The Non-Feel Good Novel

One of my favorite novelists is Herman Koch because he makes me consistently uncomfortable. The first book I read from Koch was The Dinner. The novel’s POV protagonist, Paul Lohman, starts off as a pretty likable guy. He has some issues, a few stray thoughts that would give most people pause, but doesn’t everyone? Who hasn’t thought something that they would never say aloud? Who hasn’t laughed at a friend’s off-color joke?   As the story goes on, however, it becomes clear that Paul’s naughty thoughts are much more than one-offs. By the book’s end, I felt a bit guilty that I had liked Paul at the start. That guilt made the story stick with me even though the ending wasn’t one to revel in and the characters weren’t people whom I would ever cheer for in real life. I like my good characters with a healthy dose of bad. To me, that makes them complicated, and complexity makes people human. I’m not alone. How could Breaking Bad have been so successful if plenty of people weren’t willing to root for Walter White? Still, not everyone feels this way. When I wrote The Widower’s Wife, some readers didn’t like the fact that my main character, Ana, contemplates a crime when she feels her back is against the wall and isn’t consistently honest. They couldn’t identify with her choices. Understandable. Though I wasn’t asking readers to sympathize with her as much as empathize. If they had Ana’s back story and then were put in her difficult circumstances, might they make a similar choice? At the end of the day, my test for characters–those I read and those I write–is believability, not likability. Given their individual histories, do their actions follow? Whether or not they would be my friend is another matter.  What do you think? Should writers err on the side of likability? Should protagonists make you uncomfortable?     

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Happily Ever, Never, or Maybe After

                 There is no real ending. It’s just the place where you stop the story.”― Frank Herbert Readers seem to have very definite opinions about endings. I know I do. But I wonder if writers feel the same way about endings when they have a pen in hand.It seems there are three choices for writers. An ending can delight as in “happily ever after.” Or it can devastate. I can still hear my daughter sobbing inconsolably at the end of Ann Karenina. Then there is the dangle. I’m talking Dennis Lehane’s Shutter Island or even more maddening to me, Anita Shreve’s The Last Time They Met.            You might have guessed, I’m a happily ever after girl. After thirty years of practicing family law, I am without apology when I say I not only want, I need a happy ending. Not that I haven’t been riveted by tragic finales like those in Mystic River and Ordinary People. But when I write, I try to give my readers a resolution that is satisfying if not entirely happy.            What about you, my fellow Miss Demeanors? What do you look for when you read? Is it different than when you write? Delight, dangle, or devastate? Alexia: It depends on the book. For a stand-alone mystery I like a nice, tidy ending. The murderer is exposed and brought to justice, order is restored. For a series, subplot cliff-hangers are okay as long as the main plot’s crime is wrapped up by the end of the book. If I’m reading comedy, I want a happy ending. If I’m reading satire, horror, or sci-fi, I don’t mind danglers and not-so-happy endings. I don’t read romances but I might if one ended with boy-doesn’t-get-girl or girl-realizes-she’s just-fine-on-her-own-and-doesn’t-need-to-waste-time-chasing-after-unobtainable-men. The only type of endings I can’t stand are those that don’t follow from the set-up in the rest of the book, those that are too convenient, and those that are utterly bleak, mean-spirited, or promote the idea that life is a miserable hell and humans are irredeemable. Tracee: Anna Karenina gets a pass. It was a tragedy from start to finish, so no one could have expected anything less than a sad ending. I don’t need a neatly wrapped happy ending (a la Jane Austin with wedding bells and applause) but I do like a sense of completion. Preferably not a grim one. I think that when you write a series you almost have to commit to an ending that provides some sort of hope for the future, or the hero/heroine would always start the next book arising from the ashes of tragedy. Perhaps once in a while you can get away with it, but rarely, I think. Now that you’ve suggested it, in the future I will aim for a mix of delight and dangle as the characters move from the edge of devastation in the next to end pages! Robin: I’m a dangler. The closure of a tidy ending is satisfying, like Sue Grafton’s method of using the report submission style, but an artfully crafted dangle stays with me longer. I’ll ponder the continuing lives of the characters. I lean towards dangling in my own work, too. Besides being fun to read, the resolution-but-not-necessarily-an-ending is also fun to write. Paula (Munier, our occasional Miss Demeanor): I like happy endings, or, failing that, hopeful endings. No “Life is shit” endings for me. Susan: I like it when I don’t see an ending coming. Too often I feel like I know from the first chapter how it’s all going to wind up. I also love the sort of ending that makes me sit and think for a while. I’ve always loved the ending of To Kill a Mockingbird because it’s so emotional and yet restrained. I’ve often pictured Atticus sitting there, waiting for his son to wake up. How different it would be if she showed  Jeb tapdancing the next day. Cate: I like “life is complicated” endings.   

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Feeding the Hungry Reader

French Comfort Food, by Hillary Davis, one of my favorite cookbooks,    How would you like a buttery grilled cheese sandwich filled with Cheddar cheese, tomatoes, and bacon right now? Or perhaps a tuna melt on rye bulging with melted Gruyere? Maybe a plate of creamy macaroni and a combination of three cheeses, not one? Too plebian? We could add chunks of lobster.            Not feeling savory at the moment? Could I get you a plate of warm chewy chocolate chip cookies right out of the oven? Or a piece of apple pie with feathery light flaky crust? No? I could dish up a piece of moist golden cake with homemade chocolate buttercream frosting if you’d prefer.            If you aren’t hungry by now, you may not be human. Just the very description of these foods, often categorized as “comfort food” is enough to make a reader salivate, which is why most readers and writers are captivated by food in stories. Food helps to create atmosphere and lends authenticity to an environment. I defy you to read Barbara Ross’s Maine Clambake series and not crave lobster. When Stone Barrington cuts into a steak at the legendary, now defunct, Elaine’s in Stuart Woods’ wildly popular series, most readers find their mouths mysteriously open.            Food enhances reading. Food enriches writing. Food brings joy to life. Cozy mystery writers have long understood this. Joanne Fluke (Blueberry Pie Murder), Diane Mott Davidson (Sticks and Scones), Lucy Burdette (Killer Takeout), and Edith Maxwell (When the Grits Hit the Fan) all have written popular series with variations in food themes.            Other mystery subgenres feature food regularly. Olivier cooks up a gastronomic storm at his bistro in Louise Penny’s Inspector Gamache series, while Clara serves comfort food to friends at her kitchen table. From Steak Frites with Mayonnaise to Coq Au Vin with a Hint of Maple, readers feast on Canadian specialties when not merely content to munch on a steady diet of buttery croissants.            Readers, myself included, have been driven to patronize restaurants featured in books. Margaret Truman’s books enticed me to try the old Le Lion D’Or in Washington D.C. when my daughter was in college there. My husband didn’t get it, especially when the tab arrived. He was on board when we headed to a Spanish restaurant in Harvard Square where William Tapply had his protagonist, Brady Coyne frequenting.            Writers use food more than gratuitously. It can be part of the plot as in Tana French’s recent release, The Trespasser, where a romantic dinner prepared by the murder victim but never shared, became an integral part of the story.            In Permanent Sunset, I chose the bride’s choice of her wedding menu as a window into her soul. I later used the wedding meal, which was never served to guests due to the untimely death of the bride, to color a police officer corrupt and to paint a portrait of the surviving family members.            I happen to love writing about food, possibly because I love reading about it (I own a few hundred cookbooks and this is after “downsizing”), only slightly less than cooking it. For me, it is as much pleasure deciding what to serve my characters as it is what to serve guests in my home. I recently created a meatloaf dinner for my grieving protagonist, which she quite enjoyed.            Fortunately, calories don’t count when you are writing about food. Only pleasure. What brings you please when you read or write about food?                       Dessert from Hillary Davis                       

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Writing Books on My Desk

     I love to write. I love books. Why wouldn’t I love books about writing? I have shelves full of them, some better than others, a few well weathered from repeated readings and reference. Some provide inspiration. Others are instructional.     I’ll pull out Stephen King’s On Writing when I need no-nonsense advice about how to write without pretension or self-deception. “It starts with this: put your desk in the corner, and every time you sit down there to write, remind yourself why it isn’t in the middle of the room. Life isn’t a support system for art. It’s the other way around.” I snagged a first edition of On Writing for eight dollars recently. Score!     Elizabeth George (Write Away: One Novelist’s Approach to Fiction and the Writing Life) and Harry Bingham (The Writers and Artist Guide to How to Write) frequently come off the shelf when I need help with craft. Paula Munier’s (full disclosure, Paula is my agent and appears occasionally on MissDemeanors.com) Plot Perfect: How to Build Unforgettable Stories Scene by Scene falls into my lap when I get stuck trying to tell my story, even though I know what it is. Her Writing with Quiet Hands: How to Shape Your Writing to Resonate with Readers is where I go when I need to remind myself about who I am as a writer.     There are so many other good books on writing, I could spend all of my time just reading about writing, but that would only fuel my avoidance of writing, something most writers seem to periodically suffer from. I try to read about writing in measured doses, either when a new writing book comes out and I am looking to ignite my writing, or when I’m in trouble, which happens a lot.    Three new writing books are sitting on my desk right now. Writing and Selling Your Mystery Novel (revised and expanded) by Hallie Ephron is perched on the top of the pile. I learned how to write mysteries from Hallie in person and through her first book. The woman was born to teach. The new edition is bulging with information essential to new and seasoned writers.     The Writer’s Guide to Beginnings: How to Craft Story Openings that Sell, also by Paula Munier, reminds us that “the most important thing your opening needs to do is this: Keep the reader reading.” I spend an enormous amount of time aiming for a perfect beginning, terrified if I don’t write one, I and my fledgling novel are doomed. I need this book.     Donald Maass’s Writing the Breakout Novel, first released in 2001, dared me to think about writing big and provided tools, which I return to when mired in a thicket of words.  His new release, The Emotional Craft of Fiction: How to Write the Story Beneath the Surface, is sitting between Hallie Ephron and Paula Munier’s books. I’m writing a different kind of book right now, challenging myself to stretch into telling a story through a character entirely unlike any I’ve written before. I’m learning why readers really fall in love with protagonists in this book. “You are not the author of what readers feel, just the provocateur of those feelings,” Maass tells us.      I’m feeling fortified and challenged by these three new books, which also quell the fears I have about braving new territory. The comfortable presence and support of a team of pros waiting on my desk to assuage the panic when I inevitably get stuck keeps me writing because I know help is only a book away.What writing books are sitting on your desk or shelf?                  

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Words, Words, Words

                                                                                                Words empty as the wind are best unsaid.                                                                             Homer You will never find me wailing Eliza Doolittle’s lament, “Words, words, words, I’m so sick of words.” I love words, maybe too much. I’m one of those writers who has to reel herself in during the word selection process. Like a florist surrounded with so many wonderful blossoms to choose from, I sometimes want to use all of the words that pop into my head. One of my biggest challenges has been killing my darlings.  By creating a clipboard where I save rather than discard them, I manage to move on.            But it’s not just while writing that I can be distracted by words. I discovered I’m faintly word-obsessed during a conversation with my husband during which we were trying to figure out why my kindle didn’t hold a charge as long as his, the suggestion being that I was doing something technologically incorrect. Wrong. It turned out I am simply fixated by the feature that allows you to look up the meaning and roots of words as you are reading, causing a power drain. So much easier than in the days when I had to carry a notebook with me so I could look up words later rather than lug a dictionary around.            I’m a huge fan of Elizabeth George, not simply because I admire her writing, adore being transplanted to England, and would run away with Thomas Lynley (let this be our secret), but because in every book she has ever written she has sent me on multiple side excursions to the dictionary. Good writers, like George, know how to use interesting words without distracting the reader from the story. Bad writers who are trying to impress with weighty words annoy and alienate their readers.            I find words that fascinate me everywhere. I struggled for years to describe myself as a person who loves rain. I now know I am a pluviophile, a lover of rain; someone who finds joy and peace of mind during rainy days.  I noticed when I typed pluviophile it was underlined in red, so I just looked it up in the “Word” dictionary and found it isn’t listed. More investigation on Google revealed it is “pending investigation.” Do you see what I mean? One word and I’m off like a detective on a noble search.            I notice my writing friends are similarly afflicted. Blog mate, Susan Breen, last week posted on Facebook, “I used the word crenellated yesterday, and I think I used it properly. Though I’m not sure I should have.” Susan had me diving for the dictionary wondering if my guess about the meaning of the word was correct and feeling an odd combination of pride and relief when I was.  I wanted to know why she wondered if she should have used the word.            Just yesterday, Facebook friend and MWA New England colleague, Lee McIntyre posted, “My amygdala is exhausted.” A quick check told me Lee was referring to a part of the brain, which sounded vaguely familiar from my days as a student nurse. But of course I wanted to know which part of the brain and why Lee’s was exhausted. Amygdala is the integrative center for emotions, emotional behavior, and motivation.  Further scholarly research on Google showed Amygdala is associated mostly with fear.            Maybe you can see why I stay away from crossword puzzles. I fear I would be lost forever under a mountain of words, trying to tunnel out, but distracted by each word I tried to burrow through.             What do words mean in your reading or writing life? How do react to new words you encounter?                                     

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Please forward to: THREE PINES

 I am running away from home. Or maybe I’m running away to home. Don’t worry. I’ve left a forwarding address. For as long as Louise Penny’s books last me, I’ve moved to Three Pines, the fictional pastoral village in her Inspector Gamache series.            I promise I won’t go political on you, except to say it was politics that drove me to make the move. But any bout with darkness might drive an otherwise seemingly sane person in the same direction. When we are confronted with conflict, disappointment, sadness, betrayal, or any of the other black holes into which human beings occasionally plummet, we naturally seek order, peace, and calm. Calm for me was the operative word.            In recent months, I’ve had the urge to withdraw. I want to scream, “Make it all go away” or just plain, “Go away.” My new overused word has become, “Seriously?” I’ve had the reoccurring image of myself as a toy figurine my kids used to play with, known as a Weeble. Every time you tried to knock it over, it managed to set itself straight. I have become a Weeble, exhausted from trying to find my footing after repeatedly being felled to the ground by news that makes fiction seem real.            I needed a safe place to retreat. To be soothed. A place where I could restore my belief that people are inherently good and kind, even though they occasionally fall into darkness. Where I could find order triumphing after chaos.            I needed to go to Three Pines.            Three Pines for anyone who has not entered the bucolic village is a fictional town near the eastern townships of Quebec, not far from the northern Vermont border.  I first visited Three Pines a few years ago when I read the then current Inspector Gamache adventure and was enchanted. I was also a little scared. I am an addictive reader and knew Penny had written a bunch of these novels. I immediately understood I could not read another in the series unless I went back to book one. At the time, I was downsizing my home and my life and didn’t have room for a new addiction. Besides, I knew there would come a day when I would want and need Inspector Gamache and Three Pines in my life. That day has arrived.            Readers, writers, and reviewers have long wondered why people are drawn to reading mysteries. Why are intelligent, law-abiding citizens entertained by tales featuring murder? One theory, which I believe is true, is that people are drawn to stories where chaos and evil are resolved and order is restored. I know as I enter Three Pines that I can trust Armand Gamache to get answers to the puzzling questions about why seemingly good people can end up doing such awful things. Inspector Gamache shares my feelings about Three Pines. “Gamache had been to Three Pines on previous investigations and each time he’d had the feeling he belonged. It was a powerful feeling. After all, what else did people really want except to belong?” (The Cruelest Month)            But it’s not only the place I am fleeing to. I want to hang out with the people. The regular supporting cast consists of gentle misfits gathered around a green where the absurd feels normal. “This place. How do you explain a village like Three Pines where poets take ducks for a walk and art seems to fall from the skies?” (The Cruelest Month)  Where relationships are rich and repartee merciless and “here you old hag” and “you are queer” are statements of affection?            I don’t question the genius of Louise Penny, creating a haven. I’m just grateful to have found it and that there are seven more books set in Three Pines for me to hide in. I promise an occasional postcard.            And what about you? Where do you escape to as a reader? As a writer, do you intentionally try to create a place where your readers want to come and stay?            

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A Counter-top of One's Own

        A famous quote states a woman needs a room of her own if she’s to write fiction. But does she? Many authors have written in cafes, hotels, on buses, in cars, on trains and subways. My fellow Miss Demeanors and I share our writing places. Alexia: My favorite places to write are airplanes and hotel lobby lounges.Airplanes provide some background noise, which keeps my mind from wandering, but not so much noise that I can’t concentrate. The airplane seat provides a personal space, whose borders are defined by the armrests, that most people respect and don’t intrude upon. I occasionally encounter the overly-chatty seatmate who wants to be entertained or wants an audience for their monologue but I’ve gotten pretty good at mono-syllabic answers and body language that discourages unwanted conversation. And the flight’s duration provides a built-in time limit. I write from cruising altitude to preparation for landing.Hotel lobby lounges come with comfortable chairs, food service, and plenty of opportunities for people watching/gathering source material. Paula Munier: Oooh, I need to learn how to do that. I’m gonna try it, Alexia. Mostly I just sleep on planes and trains.As for the question: When I was a young reporter with small children at home, I could work in a crowded noisy news room or a crowded noisy kitchen, no problem.But now that my children are grown, and I work from home in an often empty house, I’ve grown spoiled. I like quiet, and require it, especially for my handwritten first drafts, which I find difficult in the best of times and places.In warm weather, what I need to wrestle with words is my lucky Waterman pen and my red leather-bound journal and a seat outside down by the lake.In the winter, I retreat to my sofa in front of the roaring fireplace and look out the windows to the now frozen lake for inspiration. Cate: With two young kids and a dog at home, I have learned to write amidst chaos. But I prefer quiet spaces. I like to write in my bedroom when the kids are in school, but have also found I can be pretty productive in the car while waiting to pick them up outside a dance or music class. I tend to edit on planes. Something about being thirty thousand feet in the air makes me ruthless. Any word or thought that doesn’t immediately interest me gets cut. Tracee: I’m with Paula…. I need a lesson in writing on airplanes. I can do it, but… I tend to binge read at 30,000 feet. in everyday life, I prefer writing in a quiet place, although I tend to move around. I like to work at a desk, in a favorite chair, or outdoors on a long table on our porch in the summer. I alternate between typing and writing, so that plays a role. Edits happen on an enormous screen (at a desk!) while the rest can occur anywhere. I do have a strange preference for working in hotels. A good hotel is peaceful, with many places to write – the room, quiet places in the lobby, a breakfast room, some still have writing rooms. Terraces, porches, by the pool… the list goes on. Susan: I love to work in my office, with my dogs snoring at my feet.  When I’m feeling peaceful, my mind feels freer to wander around. But sometimes it’s fun to be in a more frenetic location. I like sitting at one of the tables at Bryant Park and feeling all the energy from the city and scribbling in my notebook… I guess I am the pack rat in this group.  I write surrounded by treasured photos, treasured books, and post-its to remind me who I’m writing about. I’m sorry to say that my entire office looks like this, and there are two cockapoos lounging in a chair to the left of the photo Robin: Anywhere, any time. As an almost-debut author I’m hungry and motivated to write whenever I have stolen moments or can create big chunks of time. An example of a stolen moment is my day job commute. I take a train or subway a couple of times a week, which are great sources of inspiration for drawing characters based on what I see & hear. When I’m home, I alternate between my office and my kitchen. I move to the kitchen when I need to stretch my legs by standing at the counter. I’m standing there right now, in fact. One of these days I’ll invest in a pneumatic desk so I can raise and lower my home office workspace. Michele: For years, I wore so many hats, I had to squeeze writing in whenever I could find time. I wrote in courtrooms, on planes and trains, in classrooms, cars. and offices. Now that my primary focus is writing, I find I still write anywhere I can and choose. I’ve discovered I love writing outdoors (why not?) on a porch, a beach or at a picnic table. I have invested in a waterproof case for my laptop. While I love having a desk to organize me, I prefer to do the physical act of writing on my lap. Why I didn’t know until recently was that lovely lap top antique desks exist, I don’t know. But I’m sure I’m going to find one. Where do you write? 

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Honoring Excellence in the Field

 Award season is upon us. The Golden Globes have been handed out, honoring Hollywood achievements, and the Oscar nominations have been announced. The nominees wait, breaths held and fingers crossed, hoping to hear their names called when the presenters open the envelope and read, “And the Oscar goes to…” The literary world awards its share of prizes, including the Pulitzer and Nobel. Some honor excellence in writing in general, some awards are genre specific. The Lefty, the Agatha, and the Edgar, three that honor excellence in crime writing, just released their nominee lists. The Lefty Awards are presented annually at the Left Coast Crime convention for the best humorous, historical, and debut mystery novels, as well as a prize for a mystery not in the above categories. Winners are selected by votes of registered convention attendees. This year’s nominees are:Lefty for Best Humorous Mystery NovelDonna Andrews, Die Like an Eagle (Minotaur Books)Ellen Byron, Body on the Bayou (Crooked Lane Books)Timothy Hallinan, Fields Where They Lay (Soho Crime)Heather Haven, The CEO Came DOA (Wives of Bath Press)Johnny Shaw, Floodgate (Thomas & Mercer)Diane Vallere, A Disguise To Die For (Berkley Prime Crime) Lefty for Best Historical Mystery Novel (Bruce Alexander Memorial) for books covering events before 1960Rhys Bowen, Crowned and Dangerous (Berkley Prime Crime)Susanna Calkins, A Death Along the River Fleet (Minotaur Books)Laurie R. King, The Murder of Mary Russell (Bantam Books)Catriona McPherson, The Reek of Red Herrings (Minotaur Books)Ann Parker, What Gold Buys (Poisoned Pen Press) Lefty for Best Debut Mystery NovelSarah M. Chen, Cleaning Up Finn (All Due Respect Books)Marla Cooper, Terror in Taffeta (Minotaur Books)Alexia Gordon, Murder in G Major (Henery Press)Nadine Nettmann, Decanting a Murder (Midnight Ink)Renee Patrick, Design for Dying (Forge) Lefty for Best Mystery Novel (not in other categories)Matt Coyle, Dark Fissures (Oceanview Publishing)Gigi Pandian, Michelangelo’s Ghost (Henery Press)Louise Penny, A Great Reckoning (Minotaur Books)Terry Shames, The Necessary Murder of Nonie Blake (Seventh Street Books)James W. Ziskin, Heart of Stone (Seventh Street Books) The Agatha Awards honor works in the traditional (a.k.a. cozy or classic) mystery subgenre and are named for Agatha Christie. They’re presented at the annual Malice Domestic convention. Winners are determined by conventioneers’ ballots. This year’s nominees are:Best Contemporary NovelBody on the Bayou by Ellen Byron (Crooked Lane Books)Quiet Neighbors by Catriona McPherson (Midnight Ink)A Great Reckoning by Louise Penny (Minotaur Books)Fogged Inn by Barbara Ross (Kensington)Say No More by Hank Phillippi Ryan (Forge Books) Best Historical NovelWhispers Beyond the Veil by Jessica Estevao (Berkley)Get Me to the Grave on Time by D.E. Ireland (Grainger Press)Delivering the Truth by Edith Maxwell (Midnight Ink)The Reek of Red Herrings by Catriona McPherson (Minotaur Books)Murder in Morningside Heights by Victoria Thompson (Berkley) Best First NovelTerror in Taffeta by Marla Cooper (Minotaur)Murder in G Major by Alexia Gordon (Henery Press)The Semester of Our Discontent by Cynthia Kuhn (Henery Press)Decanting a Murder by Nadine Nettmann (Midnight Ink)Design for Dying by Renee Patrick (Forge Books) Best NonfictionMastering Suspense, Structure, and Plot: How to Write Gripping Stories that Keep Readers on the Edge of Their Seats by Jane K. Cleland (Writer’s Digest Books)A Good Man with a Dog: A Game Warden’s 25 Years in the Maine Woods by Roger Guay with Kate Clark Flora (Skyhorse Publishing)Sara Paretsky: A Companion to the Mystery Fiction by Margaret Kinsman (McFarland Books) Best Short Story”Double Jinx: A Bellissimo Casino Crime Caper Short Story” by Gretchen Archer (Henery Press)”The Best-Laid Plans” by Barb Goffman in Malice Domestic 11: Murder Most Conventional (Wildside Press)”The Mayor and the Midwife” by Edith Maxwell in Blood on the Bayou: Bouchercon Anthology 2016 (Down & Out Books)”The Last Blue Glass” by B.K. Stevens in Alfred Hitchcock’s Mystery Magazine”Parallel Play” by Art Taylor in Chesapeake Crimes: Storm Warning (Wildside Press) Best Children/Young AdultTrapped: A Mei-hua Adventure by P.A. DeVoe (Drum Tower Press)Spy Ski School by Stuart Gibbs (Simon & Schuster)Tag, You’re Dead by J C Lane (Poisoned Pen Press)The Mystery of Hollow Places by Rebecca Podos (Balzer & Bray)The Secret of the Puzzle Box: The Code Busters Club by Penny Warner (Darby Creek) The Edgar Awards, named for Edgar Allan Poe, are given by the Mystery Writers of America to honor the best in crime writing and television. An MWA volunteer committee selects the winners in numerous categories as well as a Grand Master. Awards are also given to honor someone outside of creative writing who has worked to promote the mystery field and for excellence in mystery publishing. This year’s nominees are:BEST NOVELThe Ex by Alafair Burke (HarperCollins Publishers – Harper)Where It Hurts by Reed Farrel Coleman (Penguin Random House – G.P. Putnam’s Sons)Jane Steele by Lyndsay Faye (Penguin Random House – G.P. Putnam’s Sons)What Remains of Me by Alison Gaylin (HarperCollins Publishers – William Morrow)Before the Fall by Noah Hawley (Hachette Book Group – Grand Central Publishing) BEST FIRST NOVEL BY AN AMERICAN AUTHORUnder the Harrow by Flynn Berry (Penguin Random House – Penguin Books)Dodgers by Bill Beverly (Crown Publishing Group)IQ by Joe Ide (Little, Brown & Company – Mulholland Books)The Drifter by Nicholas Petrie (Penguin Random House – G.P. Putnam’s Sons)Dancing with the Tiger by Lili Wright (Penguin Random House – G.P. Putnam’s Sons)The Lost Girls by Heather Young (HarperCollins Publishers – William Morrow) BEST PAPERBACK ORIGINALShot in Detroit by Patricia Abbott (Polis Books)Come Twilight by Tyler Dilts (Amazon Publishing – Thomas & Mercer)The 7th Canon by Robert Dugoni (Amazon Publishing – Thomas & Mercer)Rain Dogs by Adrian McKinty (Prometheus Books – Seventh Street Books)A Brilliant Death by Robin Yocum (Prometheus Books – Seventh Street Books)Heart of Stone by James W. Ziskin (Prometheus Books – Seventh Street Books) BEST FACT CRIMEMorgue: A Life in Death by Dr. Vincent DiMaio & Ron Franscell (St. Martin’s Press)The Lynching: The Epic Courtroom Battle that Brought Down the Klan by Laurence Leamer (HarperCollins Publishers – William Morrow)Pretty Jane and the Viper of Kidbrooke Lane: A True Story of Victorian Law and Disorder: The Unsolved Murder That Shocked Victorian England by Paul Thomas Murphy (Pegasus Books)                      While the City Slept: A Love Lost to Violence and a Young Man’s Descent into Madness by Eli Sanders (Penguin Random House – Viking Books)The Wicked Boy: The Mystery of a Victorian Child Murderer by Kate Summerscale (Penguin Random House – Penguin Press) BEST CRITICAL/BIOGRAPHICALAlfred Hitchcock: A Brief Life by Peter Ackroyd (Penguin Random House – Nan A. Talese)Encyclopedia of Nordic Crime: Works and Authors of Denmark, Finland, Iceland, Norway and Sweden Since 1967 by Mitzi M. Brunsdale (McFarland & Company)Shirley Jackson: A Rather Haunted Life by Ruth Franklin (W.W. Norton – Liveright)Something in the Blood: The Untold Story of Bram Stoker, the Man Who Wrote Dracula by David J. Skal (W.W. Norton – Liveright) BEST SHORT STORY”Oxford Girl” – Mississippi Noir by Megan Abbott (Akashic Books)”A Paler Shade of Death” – St. Louis Noir by Laura Benedict (Akashic Books)”Autumn at the Automat” – In Sunlight or in Shadow by Lawrence Block (Pegasus Books)”The Music Room” – In Sunlight or in Shadow by Stephen King (Pegasus Books)”The Crawl Space” – Ellery Queen Mystery Magazine by Joyce Carol Oates (Dell Magazines) BEST JUVENILESummerlost by Ally Condie (Penguin Young Readers Group – Dutton BFYR)OCDaniel by Wesley King (Simon & Schuster – Paula Wiseman Books)The Bad Kid by Sarah Lariviere by  (Simon & Schuster – Simon & Schuster BFYR)Some Kind of Happiness by Claire Legrand  (Simon & Schuster – Simon & Schuster BFYR)Framed! by James Ponti (Simon & Schuster – Aladdin)Things Too Huge to Fix by Saying Sorry by Susan Vaught (Simon & Schuster – Paula Wiseman Books) BEST YOUNG ADULTThree Truths and a Lie by Brent Hartinger (Simon & Schuster – Simon Pulse)The Girl I Used to Be by April Henry (Macmillan Children’s Publishing Group – Henry Holt BFYR)Girl in the Blue Coat by Monica Hesse (Hachette Book Group – Little, Brown BFYR)My Sister Rosa by Justine Larbalestier (Soho Press – Soho Teen)Thieving Weasels by Billy Taylor (Penguin Random House – Penguin Young Readers – Dial Books) BEST TELEVISION EPISODE TELEPLAY”Episode 1 – From the Ashes of Tragedy” – The People vs. O.J. Simpson: American Crime Story, Teleplay by Scott Alexander & Larry Karaszewski (FX Network)”The Abominable Bride” – Sherlock, Teleplay by Mark Gatiss & Steven Moffat (Hartswood Films/Masterpiece)”Episode 1 – Dark Road” – Vera, Teleplay by Martha Hillier (Acorn TV)”A Blade of Grass” – Penny Dreadful, Teleplay by John Logan (Showtime) “Return 0″ – Person of Interest, Teleplay by Jonathan Nolan & Denise The (CBS/Warner Brothers)“The Bicameral Mind” – Westworld, Teleplay by Jonathan Nolan & Lisa Joy (HBO/Warner Bros. Television) ROBERT L. FISH MEMORIAL AWARD”The Truth of the Moment” – Ellery Queen Mystery Magazine by E. Gabriel Flores (Dell Magazines) GRAND MASTERMax Allan CollinsEllen Hart RAVEN AWARDDru Ann Love ELLERY QUEEN AWARDNeil Nyren THE SIMON & SCHUSTER – MARY HIGGINS CLARK AWARDThe Other Sister by Dianne Dixon (Sourcebooks – Sourcebooks Landmark)Quiet Neighbors by Catriona McPherson (Llewellyn Worldwide – Midnight Ink)Say No More by Hank Phillippi Ryan (Tor/Forge Books – Forge Books)Blue Moon by Wendy Corsi Staub (HarperCollins Publishers – William Morrow)The Shattered Tree by Charles Todd (HarperCollins Publishers – William Morrow) Congratulations and good luck to all the nominees. 

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Your Challenge, Should You Choose to Accept It…

How many of you have already given up on your New Year’s resolutions? I have. I won’t even tell you what they were. I don’t think I’ve ever managed to keep a resolution past January.I’m trying something different this year—challenges. Not the one-off kind that go viral on the Internet like eating cinnamon, mimicking a mannequin, or pouring ice water over your head. I signed up for challenges that involve a year-long commitment. Challenges are more specific task oriented than resolutions and I’m a task-oriented person. If you accept the challenge, you agree to do something—read, cook, sew, draw—every day or week or month for a year. You keep track of your progress on your calendar or with a checklist or with social media posts. I signed up for a daily challenge, 1 Year of Stitches.  You embroider one or more stitches and post a picture to Instagram or Twitter every day for a year. I’ve kept up pretty well, so far. I missed a couple of days but I doubled up the day after and I’m still on track. One stitch doesn’t take much time. I also signed up for two reading challenges. I pledged to read thirteen books this year for the Goodreads challenge. I set the bar low—one book a month plus one—but I don’t read as fast as I used to and challenges are more fun if you have a real hope of completing them. And if I read more than thirteen I get bonus bragging rights. I decided to push myself by signing up for Book Riot’s Read Harder Challenge. Book Riot goes beyond challenging you to read a certain number of books by year’s end. They select categories and you read a book that fits into each. You win a thirty percent discount at the Book Riot store if you succeed. All of the categories are creative, some are tricky—read a book set within one hundred miles of your location, read a book about books, read a collection of poetry in translation on a theme other than love. One book can satisfy multiple categories, though. A book published between 1900 and 1950 about a war set more than 5000 miles from your location would fulfill three. If I complete the Book Riot challenge, I also complete the Goodreads challenge so I can achieve two goals at once. I probably (definitely) could have found enough books in my TBR pile for both reading challenges. But, to up the excitement and to discover some books I wouldn’t necessarily have chosen for myself, I subscribed to two book-a-month programs. One, run by Bas Bleu Booksellers, offered me a choice of mysteries, general fiction, or biographies and memoirs. I chose mysteries. The other, run by Heywood Hill bookstore, in London, offered nearly a dozen options. I went with the 12-month paperback subscription. I have no idea what genres my books will be in, only that they were selected by my personal bookseller (seriously, she even sent me her card) based on what she thought I’d like after I had a reading consultation (by email since we’re on different continents). I received my first book, The Trouble with Goats and Sheep, a couple of days ago, adorably wrapped in brown paper and ribbon.  My goal for participating in reading challenges and book subscriptions this year is to stretch my reading horizons and, by doing so, become a better writer.Have you accepted any challenges for 2017? How do you plan to expand your creative horizons this year? 

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Plan Your Escape

Escapist fiction is defined by Wikipedia as “fiction which provides a psychological escape from thoughts of everyday life by immersing the reader in exotic situations or activities.” The term is often wielded like a derogatory club against works deemed unworthy by fanatical devotees of “literary fiction,” works that, according to Wikipedia, have “merit…involve social commentary or political criticism or focus on the human condition…and is often more focused on themes than on plot…” Literary fiction boasts of “analyzing reality” while escapist fiction, also known as popular or genre fiction, aims to escape reality. I love escapist fiction without apology. I’m not embarrassed to be seen reading a book that will never be nominated for a Pulitzer or a Nobel or a Man Booker prize. I’ve nothing against prize-winning works of great lit-tra-chure, except the prodigious heft of some of the hardback editions. I even read, and enjoy, literary novels. Several claim spots in my (out of control) TBR pile. But when I do read literary novels, I choose them based on the story they tell, not because of some important message the critics ensure me is waiting to be discovered in the 982 pages. I don’t need, nor do I especially want, my fiction to mirror or analyze society. That’s what non-fiction is for. I read the news to find out what’s going in the world. (Granted, it’s become difficult to distinguish between news and fiction these days. Thanks, Interweb.) If I want more depth or detail than a newspaper article can provide I turn to the non-fiction section of the bookstore. Non-fiction has come a long way since the days when it all tended to read like dust-dry textbooks. It’s become “creative” and often reads like a novel. I read fiction for entertainment. There, I said it. I feel no shame. Entertainment is not bad. Humans have always sought entertainment. True, we’ve created some sick forms of entertainment over the centuries but we’ve come up with some good stuff, too. Like fiction. I’m not hiding my head in the sand when I seek entertainment in fiction. I’m not trying to pretend what’s happening in the world isn’t happening. I know what’s going on. You can’t turn on a TV or open a social media feed or, depending on where you live/who you work for/what you look like/where you worship/who you love, step outside your door without getting a wallop of reality right upside your head. Sometimes I get so much reality my head hurts. I want to scream. I often cuss. Worse, I start to think things that make me worry I’m turning into a person I wouldn’t like very much. I need to get away from reality to save my sanity. I need to be entertained. I need to lose myself. I need to escape on the Millennium Falcon with Han Solo or down a rabbit hole with Alice. I need to bring murderers to justice with Marple and Poirot. I need to poke a finger in bureaucracy’s eye while saving the universe with Jame Retief. Of course, genre fiction can have “literary merit”. Many literary novelists have jumped the pop fiction fence and created “cross-genre” or “genre blurring” works that leave bookstores scratching their heads about where to shelve them and prize committees fielding complaints about prizes being awarded to books that are “too popular.” A popular book can make a profound statement about our society and the human condition. Science fiction has a tradition of skewering societal norms and trends. Pohl and Kornbluth’s The Space Merchants, Bradbury’s Fahrenheit 451, and Laumer’s Retief series are just a few sci-fi novels that do this in entertaining (and in Laumer’s case, hysterical) ways. It’s possible to be capital-m-Meaningful and entertaining at the same time. For example, a fictional detective can solve a fictional crime while saying something about the society in which a particular victim succumbs to that particular crime. Plot doesn’t have to be sacrificed at the altar of significance. So, genre fiction, more power to you. Keep teaching us while you entertain. But, mostly, entertain. Tell me a good story. As Sana Hussain said in her essay, “Literary or Not: The Reality of Escapist Fiction,” let me “doff the burden of [my] problems and inhabit a world…that makes up for the arbitrariness and unpredictability of the real world by offering rationality and resolution.” Bring order to chaos. Strike a blow for truth and justice. Let the good guy win. Remind me life isn’t always as twisted and ugly and painful as it seems. Entertain me. My overwhelmed brain and bruised soul thank you. Do you think the escapist vs literary debate is artificial? Is escapist a bad word? Why do you read escapist fiction? 

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