Hey! Where are we?

Setting. That Place where the book sends you, where -- if the author is fortunate and talented -- you want to stay. It's vivid and evocative and necessary to the story.

If you're a writer, one of the things you learn is how to create a setting that serves as a vehicle for visual and emotional impact, that helps define characters, that subtly influences the opinion of the reader.

If you're a reader, stick with me. This isn't just about writerly tips, but about how understand a bit more of what the writer does can add to your enjoyment of their work.

When author Joyce Yarrow talks about setting, she talks about the "Place of Place." It has been inspirational to her body of work. She bought a ticket and followed her P.I. protagonist from New York to Moscow, and from that experience populated her novel Russian Reckoning with fascinating characters as well as evocative surroundings. 

Author Jeanne Matthew as purchased several tickets -- from Austrailia to Norway to Greece and more -- and used the knowledge she gained to give purpose and depth to all her characters, not just her cultural anthropologist protagonist.

Kait Carson stays closer to home with her Florida-based novels, using setting as a character that can turn from benign and beckoning to dangerous. Her characters must learn to cope.

Author Lisa Stowe pulls the setting even closer -- within the confines of a valley in the mountains of Idaho -- to build tension and danger while showing the reader the worth of her characters. 

These authors (click on their names to find out more about them and their work) all make setting do "double duty" by being a character in and of itself, by showing aspects of their characters that make them more real to the reader, and to influence the opinion of the reader. 

Yes, we're a sneaky lot. We use sight, sound, touch and smell to access the reader's emotional triggers and draw them to a character or push them away. Dialog and action can sometimes be too obvious or overused.

So, how do we do it? I'll tell you my process. The authors above aren't much different -- I know because I've talked to them all about this very subject. 

I start with each scene and ask myself what it should accomplish. Are the characters in that scene brave, bored, excited, in love, frightened? A combination? Are the words coming out of their mouths truth? When I can answer that question for each character, I can then decide how to let the reader know. Their reactions to their environment can help me do that. When Thea walks into the cavernous archives at the Burke Museum (Levels of Deception), we learn a lot about her by her overwhelmed reaction and then resolve to figure out how to accomplish her task. Oh, and by the way, the reader has also been handed a gift: the scene is a foreshadowing the nature of the conflict yet to come and how Thea will tackle it. Cool, huh?

I can also use setting to show a character's comfort or discomfort level. Every time Thea goes to the barn and methodically goes through her riding routine we are reminded of how she reestablishes her own sanity. Paul Hudson feels at home getting his hands dirty on a paleontology dig. One wouldn't expect him to be comfortable in a billionaire's home. However, when we see him there we also see how he's comfortable enough in his own skin to not be overly impressed or be swayed from his goal. Good for him. We like him for that!

A character's "world view" is going to be reflected by their interaction with setting. Someone whose work, traditions and habits center around, for example, roaming the city streets in the week hours is going to have very different observations and feelings than a character whose work and habits have him frequenting the servant's domain in Downton Abbey -- even if they are both up to no good. 

Setting can show us a character's strengths and weaknesses, comfort and discomfort, motive, desires ... all without a single "tell". If you're a writer, make setting work for you. As a reader, you can smile when you catch the author being clever. A good writer won't mention anything that doesn't have a purpose. Setting is one of those things.

I highly encourage everyone, be you reader or both reader and writer, to check out the authors I've mentioned. They are talented women with wonderful stories, all there for your enjoyment. Catch them at being clever!

The Painful Truth -- or part of it

So, you want to get published, huh?

Well, I’ve never met Elizabeth Peters.

For that matter, I’ve never even glimpsed Agatha Christie, Rex Stout or a myriad of other authors whose work I enjoy. Do I wish I had? Maybe. Would it have been fun, or disappointing? I don’t know. However, I’m okay with just reading their books.

Pardon the literary equivalent of whip-lash. If you’ve made it this far into my column, you’re undoubtedly wondering if I have a point. Well, of course I do. Here it is: It’s expected these days – meeting people, that is. In person, in social media, in newsletters and especially in large, impersonal quantities. It’s a part of selling books. Does it work? That’s hard to say. Anybody who knows anything about marketing also knows “presence” is required if your “target audience” is to know you exist so they can throw money in your direction.

Does that make you cringe? Yeah, me too. In fact, I don’t know too many authors who are chomping at the bit to go out and self-promote. The “large quantities” are an elusive, daunting goal. Especially for us introverts (read “writers”).

Joyce Yarrow, Jeanne Matthews and me at a recent event.
You should read their books ... and mine. 

Why do we persist in doing this thing that so many of us hate and feel so inadequate in doing? Why force ourselves to think of new, attention-getting activities, and a lot of old ones that publishers used to do to promote their authors? Because we’re trying to reach those people who will smack themselves in the head and declare to their friends and acquaintances, "I've just finished a book that you have to read!”

Word of mouth. It’s the best marketing tool there is, and tapping into it is a bitch. 

Yup. That's THE reason I’ve read all of Elizabeth Peters’ books (including those under her other names), Agatha Christie, Rex Stout et al. It's because someone suggested them to me in the first place, and I took it from there.

That’s what we all try to do, write the best book we can and then pray to the god of mystery readers that people like it – especially that person who will tell their friends. Have you told a friend about a book you’ve read and enjoyed? Go ahead and do it. You’ll be doing the author a favor that costs you nothing, and chances are that initial book you bought cost less than the Thigh Master® sitting in the back of your closet you don’t want anyone to know you have. 

So, those of you who long to publish (indie or otherwise), do you still want to do it?

A Second Chance for the Written Word

Joyce Yarrow is an amazingly talented woman. Not only is she a writer of considerable ability, but she is a singer-songwriter, screenwriter, multi-media performance artist and member of the world vocal ensemble, Abráce. 

She is also an adventurous traveler having done research for her book  

Code of Thieves (previously published as The Last Matryoshka) in Moscow and getting to know the local police (no, she wasn't arrested, but did get to tour a prison). India was one of her more recent destinations, where she was asked to lecture on "The Place of Place in Mystery Writing" at the University of Allahabad. Pretty impressive stuff for a girl raised in the south east Bronx, New York!

Not surprisingly, the accomplishments of other talented individuals interest her. With the Olympics in full swing just this past few weeks, Joyce found herself drawn into a kind of kinship with figure skaters. Writing and skating ... so different, yet -- well, I'll let Joyce explain. In her well-chosen words, the writer in you will likely find some inspiration and the reader in you will gain appreciation.

<><><><><>

Recently I posted the following status on Facebook:

As a novelist, no wonder I love the idea of figure skating so much – you start off with a jump that propels the storyline, lead into some fast fancy footwork accompanied by longer arcs of character development, finish with a giant leap into the unknown and a dizzying spin - and then you’re judged!

Fact is, I’ve got structure on my brain due to a rewrite I’m doing of a literary/crime novel.  A feeling of barely controlled chaos is inevitable when approaching a task like this and questions abound: – What plot points do I change and why? Are some of these characters I worked so hard to create actually expendable?  Is pace more important than lyricism? Why is this SO hard?

In the midst of this angst, clarity has gradually emerged. In a work of fiction, the author continually makes choices that change what happens next. As I slowed down and examined the important crossroads in my protagonist’s story, I began to see that I could actually enjoy this! I mean, how many second chances do we get in ‘real life’ – here was an opportunity to open some doors that had been left closed, to confront an adversary more forcefully, to take a few more risks than before in the endeavor to end up in a better place. Who wouldn’t want to do this if given a choice?

The most unexpected arrival has been a new adversary who will keep my protagonist on her toes. He scares me – a good sign – but my heroine will rise to the occasion. I’m happy to say I’ve made  some ‘clean jumps’ and will skate to the finish in spite of a few slips on the ice.

I’d better get back to it – since I have a deadline. To my writer friends – happy revising. To my reader friends – enjoy the results!

<><><><><>

Joyce's published novels include Ask the Dead (Martin Brown Publishers) and Code of Thieves, Istoria Books e-book edition (published as The Last Matryoshka by Five Star Mysteries in hardcover). She is a Pushcart Nominee whose stories have appeared in Inkwell Journal, Whistling Shade, Descant, Arabesques, and Weber: The Contemporary West. You can find her at JoyceYarrow.com . Her books can be found online and in book stores everywhere. Her newest book, a romantic suspense co-authored with Indian writer Arindam Roy, is awaiting a title. Keep your ear to the ground -- you wont want to miss it.

 

The Traveling Interview

Author Kate Wyland emailed me the other day and suggested I might enjoy being part of a traveling interview. For those of you stopping by for the first time, I write a mystery series set in Snohomish, Washington and laced with humor and romance. Because I have a new Thea Campbell Mystery -- Shooting To Kill -- coming out soon, and because I trust Kate to be tasteful and ... well ... fun, I agreed .... And then I looked at the questions.  Much to my delight, they are good! And because the same questions pass from author to author any reader who follows the trail will find out about the various differences and amazing similarities between us. Happy reading, everyone!

What are you working on right now?

Currently, I’m outlining the plot for the sixth Thea Campbell mystery.

How does it differ from other works in its genre?

Although my mysteries have serious themes and deal with tragedy, I mix in a good deal of humor. Because I’m one of those people who often see the irony and humor in life’s events and relationships, I include those elements in each story. After all, even the most noble of individuals are capable of sincere eye-rolling moments! Plus – and this is truly important – there are always horses in my books, as well as (at least) one riding lesson that should satisfy the reader who is also a rider, and should give the non-rider a vicarious feel for what it is like to strive to communicate with an equine partner.

What experiences have influenced you?

What hasn’t influenced me? The sum of life’s experiences is on every page and in every character. That said, I really don’t think I would have gotten to the point where I was determined to write my first book if not for my son and his particular challenges when he was young. No, it wasn’t him saying “sit down and write,” but rather, “stop what you’re doing and be here for me.” It was the “being here,” the many empty hours of waiting to be needed, that gave me the impetus to make something positive of that time.

 

Why do you write what you do?

Conflict is fascinating. It exposes the inner workings of each individual, for good or bad, for tears or laughter. Sure, all books contain conflict, and it’s pretty clear that humans enjoy the vicarious experience. We risk little, but can gain in wisdom.  The habit of mysteries to resolve the conflict and put the world to rights is, for me, extremely satisfying. I like to think of it as the triumph of Justice, which I feel is a pretty basic human need. Sometimes, we call it “Hope.”

How does your writing process work?

I am a Plotter and an Outliner. I didn’t start out that way, but the more I’ve written the more my process has developed. This is what I typically do: I start with a body. It doesn’t matter if I know who it is or why they died -- I’ll find out. Once I do, I work on the villain. I want to know this individual and what motivates them. I want to know all their shameful secrets and what they want in life. At that point I can intersect their crime with my protagonist and write the story from her point of view. After all, she is the one who will be responsible for bringing the villain to justice. Even though I know she will, I can’t make it easy for her. What would be the fun in that? The more crises and problems I can create for her, the better.

What is the hardest part about writing?

Being able to evaluate one’s own work. What is in my head isn’t always what appears on the page. This is why it’s so critical to find critique partners or editors who can articulate problems they find and point out when the page and the intent don’t mesh. It can be something as simple as having a couple of sentences out of order or a word that implies something other than what I intend. A good editor will be able to read, understand and communicate what is veering off from my intent. It isn’t always easy to hear, but there will be a ring of truth to it that can’t be ignored. It’s impossible for a writer do this for herself.

What would you like to try as a writer that you haven't yet?

There are a number of genres I’d like to try my hand at – techno-thrillers, romance, etc – but to do so requires the ability to write full time. To do that means I must be earning enough to quit the day job! I’m not there yet, but my hope is to be able to reach enough readers that it becomes possible.

Who are the authors you most admire?

There are many! And not all of them are well known. What they have in common is the mastery of the craft – the ability to turn loose the reins of their imagination, and at the same time retain mastery over the intricacies of the language in such a way that the reader is transported completely away from the here and now.

Who are new authors to watch out for?

Here are a few I love – and I’ve put a link to each author with their name. They are different genres and sub-genres, and I’m betting several of these will appeal! Check them out!

KateWyland -- mysteries with romance and horses.

Lisa Stowe -- traditional mysteries set in the mountains of Idaho.

Kaylan Doyle -- sci/fi fantasy with romance and adventure. 

Jeanne Matthews -- traditional mysteries with a globe trotting protagonist. 

Joyce Yarrow -- Chandler-esque mysteries with a PI who is also a poet. 

Lisa Love Harris -- mysteries with a dash of romance and an antique-loving Texan protagonist.

Kait Carson -- traditional mysteries set in Florida with an ex-cop protagonist.

What scares you?

Snakes.

Next up? Where do you go from here? Check out Lisa Stowe. She has a wonderful blog called The Story River where she reflects on the craft of writing and all the thought provoking people and situations she encounters. Plus, she's doing these questions, too!

Thanks for stopping by!