anthologies but have not yet been published.  I am currently polishing up on #5.

"The Unreliable Narrator," in Blood on the Bayou: Case Closed, edited by Don Bruns.  This story  is about an actor who makes his living performing audiobooks.  He's very good at his job -- except you can't count on him to show up on time and sober.  He is, you see, an Unreliable Narrator.  I was very smug when I dreamed that up.  All the stories in the book had to be set in the Big Easy so I owe a debt to O'Neil DeNoux who helped me NOLA-fy my tale.

Shanks and the High Bidder," in Black Cat Weekly, #212.  My 24th story about Leopold Longshanks, grouchy writer of crime fiction and reluctant solver of true crime.  In this one he deals with the winner of a charity auction who is reluctant to come up with the cash.  This is my second story inspired by Not Always Right, a webpage where anonymous contributors send in true tales of horrible customers. It is a huge time sink but it does provide wild story prompts.

"The Night Beckham Burned Down," in Black Cat Mystery Magazine, #16. This one was fun to write.  It was inspired by a catastrophic fire in Oregon in 1936.  Most of the bizarre events I describe really happen.  I  just had to make one of the fire victims a murder victim.  I wrote about it  at SleuthSayers last year.

But wait! There's more!  After I wrote this I learned that a seventh story was coming out in October.

"Give the Gift of Murder," in Black Cat Weekly, #216. I worked for 31 years in a university library and for some of them a campus fundraiser had the office next door.  Her job consisted of talking people into donating moolah to the university, preferably in large amounts.  It occurred to me that someone giving away money that greedy relatives might want for themselves was an obvious premise for a crime novel.  I even had the opening ready.  But my novels have not been hugely successful so I set the idea aside.  But one day I remembered my New Choice! technique and had a new thought: What if I made it much shorter?  A novella?  And immediately the pieces fell into place.  As it turned out the story is only about half as long as a novella, but I like it.  Oh, here's that opening I dreamed up:

When she found the corpse of Howard Secton III ruining the expensive Persian rug in his study, Maggie Prince's first thought was Did he sign the papers?  Her second thought was: I hate my job.

Personally, I love mine. Hoping you the same.

Learning to Give and Receive Critique

Filling in for me today is Tom Milani, one of my amazing critique partners. He graciously reads my short fiction before submission. He truly has a gift for highlighting ways to improve story and delivering feedback in a collaborative way. His thoughtful notes have elevated my work. I’m delighted he is joining us today to discuss the art of critique.

— Stacy Woodson

Learning to Give and Receive Critique

by Tom Milani

For new writers or writers new to critique groups, reviewing the work of others (and having their own work reviewed) can be hard. I’ve been in writing groups for over thirty years, and I was a technical editor for nearly that long. As a result, I have a lot of experience giving critiques of other people’s writing and receiving critiques of my own. Here, I’ll go over what I’ve found works for me. These aren’t hard-and-fast rules, but I hope these lessons I’ve learned will be helpful.

Dealing with Comments on Your Work

Members of the critique group I belong to typically send a Microsoft Word file with their changes tracked. (If you’re not familiar with Word’s Track Changes function, it’s worth exploring because many acquiring editors will expect you to know how to use it.) I go through each member’s edits and notes separately. I’ll open a file but make notes on my hard copy. (You could do the same thing electronically, but because I’m working on a small laptop, hard copy is easier for me.) I correct typographical and grammatical errors right away. If there are comments, I’ll often note those on the page. In doing so, I’ll find issues that several people have flagged. What if I get conflicting opinions about an aspect of my story? Here, I consider the numbers. If seven people out of eight people point out a potential problem, chances are I should look at the text again. But if the opinions are evenly divided, then I’ll go with my own judgment.

In an ideal world (or writing group), the comments I receive will be given in a constructive, nonconfrontational matter. What happens if the comments are delivered with snark, or worse? Here’s what I do when my work gets criticism that feels personal. I read the comments. I read them again. And again. I continue rereading until they no longer provoke an emotional reaction in me. Then, I look at the substantive portions of the comments. Are they valid? If so, I address them in rewrites. If not, I ignore them. Regardless of how the comments are given, I make a point to remember that someone took the time to read my work and offer an opinion about it.

Critiquing the Work of Others

I read an article on editing that suggested making critiques using passive voice. It’s a nonconfrontational method of pointing out problems. I used it successfully in my professional career and find it works as well with fiction writing.

If I see a problem in work I’m reading, I’ll frame my comments in passive voice. For example: “The text on this page feels like it spends a lot of time describing this character’s appearance, but this is the only scene in which she appears.” Here, the comment is directed not at the writer, but at the text itself. There’s nothing personal in the comment—I’m not questioning why the author wrote what he did—instead, we’re both working to solve a problem. It’s a simple switch in mindset, but one I feel causes the author to look at the comments with greater objectivity. Similarly, if I suggest a rewording, I’ll give a reason for the suggestion and generally follow that with some version of “your words will be better.” I’m not trying to rewrite the author’s prose but to point out where something is confusing or unclear to me. My rewording is an attempt to tease out the meaning that the author intended, while honoring the author’s voice.

What if I’m asked to critique a piece, and I don’t know the conventions of the genre? In that case, I focus on those aspects of the writing that need to be correct, regardless of genre—grammar, spelling, punctuation, and internal consistency—and if something is confusing or unclear, I’ll point it out (again, using passive voice).

Other Benefits

Critiquing other people’s work makes me look at my own writing with a more critical eye. Recognizing how well an author planned a plot twist or admiring how the varied pacing in a story maintained tension has led me to incorporate those elements into my own work.

But an even greater benefit is contributing to the writing community at large. Being a member of a critique group is one way to be a good literary citizen. My experience with the crime fiction community is that it’s supportive and generous—and being a good critique partner is one way to pay that generosity forward.

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Tom Milani’s short fiction has appeared or is forthcoming in several anthologies, including Mickey Finn: 21st Century Noir volumes 5 and 6. “Barracuda Backfire,” his novella, is Book 4 of Michael Bracken’s Chop Shop series and was shortlisted for a Derringer award. His short story, "Mill Mountain" was featured this week in Black Cat Weekly, and Places That Are Gone, his debut novel, was released on May 13, 2025.

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