Enough with the Murderer's Point of View, Already!

Some people may not like this post.  Some might even call me a 'cranky author.'  And that's just fine, because I'm all about open discussion when it comes to fiction writing.  In fact, I think the main thing wrong with the world these days is too many people want to shut down open discussion on every subject.

So here goes:

Was gabbing by phone with my friend Cindy, another writer, about the usual Covid-Writer fare.  What are you writing… what are you reading… what disasters have befallen your publisher, etc.

(And just to give you an example… Remember last November, when all the ships were crowded around the docks off California for weeks and weeks, unable to unload their goods in time for Christmas.  Well, remember at the same time there was one container ship foundering off the coast of Vancouver, that dumped 117 containers into the ocean?  One of those containers contained the second reprint of my 16^th book with Orca Book publishers.  Yes, I couldn't make this up.  Hope the fishes enjoy eating my royalties.)

Back to the main beef of today.

This discussion with Cindy inevitably led to what 'What do we hate' in fiction these days.  Cindy surprised me by saying: "You know what I really hate?  Books written in third person, that all of a sudden dump the murderer's point of view in the middle of everything!  In first person, no less.  Drives me nuts."

"Me too!"  I said, delighted to find another fellow cranky writer.  "Not to mention, it breaks all viewpoint rules."  (Okay, the cranky college prof can't resist the opportunity to lecture.)

What are we talking about?  You're reading a book - police procedural, usually - that starts with the protagonist - a cop - in third person.  The book carries on very nicely in third person for several chapters, and then suddenly, you get a chapter written in first person, by some unnamed character, that is completely self-focused.  Gradually you figure out it must be the murderer talking, because he's going on and on about his awful childhood.  Oh Sweet Jesus.  How the heck did that get in there?

It's like they wrote the whole book and then thought, I'll just go back and plop in some chapters of a completely different book into random spots.  The critics will love it!

I say police procedural because the last book I read - Oranges and Lemons by Christopher Fowler - did exactly this thing.  Now normally, I love the Bryant and May detective series by Fowler.  (The Peculiar Crimes Unit takes place in England.)  It's a hoot.  But I didn't like this added 'device'.

I say police procedural, but I've also seen it done with an amateur detective novel.  In fact, I read a recent book by a very well known Canadian author who used the same 'device' (note how nice I am in calling it 'device' instead of the words I am really thinking.)

'Recent' is the key word here.  The first time I came across this was about five years ago.  Really threw me the first time. Who the hell was speaking?  I thought it was a misprint.  No, truly.  I thought the printer had made a mistake and inserted part of another book into this book.

"Why do they do that?" said Cindy.

Believe it or not, being in the middle of writing my 18th novel, I had a logical explanation for that.

"Word count," I said confidently.  "They finish the novel at 70,000 words, and they've got to get it to 80,000.  I know from wence they came."

Some famous crime writer - it may have been Spillane - said that most crime books are perfectly written at 50,000 words.  In other words, a lot of mystery or crime stories end themselves naturally at that word count.  And that pushing them to 70 or 80 thousand means adding stuff that doesn't have to be there (which is a nice way to put it, I think.)

I ascribe to the Spillane school of thought.  My own work settles nicely between fifty and sixty thousand words.  I have to work hard to get it to 70,000.  And my agent and publisher usually push it to 75,000 in the editing process.

So I figure these writers who slot in the murderer's point of view are doing so to add word count.  What a nice way to avoid thinking of another plot twist.  Problem is, these chapters are usually static.  They are internal monologue.  All narration.  They interrupt the story.  And worse, they don't exactly move the story forward.

Not to mention, they break viewpoint and drive me and other cranky veteran authors crazy.

Not that we have far to go.

How about you, Sleuthsayers?  What do you think about this newfangled device in fiction?

Melodie Campbell sticks to the viewpoint rules in her otherwise loopy crime fiction that almost always involves the mob.  You can find her books at all the usual suspects.

What do we DO about Covid in our Fiction Manuscripts? Three Ideas for Authors

So here's a predicament.  You are writing a book that takes place in contemporary times.  You know it will probably hit the shelves two years from the time you start writing.  (Because that is the reality of this biz.  A year to write an 80,000 word novel, and at least a year for your publisher to get it out there.)

What, I ask you, WHAT do you do about Covid?

My authors friends and I have been perplexed by this for 18 months.  In the beginning (nearly two years ago) we thought it would be a passing thing, like SARS 1.  (Which by the way, I contracted in 2003 while supervising hospital staff.  It was pure hell.  Think cut glass in your lungs, for weeks and weeks.)

By the summer of 2020, I remember having Zoom discussions with writer friends about what the Thunderin' Jesus we were supposed to do with a worldwide pandemic in our novels.  Could we ignore it - blithely pretend it didn't happen?

But then the darn thing didn't end.

So here we are, two years after the start of Covid 19, still wondering when the bloody thing is going to be over, stuck in between a rock and a hard place when it comes to treating it in fiction.

Thing is, you can't ignore it now.  Covid 19 has been the most significant thing to affect all mankind, or even just our little niche in the world, since WW11.  Imagine being in Britain during WW11.  Six years of war hell.  And then a book comes out in 1947 that is supposed to be contemporary, but doesn't even mention the war years?  It's unthinkable!

So what to do?

1.  Pretend it's Over

Include it in your novel, with characters very grateful to be over the Covid years. 

But there's a problem with that.  What if Covid isn't over by the time your novel comes out?

That's what has happened to one writer I know.  His latest release talks about the bad Covid times of 2020 and 2021, and the bad times are over by the time his protagonist is telling this latest story in early 2022.

Except they aren't.  And I am sure said author (whom I adore) wished he could pull back that release until our Covid days are over.  (Yes, I know this will turn from pandemic to endemic, and likely to be with us for some time.  I'm a career health care executive, after all.  But you know what I mean.  Until a time we feel safe returning to normal, because God knows, I don't now.)

2.  Go Historical

That's what I've done.  Okay, I planned this book back in 2019 long before the word Covid was in our lexicon.  But after 16 published novels that take place in contemporary times, this was quite a departure for me.  You might also say it was prescient.  (Perhaps I should be dropping big money on lottery tickets...)

Writing a novel that takes place in the past is a perfect solution for a writer today.  You know how the world turns out. And there is a certain comfort for the reader in that.

Which will be the subject of a future blog on here, by the way.

3.  Do as another author friend of mine did:  Switch to Fantasy!

The ultimate cop-out!  Go different planet, Alt World, different time, different physical rules (magic etc.)  The desire for fantasy novels and fantasy shows on TV has never been greater.  We need a break from reality.  You'll be safe in a world you invent yourself.

How about you, seasoned Sleuthsayer authors?  What have you done to address Covid in your fiction?  We are all stumbling through this.  Comments welcome!

Melodie Campbell stumbles around the Toronto area, writing largely loopy fiction involving heists and capers that don't go according to plan.  You can get her books at all the usual suspects.  www.melodiecampbell.com

 

 

 

 

 

 

 

 

Wanna be a Paperback Writer? Ten things you didn't know

Alternate title… Perils of Publishing…
How to keep sane while traversing a career in the wilds of publishing.

Hello there!  Melodie here, with more shop talk about the perils of publishing.  Oh, how I miss those writer gabfests in the bar at the Drake Hotel where we did what authors like to do best when they get together. Which is, bitch about the industry.

There are many steps to becoming a published author with a traditional house, and each one is a milestone.  First, you finish that book (pass the scotch.)  Then, you bag an agent if you're lucky (more than a wee dram for that.)  Then, you get a contract for your first book (break out the champagne.)

You make it through that fiendish obstacle course, and people think you've got it made.  Hell, YOU think you've got it made.  All you need to do now is write!  Other people will take care of all the rest of it.  But believe me, everything is not clear sailing from there.

Strange things happen in publishing.  Things that not even a clairvoyant with a crystal ball could predict. 

You may say, "Oh, she's being so far-fetched.  That'll never happen."  But let me tell you, every one of these things have happened to me.

And guess what?  I'm still standing.  (okay, sitting in a comfy chair while typing this)  Still writing.  And still getting published.

Welcome to the insane, inane world of publishing.

1.  Your agent - the one from New York who finally agreed to represent you after months of negotiation...the one who was negotiating a deal with Ace Fantasy in England and Berkley Paranormal at home, will kick the bucket before cementing a deal (no disrespect meant.  He was a class guy.)  Worse, no one in his office will let you know for two months.  Worse, you didn't think to question the length of time between emails, because he was so lousy at getting back to you in the first place.

2.  The ad campaign that was carefully planned and paid for by your publisher will feature an ad where the title of your book is misspelled in such a way that not even Saturday Night Live could have come up with it.  Or saved it.

Rowena and the Dark Lard may be a great name for a cookbook. But it is unfortunately not the sort of thing to entice readers of epic fantasy to part with their money.  (real name of book:  Rowena and the Dark Lord)

3.  The book that was an outlier (Sci-fi) that your publisher loved, that your pals thought was your best, that got so many good reviews on Amazon...will go nowhere.

4.   The publisher that took a chance on you, believed in you, applauded when your book was featured on USA today and helped to bring your book series to bestseller status, will go out of business.

5.   You can't get the rights back for the covers of those books because the artist who worked for the house has disappeared off the face of the earth.

6.   Your next publisher - the one with the world-wide reputation and selling legs - will decide to close the line your series is in, even though your books are bestsellers for them.

7.  And the unfunny one - Someone closest to you will die the week your 15th book comes out, such that the book receives no attention at all for the year-plus you are in heavy grief.

8.  Back to funny - Your 16th book will come out the first month of a world-wide Pandemic, and all promotion events will be canceled for at least two years.

9.  More pandemic humour - You will be asked to emcee a prestigious book award event, which will be cancelled due to the pandemic.

10.  And More - Your 17th book will be held up in production at least 6 months due to a paper shortage worldwide.

I used to tell my writing classes that you need three things to become a writer:  You need talent.  You need to learn the craft.  And you need passion.

I've now decided that the most important thing you need to continue to be a writer is a healthy sense of humour! (and a big supply of scotch)

So raise a toast to all the authors out there who continue to write and publish, while continually having to face loopy hurdles like the above.

How about you?  Would love to hear more Perils of Publishing stories in the comments below.

Melodie Campbell continues to write books and short stories south of Toronto, in spite of the perils. You can find her books in all the usual suspects.

How Much Violence Against Women can YOU Read in your Fiction?

This is a difficult post.

The Globe and Mail newspaper this morning mentioned that Stig Larson died on this day in 2004. I mentioned this to a man I know who is a reader - a man I like and respect - and he said, "I really liked his books."  This brought about a discussion that has gotten me thinking.

Now, as you may recall, the writing community was quite split on Larson's book 'The Girl with the Dragon Tattoo' when it first came out.  Most authors I know, at the time, thought it needed severe editing.  But others were more concerned with aspects of the content.

I remember being at the bar of the Drake Hotel in Toronto, a notorious hangout for crime writers like ourselves, and hearing the following from a well-known male crime writer sitting beside me.  "Stig Larson was one sick puppy."

I asked him to elaborate.  After all, he was a male thriller writer of some note.  Here's what he said:

"That graphic torture scene of a young woman?  We all know how long it takes to write a book.  He would have been weeks writing that chapter.  What kind of sicko could spend that much time devising ways to describe that kind of horrific torture?"

His words really hit home with a lot of us, all of whom were published crime authors.  

Another male author at the table said, "He glorifies violence against women."

I write mainly heists and capers.  My Goddaughter series is about a mob crime family, so I'm not exactly a cozy writer.  In my short stories, I can go quite dark, but never to the point of torture.  I can't write grim novels - I simply can't spend day after day in a dark world.  It affects me mentally.

Violence is absolutely at the core of a lot of crime fiction.  It's not the topic of violence that was at issue here.  What my male author friends at The Drake were commenting on was the stunning increase in graphic description of heinous acts in fiction. It's not offstage in any way, in these books.  But I think what bothered me today is the following:  my fellow reader friend didn't even remember the torture scene that has haunted me for years.  ( I won't go into details here.)  His memory of the series was that of a woman getting her own back.  Fair enough.

So I asked him:  "Would you be able to read a scene in which a child is tortured in that way?"

He said:  "No, definitely not.  I'd have to put it down."

Telling, isn't it?  And that of course is the issue that haunts me today.  Those books of Stig Larson - and some like it that are extremely graphic in their abuse and murder of women - have done well.  Readers seem to accept it as a means to advance a plot in which - hopefully - justice will be done in the end.  (One could argue that if you are a woman killed in a horrible way, there is no justice, but that's a topic for another post.)

The end justifies the means now, so to speak.  Or is it deeper than that?  Does this reflect a deeper societal desensitization, nonchalance, or fatigue when it comes to the topic of violence against women?

My friend is not the only one.  At some point, and I think it took off with the publishing of the Stig Larson books, the fiction reading society moved to embrace a more graphic description of violence against women as entertainment.  And I have to admit, this bothers me.

Comments welcome.  I'm struggling with this one and could use others' insights.

Melodie Campbell writes about the mob in Hamilton Ontario, with tongue firmly in cheek.  You can get her books at all the usual suspects.

Pons, Derleth and Me

Jeff Baker

As Halloween wraps up, we bring you…

Jeff Baker, a columnist for Queer Sci Fi, has been a truck driver, a stand-up comic, a medical courier and a full-time writer. He has been published in Sherlock Holmes Mystery Magazine, Amazing Stories and the Crippen and Landru blog among other places. He lives with his husband Darryl in Wichita, KS.

— Velma

Pons, Derleth and Me
or
The Adventure of the Icy Apocalypse

by Jeff Baker

“And bring your revolver, Parker…” —Solar Pons

Way back around 1928 one legend gave birth to another.

This was when a college kid named August Derleth wrote to Arthur Conan Doyle asking if there were going to be any more Sherlock Holmes stories, and if not, could he try writing some? Doyle’s answer was “no” to the former and vague on the latter, so Derleth created his own version: Solar Pons, the Sherlock Holmes of Praed Street. A Pastiche, a loving version of the original who has taken on a life of his own and even outlived his creator.

Derleth, a fine and prolific writer began writing (and selling!) Solar Pons stories almost immediately, reportedly writing three in one day, and soon there were enough Pons stories for a book, In Re: Sherlock Holmes, and more stories kept coming. Pons has his chronicler, Dr. Lyndon Parker and his landlady Mrs. Johnson as well as his address on Praed Street, whereas Holmes, Dr. Watson, and Mrs. Hudson resided at the famous address on Baker Street.

Derleth would become far better known as the co-founder of Arkham House, created initially to publish the work of his late friend, the horror writer H.P. Lovecraft. Arkham House went on to publish works of Ray Bradbury, Robert E. Howard, Ramsey Campbell and others. After Derleth’s 1971 death, Arkham House continued publishing with James Tiptree Junior, Lucius Sheppard, and Brian Lumley among its authors.

Derleth’s own work in the horror and fantasy field is worth a look as is his neglected poetry and regional writing focusing on the Sauk City region of Wisconsin where he spent his life.

Solar Pons didn’t have an early influence on me, but August Derleth did. I was in grade school during the original run of Rod Serling’s Night Gallery, the early 70s television anthology of spooky tales, which adapted stories by Lovecraft and Derleth among others. Our local station aired it on Saturday nights (where SNL is now) and followed it with a couple of reruns of Serling’s Twilight Zone. Heady stuff for an eleven year old, especially one who didn’t realize how much he was being influenced by authors whose names he’d never heard.

Some twenty years later I got curious about some of the authors whose names had stuck in my head and started seeking out their work in anthologies and basically teaching myself to write fiction. Horror stories by Derleth, Robert Bloch, Charles Grant, Manly Wade Wellman and others. I think I learned something about writing and have published about twenty-five stories and written a few hundred more.

About three years ago, Derrick Belanger of Belanger Books put out a call for stories of August Derleth’s Sherlock Holmes-type detective Solar Pons squaring off against the eldritch evils of Lovecraft’s Cthulhu Mythos. Appropriate as Derleth added to the Cthulu Mythos himself with stories of his own. I had been reading the Arctic stories of Edgar Alan Poe and Arthur Conan Doyle, and I remembered Lovecraft had set a horror story at the top of the world so I jumped at the chance to write one of my own.

The resulting story, “Solar Pons and the Testament in Ice” was published in the Belanger Books anthology The Necronomicon of Solar Pons, in 2020.

The story involves Pons and Dr. Parker investigating a series of disappearances connected to an exhibit of artifacts brought back from the arctic. This leads to the power of a long-dormant entity whose plans could endanger the very Earth.

Of course, I had to conjure up my own Lovecraftian Old One (copyright, you know) and I came up with the ancient T’iabbas the Ravager, whose power is felt throughout the story, but who makes few actual appearances. I was familiar enough with the era of the story, 1930s London, in that blissful haze between wars but some of the other background required plenty of research. Research which was (I admit) fun to do.

There were a few things I knew I was going to include in the story; a reference to Pons’s brother Bancroft; Pons’s habit of “smoking abominable shag”, and Pons was going to have to ask Parker to bring his revolver into the fray, something Holmes usually didn’t ask Watson to do.

One of the challenges was in finding out how long it would take to fly from London to the Arctic Circle in the early 1930s. Another was in finding out about Dutch exploration in the early 1600s.

As for the prose, I spent time re-reading some of Derleth’s Solar Pons stories so my story would have the authentic style. I also had to fake a Seventeenth-Century Dutch manuscript.

And then I had to conjure up an unearthly horror…

I’ve made it a practice to donate signed copies of anthologies that I have stories in to the annual fundraising auction at my alma mater, Newman University in Wichita, Kansas, and a few weeks after this year’s auction a writer named Lindsey Giardino contacted me, wanting to interview me for the Newman University newsletter. Following a few exchanges of e-mails, the resulting article appeared online in early October of 2021.

Focusing more on my years at what was then called Kansas Newman College, and the idea of perseverance for writers (and others) “Newman Alumnus Publishes Short Story” has received notice from friends online as well as people I went to school with back in the days when I was saying that I “majored in Communications with a concentration in Journalism and beer.”

It was during a semester at Newman when I had classes where all the work was in class that I read through an anthology of Doyle’s Sherlock Holmes stories as well as Stephen King’s first collection “Night Shift” over several evenings, probably around 1981, and started thinking I wanted to write fiction myself. When my planned career as a journalist fell through and I landed a job as a delivery driver and eventually began writing and submitting (and selling!) stories in my spare time.

With the Solar Pons story, it seems to have come around full circle.

I always enjoyed Derleth’s original Solar Pons stories as well as Basil Copper’s continuations of the canon, and it was a genuine thrill to be able to have my own contribution published between covers.

author at work

But…

I’m hardly the World’s Greatest Detective: Proofreading the manuscript I found I had slipped a couple of times and called Pons “Holmes” and Parker “Watson.”

Wanna Be A Paperback Writer? The Truth about Author Incomes

 My last post on leaving my day job behind to become a full-time author with a traditional publishing house garnered a lot of comments to my social media feeds.  The question most frequently asked (besides ways in which to kill your agent, editor, reviewers, and not get caught) is - can the average author really make a living writing fiction?

We're talking average author with a traditional house here.  Not someone like Linwood Barclay or
Stephen King, or Janet Evanvich (who Library Journal once compare me to. They didn't look at our bank accounts, obviously.)  These people make the big advances we all dream of.

I'm still dreaming.  By average author, I'm talking about someone like me, with sixteen books published, and ten awards you might recognize.  Someone who occasionally hits the Amazon top 100 list of all books with a new release, and then drops out of sight after a couple of weeks.  We used to be called 'mid-list' authors. I kind of like that term, so you'll hear it again today.

I'm here to tell you the truth.  Some of it hurts, and some of it may be encouraging - you can judge.

Really, I'd be more comfortable giving you my bra size than spilling the financial numbers (38 Long is a hard size to find, by the way) but here goes.

In my last post, I quoted the UK, where recent reports say the average income of a paperback writer (note how I use the Beatles here and in the title) has dropped from 8000 pounds a year (maybe 15000 Canadian dollars) to 4000 pounds a year (more like 7000 Canadian dollars.)  Point is, the average fiction novelist is earning way less than 15 years ago.

Our Canadian stats measure pretty closely.  I do better than that - or have until now - probably because I have a backlist of fifteen books, several from series.  If someone picks up the latest book in The Goddaughter series, they may go back and pick up all five books that came before (bless their little hearts.)  That's how I've managed to sort of make a living - on royalties from backlist books.

But back to the stats.  Hold on as I try to be honest:

In my best year, I made 33,000 from my books.  If you add in teaching writing courses at college, and workshops at libraries and conferences, plus author appearances, I made about 50,000 in total.

But that was my best year.  I won The Derringer that year, and the Crime Writers of Canada Award of Excellence.  I also won the Hamilton Reads award (the city I border on.)  USA Today featured one of my books, and that shot me to the Amazon Top 100 list between Nora Roberts and Tom Clancy for a few weeks.

Thing is, that isn't a typical year.

My advances usually run about 5000 a book.  If I'm lucky, I get two contracts a year and write two books a year.  That's $10,000.

I have to 'sell through' those advances before I see any royalties.  Since my books sell for 10 bucks, and I get a dollar a book, that means I have to sell 5000 books of each before I get any royalties.  That's considered a best-seller in Canada.

So advances of 10,000 a year, in a good year.  And maybe royalties of a little less than that.  In a good year.  Add in teaching - another 6000. A few short story sales - (I can hear you laughing from here.)

Last year I made 21,000 from my books.  A lot less than my best year.

Covid has definitely played a part.  My last book came out the week of first lockdown. Every event and book tour was cancelled.  It'll be a while before I earn back that advance!  How do you promote a book if you can't get out there?  And when every other writer on the planet is anxiously spamming social media?

My point through this exercise today has been to lay bare the financial realities of a mid-list author as I have experienced them.  It sobers me sometimes to think that the assistant to the assistant at a publishing house makes more than the writer does.

This month, I signed for a new series with my third publishing house.  This one is bigger and more prestigious than the previous two, so I'm on a high.  I'm also scared to death.  The stakes are higher now, the expectations greater.  I'll let you know next fall if the financial rewards match my dreams <wink>

Melodie Campbell is a paperback writer of  multiple genres, south of Toronto.  You'll find her books at all the usual suspects.

Last Goddaughter book...(crime)

 

Her last book...(Rom-Com)

 

Mystery Magazine

  

Some of you are probably thinking, You left out part of the title. Did you mean Alfred Hitchcock's Mystery Magazine, or Ellery Queen's Mystery Magazine, or Black Cat MM, or Sherlock Holmes MM, etc.? Nope, the title's right. Mystery Magazine is the former Mystery Weekly Magazine, which--as most of you know by now--recently renamed itself and thus clarified things a bit, since it's published once a month.

Let me begin by saying that Mystery Magazine (new name or not) is an excellent publication, based in Canada and published by Chuck Carter, and in my opinion it has become one of the half-dozen leading short-fiction mystery markets. It usually features from eight to ten short stories and one interactive "solve-it-yourself" mystery in every monthly issue, it recently raised its pay rates, it pays on acceptance, it responds quickly to submissions, its covers and layouts always look good, and editor Kerry Carter is kind and competent and professional in every way. Another thing that might be interesting to writers is that after submission MM provides a monitoring link that allows you to see how many stories are ahead of yours in their to-be-read queue. The magazine's only drawback is that they don't provide a free author's copy of the issue your story appears in, but to me that's overridden by the fact that they pay so promptly, often on the same day the acceptance email appears.

Another thing to like about Mystery Magazine is that they are receptive to cross-genre stories. By that I mean writers can include the occasional fantasy, science fiction, horror, or Western ingredient along with the mystery/crime element. To give you an idea of how much that open-minded policy has helped me, here are some quick summaries of my stories at MM/MW so far: 

A gambling addict is pursued by murderous loan sharks. A mystery, but mostly a chase story. ("Merrill's Run," Jan 2017) 

A mix of crime and fantasy involving a missing teenager, a thunderstorm, and travel between dimensions. ("Lightning," Sep 2018) 

A lonely blind woman is targeted by a killer. Just a crime/suspense story with nothing cross-genre going on. ("Rachel's Place," Dec 2019)    

Two brothers in the depression-era south--one of whom has visions of future events--try to protect their alcoholic father from old enemies. ("The Barlow Boys," Nov 2020) 

A former combat soldier stumbles upon a bank robbery and is aided by a woman with paranormal powers. ("Charlie's War," Dec 2020) 

A combination Western/mystery/coming-of-age tale with a minor woo-woo element. ("Wanted," Feb 2021)  

A straight crime story set in the cottonfields of northwest Mississippi. ("The Delta Princess," Sep 2021)  

An offbeat mystery/fantasy featuring occasional small crimes. ("The King's Island," Oct 2021)   

A Western about a small town terrorized by a pair of killers. Obvious genre-mixing here, including a tiny bit of otherworldliness. ("Bad Times at Big Rock," upcoming)  

My point is, only a third of these stories were strictly mystery/crime/suspense. The others all had various shades of paint mixed into the genre can--and those stories probably wouldn't even have been considered at some of the other respected mystery markets. I still write mostly straight and undiluted mystery/crime plots and I will continue doing that, but when I do feel the urge to create a cross-genre story, Mystery Magazine is always on my mind as a possible home for it.

One last thing. I'm not alone in my fondness for this magazine. Many of my fellow SleuthSayers have had stories published in MM as well, before and after its name change: R.T. Lawton, Michael Bracken, Eve Fisher, Robert Lopresti, Steve Liskow, Robert Mangeot, Joseph D'Agnese, Elizabeth Zelvin, Melodie Campbell, the late Paul D. Marks and B.K. Stevens, and probably others I'm leaving out.

What are your thoughts, writers and readers, about Mystery Magazine? Have you read it? Enjoyed it? Written for it?

Here's hoping they stay around for a long time.

Sports Build Character

Why yes, I watch women’s soccer. No, I don’t watch men’s. Why do you ask?

I started watching women’s soccer (‘futbol’ in other parts of the world) three or four years ago. Women’s bodies in motion… What’s not to like? it’s wonderful. Except for Sweden in the Olympics opening game.

Lord Jesus

If you’ve seen international men’s soccer, you’ve met the drama queens, that star player from Italy or India or Indonesia who collapses on the field (the pitch), gasping, groaning, giving a grand performance as he prays to Saint Sebastian he may walk again. Once the referee flashes a yellow or red card, suddenly he hops to his feet, all fit and well once again. Lord Jesus, it’s a miracle.

When one of the women is knocked down, she gets up, perhaps given a hand by an opponent, and keeps  on playing. Not to say it couldn’t happen, but I’ve never yet seen a drama play.

Meanwhile on ESPN…

Yes, I know the rumors (definitely exaggerated) that the majority audience ‘plays for the other team’, but it doesn’t matter. When buying season tickets for the Orlando Magic, my friend Thrush also bought season tickets for the Orlando Miracles, the women’s counterpart of the Magic. At some WNBA games, we were about the only guys present, but no one cared. We weren’t looking for dates.

Ted Lasso

Now, Back to the Game

I have a reason for bringing up soccer. Apple TV offers an original comedy series that improbably grew out of adverts for NBC Sports.

Check out Ted Lasso. Two Americans are hired to coach a British football club, a sport they know nothing about. We’ve seen the fish-out-of-water premise before– mix-ups, screw-ups, bust-ups, dust-ups, and usually happy fix-ups. This show delivers more than you expect.

Ted Lasso is not about the sport, but about the people. It’s funny– Melodie Campbell funny– but the best aspect is the characterization. Several cast members carve out three-dimensional spaces for themselves. It keeps heart, a big heart. And characterization… Did I mention characterization?

It doesn’t matter if you’re not a soccer/football fan or don't like sports at all. Athletics doesn’t matter because the action occurs in the boss’s office, in the locker room, in the showers, in restaurants, and especially the local pub. A few moments happen in bed. The first season took ten episodes before we saw a play on the pitch (field). That was simply a build-up for an easy-to-miss key moment between egotistical player Jamie Tartt and…

You had to be there. It’s about characterization. We can learn from it.

Apple TV. Season 2 commences now.

Coach Beard — Coach Lasso

The Incredible Brain of a Mystery Writer

 Mike (Emergency Contact sitting in the Swedish recliner opposite me, reading my latest manuscript) said something today that really got me thinking:

"I am absolutely amazed by your mind.  How you create all these characters, make them all different, and keep them straight is beyond me."

So - being Author person first in the list of my personas, I said the obvious thing all writers would say given the circumstance: "But the thing is, YOU can keep them straight when reading that manuscript, right?"

"Oh sure," he said, to my relief.  "I'm just wowed by your imagination."

I think what he really meant was memory.  And I have to admit, I've been thinking about that a lot lately.

Writing a mystery is hard work.  I don't want to say it is harder work than most of the genres - I've written in most of the genres and each has its challenges.  But writing a mystery has specific requirements that make me wonder how long I will be able to measure up.

In fact, it requires an incredible memory.

In mystery writing, you need a large cast of characters.  

First off, you need a victim.  Check.  Probably two.  And if you're writing a Brit Mystery a la Midsommer, you probably need three.  (Emergency Contact and I joke about who will be the third person murdered in each episode of Midsommer, Brokenwood, Death in Paradise, etc etc).  This victim (or three) must be a fully drawn character.  He must have a past.  There must be a *reason* he is a victim in the first place, and that means drilling down to a life before the murder.

But we said there could be three victims.  Three characters.  Check.

We talk often about the need for five good suspects - three at the very least.  I personally try for three darn good suspects with lots of supporting material, and a couple more perhaps less drawn out.  

So five good suspects, all with believable motivation.  All with *different* motivation on why they would be the killer and take a whack at the victim for gain.  

That's eight characters so far, check.

You need a protagonist, almost always the sleuth.  And a sidekick for the sleuth.  Maybe even a love interest for the sleuth, who could be a local cop.  Three more characters.

That's eleven.

Probably there will be more than one named cop. A constable to search the grounds. Probably there will be a secondary character or two, to run the Inn, serve at the table. You know the drill.

So that's at least twelve unique characters, all with individual motivation, and personalities.  All looking different, with different histories.  All in selected places at the important times for the sleuth to keep track.

Not only the sleuth.  You - the author - has to keep it all straight.

Writing a mystery is an incredible feat of memory.  We intertwine the lives of more than a dozen people, and work them around the novel like so many pieces of a jigsaw puzzle.  I don't know any other kind of writing that requires such complex thinking and as I start my second book in the latest series (The Merry Widow Murders) I am truly shaking in my go-go boots.  Will I be up to it once more?  Will the task of keeping everything straight, creating a dynamic, exciting plot that MAKES SENSE but isn't easily solved, be once more in my grasp?

It's daunting.  And I haven't even talked about the fact that I've already used up eighty plots.  But just keeping the whole thing in motion in my mind is something I know won't be possible forever.

This year, I think I can do it.  The plot I have outlined excites me, and my agent is keen.  Next year?  Meet you back on these pages next summer for a recap.

Melodie Campbell always has a mob angle in her novels, and usually they can't shoot straight.  "Impossible not to laugh" says Library Journal about THE GODDAUGHTER.  "The Canadian Literary Heir to Donald Westlake" says Ellery Queen Mystery Magazine.  The Goddaughter series and The B-Team sold in all the usual suspects.

How to Create a Great Villain

Ah, those students of mine.  Here I was, doing the lecture thing about motivation, how ALL your characters need to have believable motivation for what they are doing.  Especially, doncha know, your antagonist (villain, if you prefer.)  "No Cardboard Villains!" I profoundly announced.

And then the question...

"So, how DO you create a great villain?" he asked.

Bless his little heart.

"Em...." I said with scholarly conviction.  "Just what I'm going to cover next week!"

Next day, prof frantically writes a brand new handout, here presented.  With thanks to my beloved students for keeping me on my toes....

 HOW TO CREATE A GREAT VILLAIN

Let's go back to basics.  How many characters do you need for a novel?

Melodie says:  a minimum of three  (and yes, there are always exceptions.)

Your Protagonist.  This is your main character, your main viewpoint character.  We will be experiencing the story through her eyes throughout.

Sidekick.  Your protagonist (and your story) will likely benefit from having a sidekick, some friendly soul to share the journey with.  If you don't give your main character a sidekick, then she will be spending pages and pages talking to herself, which is boring for the read.  

Examples:  Sherlock Holmes and Watson.  In my Rowena Through the Wall series, Rowena and Kendra.  In The Goddaughter series, Gina and her loopy cousin Nico.

Antagonist.  Yes, usually you need someone to provide the conflict.  We might call them a villain.  Your protagonist wants something that isn't easy to get and often there will be a villain standing in his way.

 KILL OFF CARDBOARD VILLAINS

So many times, villains seem cardboard.  This is because the author hasn't spent time building them into believable characters.  Sure, your villain can be a psychopath who is simply insane, but that gets pretty boring for readers.  

The most interesting villains are those who have desires that we can relate to.

Have you ever wished someone harm?  Villains do so as well.  Why do they act on those desires when we would hold back?  THAT's what makes them interesting.

Checklist for creating a Great Villain:

1.  KNOW HOW A VILLAIN THINKS - The number one thing to keep in mind when creating your antagonist?  Villains never think they are villains.  To them, their actions are justified and rational.  They are acting in their own self-interest.  Others simply stand in the way of what they want and deserve.

Get that last word:  deserve. Often, villain feel they have been cheated of what they rightly deserve.

2.  BELIEVABLE MOTIVATION - Make sure your antagonist has adequate motivation.  Don't neglect this!  Why is he doing what he's doing?  What does he want?  Why is he taking the risk?  In many countries and past ages, murder comes with the death penalty.  What is so important to him that he would take that risk?

Motivations for villains:  Revenge for past wrongs, safety, monetary gain, business or professional gain, power of overs, sexual desire (particularly for the protagonist.)  All the traditional motivations for murders:  Revenge, sex and money.

3.  GIVE HIM BACKGROUND - Your villain didn't get the way he is out of nowhere.  He didn't start out a villain.  Make him three-dimensional, and for goodness sake, avoid using trite over-used dialogue ("Now I have you in my clutches...")  I advise doing a character sketch for your villain as well as your protagonist.

4.  A LIKEABLE VILLAIN?  Can you make your antagonist likeable?  Of course you can!  Soren, in Rowena and the Viking Warlord, is a demon summoned from Hell.  Old religions knew him as Baal.  He is scary as all get-out, when first introduced to the reader.  But as you get to know him more and learn his motivations, you might even start to like him.  He's not ALL bad.  Let me repeat that. Not all bad.  Think about that, when creating your villain.

5.  MAKE IT PERSONAL - Finally, when possible, give your villain a history with the protagonist.  Yes, you can write about a psychopath who picks victims at random.  But isn't if far more interesting if the antagonist has a history with the protagonist?  The bad-boy past boyfriend who returns suddenly to your heroine's life and puts it in turmoil?  The girl you hated in high school who is now the defense attorney standing in the way of your solving the crime... Past unresolved emotions can add more power to your manuscript.

Remember:  Your villain is there to provide CONFLICT in your novel.  Will your protagonist get what they want?  Readers keep turning pages to find out, so make sure you maintain that conflict until the very end.

Melodie Campbell has written several series in many genres, but you can always count on them being funny.  Books available at all the usual suspects.  www.melodiecampbell.com

 

 

 

4.      

Money Laundering and other Taxing Services (Bad Girl Returns...)

 Apparently, I have been too serious on here lately.  There have been complaints.  In an effort to address this, I present the following:  Money Laundering and Other Taxing Services.

So this really isn't a blog about money laundering in the classical sense (meaning Uncle Vince and those three restaurants in the east side of The Hammer...but I digress.)  However, I do somewhat come round to money and bathing, or perhaps authors being taken to the cleaners (sic) in the penultimate paragraph.

In fact, this post is more about the plight of poor authors doing their fiendish taxes, and how the banking industry has become a playground for disciples of Satan.  (Not Santa.  He remains a relatively good guy, although I've learned not to sit on his lap.)

I was doing my taxes the other day, and it made me think about how great things were in the good ole days.  Remember how simple life used to be?  Someone would mail you a little carbon slip to let you know how much money you made.  All you had to do - as a law-abiding citizen - was run your finger along a little line in the tax guide, and you'd know how much tax you had to pay.  You'd write a cheque for that amount, then go drink yourself blind or shoot yourself in the head, whichever was most expedient.  Things were simple back then.

 Now, figuring out your taxes is a profession in itself.  Actually, it's several professions; taxes now have their own accountants and lawyers, the lucky little things.  Soon they may have their own psychiatrists.

Which brings me to banking (and other taxing services.)  I remember when you'd take your paycheck and give it to the bank for a little while.  Then you'd go back a few weeks later to take out cash for certain life essentials like beer and pharmaceuticals.  All the money would still be there plus some extra cash you made on your money, called interest.  Things have changed radically since then.  Interest is passe.  Sort of like digital watches...

Now when you put your money in the bank (which of course you don't...you put it in a cute little automatic teller machine where it mixes with everyone else's little packets of money in terribly immoral ways) - (or even worse, you simply transfer it to whatever account you like with absolutely no regard whatsoever for its feelings and preferences or - Gawd help me - gender.  Which reminds me: did you see the New York University survey where they now give you a selection of 35 different gender choices?  I personally wanted to identify as a SA {smart ass} but was told PETA might get involved.)

Back to the point.  The point is, that when you go back to draw it out again, you find less than the amount you deposited.  Most of your money is there, but so is something else called a Service Charge.

I must admit I'm baffled by this need for a service charge.  I mean, exactly what services did these people feel it necessary to perform for my money?  Did they give it a bath and take it on field trips?  (ahem...note the reference to money 'laundering')

 Frankly, I'm getting fed up.  If they are going to take my money out on the town and show it a good time, the least they can do is teach it how to reproduce...

Melodie Campbell writes seriously silly stuff and even gets paid for it.  She writes about the mob in Hamilton, Ontario, just in case you thought Canadians were all nice guys.  (However, we are extremely polite before we kill you.)  Check out her books at all the usual suspects:

 

Arrest that Cow! Warning: Canadian Humour

 It's a crime about Covid.  (Ha! I knew I could make this a crime column.)  But truly, The News is so completely obsessed with Covid, that other world events are hardly getting a glance.

For instance, I bet you didn't know that during the Trump reign, a near rebellion took place mere hours north of Toronto.  Sure, this didn't have the scope of the January 6 attack on the White House.  But we do things a little smaller in Canada.  And perhaps with a certain style.  And then, there's our high-school-good-looks Prime Minister, who may or may not have a stream of PR bungles behind him.

So in the interests of fair play (because we always feel a little second fiddle to you Yanks) here's my take on how this might have gone down in the True North.  (Yes, this event actually happened.  Mine is simply a creative nonfiction play by play.  Apologies in advance for any in-jokes.  Heck, for the whole thing.)

 The Independent State of Penetang

09:36, Parliament Building East Wing, Ottawa

"This is weird," says Mark, flipping through screens.

"Hmmmm?"

"It says here that Penetang has declared independence."

The other civil servant head looks up.  "Where is that?  In Africa?"

"Northern Ontario.  Somewhere north of Orillia, I think.  Or maybe Parry Sound.  I'm looking it up."

The older man frowns.  "You mean the county of Penetang?"

"Seems like it.  They've blocked the roads, it says here.  Just a sec."  He scrolls further.  "They're using tractors and farm equipment.  And cows."

A gasp.  "They're sacrificing cows?"

"Nope.  Herding live ones.  The cars can't get by."

"Merde.  We need to inform the Prime Minister."

11:00, Live from Penetang

"This is Mandy Flambeau, reporting from rebellion headquarters, at the Puckyew community hockey rink in downtown Penetang.  It's sort of quiet here, Len.  Maybe they're all out on the protest lines?  Oh wait -- I see somebody!  Sir, sir...over here.  Can you tell us what this rebellion is really about?"

"Taxes. Sick an' tired of those federal freeloaders takin' our taxes and spending them in the city.  Want our tax money spent here.  Not on subways and free daycare for city folk."

Gasp.  "Daycare? You're against daycare?"

"You see any kids around here?  No young people in Penetang anymore.  No jobs for them.  Only seniors now."

"So you want free daycare for seniors?"

13:43,  The Prime Minister's office

"Mr. Prime Minister, we have a situation."

(groan)  "Not another Tweet from the Twit."

"This is local, sir.  I need to brief you on the rebellion in Penetang.  PETA have moved in.  Because of the cows."

"Say what?"

"The rebels in Penetang have blocked the roads with cows.  And now PETA has established protest lines to protect the animals."

"Hmmm... Are you thinking what I'm thinking?"

"Sir, I think we have an opportunity here."

"A photo op?  Oh goodie!  What do they wear in Penetang?"

"Uh...overalls and flannel shirts?"

"Awesome.  Get Holt Renfrew and Nordstrom on the line.  We want these Canadian made."

"Yes sir.  Will you be leaving immediately?"

"I'm texting Sophie and the kids.  Maybe we can make a vacation out of it.  Does the Aga Khan have a place up there?"

14:00, Back at the East Wing

Mark puts down the phone.  "Is it even possible to charge cows with sedition?"

The other civil servant head looks up.  "Mark, are you from farm country?"

"Nope.  Born and bred in Ottawa."

"There may be a fault in their plan.  The cows."

"What about them?"

"They're Jerseys.  They'll simply go home at five to be milked."

Melodie Campbell knows a thing or two about sedition-er-cows.  She also gets paid to write very silly comedy for unsuspecting publishers.  You can find The Goddaughter series at all the usual suspects.

 

 

 

Three Good Suspects: The Five Things you need for a Mystery Novel

~~~Three Good Suspects~~~ (as opposed to the usual suspects...)

Many of you know that in addition to being a writer of mob heist novels, I'm also the past Executive Director of Crime Writers of Canada. (For my sins. Of which I've lost count...) I'm just coming up for air after serving as a judge for the Crime Writers of Canada Awards of Excellence.  So this post is timely.  It is also cathartic...which may prevent the consumption of too much scotch.  (I know, I know.  There can never be too much scotch.)

In the crime fiction world, most books fall into two categories:  mysteries or thrillers.  (Note that in decades gone by, we used to call thrillers 'suspense novels'. Same thing.)  I write both and find them very different to write.  I'm not alone.  Lots of readers who have a preference for one or the other tell me they wonder why mysteries and thrillers are shelved together in libraries and bookstores.

So to start, let me offer one commonly held description of each, as accepted by Crime Writers of Canada, via many publishers.  Like so many things in life, it has to do with goals.  (And of course, we'll add the usual disclaimer that there may be exceptions.)

Mystery fiction is a puzzle story.  It starts with a murder (or crime) and the goal is the solving of the crime.  The protagonist's job is to discover who committed the crime and why.

In contrast, suspense fiction is driven by a character in jeopardy.  A suspense novel or thriller is one in which the main action (crime or murder) has not yet taken place, and in most cases, the goal of the protagonist is to prevent it from happening.  The emphasis is on the tension built by the anticipation of the outcome.

Of course, there will always be suspense in a mystery novel too.  I don't want to discount that.  But let's focus on the puzzle that a mystery novel presents.

In many ways, mystery novels are like chess games.  They are to some extent a cerebral experience.  I would argue that no other type of novel invites the reader to engage in such an involved way with the protagonist.  

Why? Mystery readers like to pit themselves against the fictional detective to uncover who committed the crime.  The reader and the detective both receive the same information at the same time (anything else is not playing fair.)  

In a great mystery novel, you will hopefully come to the same conclusion as the protagonist, at the same time.  It's the challenge that intrigues us, the joy of the intellectual chase, which leads to a supreme high when you compile all the puzzle pieces together in your mind in such a way as to unveil the antagonist. In fact, the ultimate letdown in a mystery novel is when the killer is easily detected before the half way point in a book.

So why do I occasionally find murder stories where there is only one suspect?

Jeeze Louise, people!  A mystery must be a mystery!  If you go light on your suspects, what challenge is that?  

Thirty years, seventeen novels, fifty short stories, three agents, and six publishers have taught me the essentials of writing mysteries.  I'd like to pass this list on to several entrants to the awards this year, who seemed to have missed the memo.  But as anonymity is our credo (always good to remain mysterious) I will present them here instead.

1.  Three good suspects.

Every mystery novel needs at least three good suspects that you can't dismiss out of hand.  Three suspects with good motives (more on that below.)  Five is even better, particularly for a full length novel.  Make it a challenge for the reader!  That's what we're looking for.

2.  A believable motive for each suspect

A suspect must have a motive for murder.  Yes, really.  Serial killers aside (and even some would argue them too) people don't murder each other for no reason.  The motive for each suspect must be believable.  So many times, I have read books (and particularly, watched television shows) where the motive for murder is simply too trite.

There's an expression we use in romance writing:  TSTL.  This translates to Too Stupid to Live, and refers to that particularly daft female protagonist who get herself into predicaments so stupid that a chimp could have figured out how to avoid it.  The ditz factor is simply off the charts.  This is how books get thrown against walls.

Murder is risky.  If caught, you'll go to prison for years and in some countries, lose your life.  With a mystery novel, the reader must believe that the murder is worth the risk.  Don't slack on this!  Make your motive so rock hard that no one will question it.

 3.  A believable motive for the protagonist

Most amateur detective series start with a personal reason for the protagonist to become the detective in the first book.  Either she is a suspect wishing to clear herself, or a possible 'next victim' - but some reason why it is imperative the main character become involved in the solving of the crime.  Of course, if your book is a police procedural, or PI subgenre, the detection is part of their job and requires no explanation.

But if your amateur detective has no stake in the outcome, why the heck would they chance going head to head with someone who has already murdered?  Silly, if not stupid to put yourself at that risk.

This is what becomes unbelievable in many cozy mystery series.  The gal who runs the bakery shop solves the first murder, and then goes on to solve many more, for no reason other than it becomes a hobby.

I demand more than that, of my mysteries!  There must a valid motive for the protagonist to become involved.  Give her a good motive each and every time.

 4.  Risk for the protagonist

Remember I mentioned putting oneself at risk in the above point? Here's what I'm talking about.

You know that crazy device in so many television shows where the two leads are in a deserted warehouse, and one says to the other, "You go that way, and I'll go this way, and we'll save time" … and you, the viewer at home are going, "NO!!!!  Don't be so stupid - you need to stick together!"

Well, there's a reason for doing that.

In my "Nine Steps for Writing Suspense," step seven talks about 'Isolating the protagonist.' Because even in a mystery novel, we need to put the protagonist at risk.  The climax of your book should be accompanied by a black moment, where all seems to be lost, where the protagonist isn't going to get what she wants (safety, money, love, the identity of the killer…)

Any mystery that doesn't put the protagonist at risk in the end is a bit ho hum, in my books (sic).  Go hard on your protagonist.  Make it risky for them to search for the killer.  Make it do or die at the end.  And hopefully not die.  Which leads to point 5.

5.  A Clear Resolution

Don't kill your protagonist in a mystery novel.  Please don't.  Countless readers have told me that they absolutely HATE to read for four hours, and then discover that their beloved protagonist kicks the bucket in the end.  Readers want the protagonist to win, in a mystery novel.  They want justice to prevail.

At the same time, we also need a clear resolution to the story.  Nothing will get people storming your publisher's website than an ending to a mystery novel that isn't an ending.  We don't know whodunnit in the end.  

That doesn't mean you can't have the bad guy escape to play another day.  Even Arthur Conan Doyle did that regularly.  My point is: we need to know Whodunnit by the end of a mystery.

WE NEED THE MYSTERY SOLVED.

It will be possible to find novels billed as mysteries that don't play by the rules above.  They may even be bestsellers.  So I'll leave by saying, here are some clear guidelines I offer to help writers tackle their first mystery book and look like a pro.

With any luck, readers will also mine gold in the above, as we've demonstrated how much thought must go into creating a really good mystery story.

Melodie Campbell writes mob heists as well as mysteries.  Crime Club is her latest mystery.  The pug is not a suspect. www.melodiecampbell.com