A while back, I was contacted about participating in a local author fair. Not only was I just personally delighted, given how much I love libraries and librarians, but I was just amazed when I saw who had extended this very kind invitation.
The Joliet Public Library, Black Road Branch. In Joliet, Illinois.
Now before I came to live outside Chicago, I grew up in Philadelphia. My father, however, had grown up in Joliet Illinois. His mother, my grandmother, worked at the main branch of the Joliet Public Library for thirty years, retiring shortly after I was born in 1971.
In an interview published in the Joliet Herald-News dated December 26, 1971, my grandmother explained that she'd started as an apprentice at the library, working her first two and a half months without pay! Initially, she mainly shelved books, but was also called on to mend books as well:
"There were no book binders at that time, so when books became damaged by usage and wear, we sewed them by hand. I learned how to build a book from the bottom up."-Josephine Calkins My grandmother, 2 weeks before I was born!
She left the library in 1936 to get married--my father says she met his father at the library!
After taking coursework at the University of Illinois library school, she returned to the Joliet library in 1953, working in the children's, reference, and adult departments.
From 1956 to 1965, my grandmother was in charge of the library's bookmobile, before becoming an assistant librarian. The experience at the bookmobile, she said, helped her learn about what people liked and disliked, which later informed her purchasing decisions.
When asked to reflect, in December 1971, about what had changed since she first started working at the library, she had this to say:
"A return of the 1930s is reflected in today's reading trends with many requests for books on witchcraft, hypnotism, astrology, numerology and palmistry....We don't have as many male readers in the library today as in the past. There was a time when we couldn't keep enough western books on the shelves...."
I can only imagine what my grandmother would think of current library trends now. Back then, microfiche and microfilm collections as well as "The New InterLibrary Loan Program" were just starting to transform how library patrons could access materials. What would she think of the digital revolution?
Unfortunately, my grandmother passed away in 1987, so we can't know. From what I do remember, she had a deep and abiding love of books, which she passed on to my father and my siblings. I'd imagine she'd be thrilled at the ready access of books and the long reach that modern libraries can attain.
(The other thing I remember about my grandmother was that she taught me to embroider, on one long visit to Philadelphia. While I appreciate that skill, I can't help but wish now she had also taught me how to build a book--a worthy skill indeed!)
As I've mentioned before, I grew up in a house literally lined with books, many of them bequeathed to us from my grandmother. I truly believe that my love of writing stems from my love of reading, a trait inherited from both my parents (my mother was also a librarian).
So I believe it will be quite a moment when I set up my table on Saturday. On one side, my first novel, A Murder at Rosamund's Gate. On the other side, the photos of my grandmother passing out books at the Joliet bookmobile. My parents are even making the trek out! I don't know what to expect exactly, but I'm sure it will be great!
I love this cover!
I had the fun of meeting the guest on my blog today--fellow crime writer Helen Smith--last year at Bouchercon. We also share the same awesome agent, David Hale Smith of Inkwell Management. Hilarious in person, Helen has a way of writing that makes her books witty and engaging. The witty Helen Smith
From the official blurb:
Twenty-six-year-old Emily Castles is out of work… again. So when famous romance author Morgana Blakely offers her a job helping out at a conference in London, Emily accepts. Just as eagerly, American blogger Winnie Kraster accepts an invitation from Morgana to attend as a guest, not realizing she has, in effect, accepted an invitation to die.
As a cast of oddball characters assembles at the conference hotel, grievances, differences, and secrets begin to emerge. When Winnie goes missing, and then is found murdered nearby, Emily begins to suspect that someone involved with the conference is responsible. Could it be one of the organizers, one of the authors, a member of the hotel staff, or even the supplier of the chocolates for the conference gift bags? Emily teams up with guest speaker and eccentric philosophy professor Dr. Muriel to find out.
Offbeat and engaging, this entertaining comic mystery is the first full-length novel featuring amateur British sleuth Emily Castles.
What inspired Invitation to Die?
I wanted to write a murder mystery in a setting where a group of strangers – and old friends who might have grudges against one another – were brought together and had to stay together for a short time. I had done a couple of events at the Bloomsbury Festival and liked the idea of using a hotel in Bloomsbury, London, for the location, with a romance authors’ convention as the excuse for everyone to be there.
So, did you draw on your experience attending mystery conferences when creating this backdrop? I had to laugh at the way you characterized many of the authors!
I attended my first mystery convention last year, after I had finished writing this book. (It’s called Bouchercon and it takes place in a different US city each year. I loved it and I’m going back again this year.) So I’m afraid that the characters are invented. I have worked as an administrator setting up conferences, though, so there’s some authenticity in the background to the story.
Tell us about Emily Castles. What’s her background? How does she understand the world?
Emily is a bright, practical young woman who is cheerful and inquisitive. She doesn’t have a university education and she struggles to find a job that’s right for her. She tends to do a lot of temp work in offices. It bores her, but as she’s always on the lookout for a new job, and open to new experiences, it means she goes into situations where she ends up investigating whatever mystery interests her.
During the course of his investigation, one of your characters, Detective Rory Jones, comments to Emily, “It’s human nature to want to see ourselves at the heart of a drama.” Assuming that’s true, where do you see yourself in this story? Do you identify in particular with one of your characters?
I probably identify most with Dr. Muriel. But I’m like a crazed creator in a Gothic horror story: I put a little bit of myself into all my characters to make them come alive; sometimes it’s only the equivalent of one drop of blood, but it’s there.
Who or what has most influenced your writing? (This series, or generally?)
I love Agatha Christie. I admire her achievements as an author, but I love her stories, too. I read a lot of them when I was making the transition from reading children’s books to reading adult books and I still look forward to watching the new adaptations on TV. Miss Marple is one of my all-time favorite characters. (Mine too!)
As far as writing style goes, I have probably been most influenced by Evelyn Waugh. He has a light, comic touch that I would like to emulate. My writing was once compared to his in a review in Time Out, so naturally I was thrilled about that.
What is your favorite part of writing/publishing? Least favorite?
My favorite part of writing is the editing – polishing up a story after it has been written. I find the actual writing hard-going. My favorite part of the publishing process is seeing the cover because you’re seeing a visual interpretation of what someone else thinks of the book. Your editor will usually say something nice about the manuscript when they read it, but the cover shows you, for the first time, what a stranger really thinks of it. It’s weird, exciting and scary – and flattering, too.
What has surprised you the most about writing/ publishing?
Oh, that’s a tough one. Being published has lived up to my expectations in lots of ways – the parties are just as much fun as I hoped they would be. I suppose the most surprising thing about the writing is that it never gets any easier. When your first book is published, you think that all the hard work is over. But it isn’t.
What advice would you give to aspiring writers?
Keep going! You’ll get there. Good luck.
What’s next for Emily? What else are you working on?
The next book in the series, Beyond Belief, will be published by Thomas & Mercer in January 2014 in ebook, paperback and audiobook format. When a celebrated psychic predicts that a famous magician will be killed in the English seaside town of Torquay, Emily is hired to investigate.
I’m currently working on the next book after that, which will be published in January 2015. It takes place at the Edinburgh Festival.
Thanks so much! I'm looking forward to your next book!
Helen Smith is a member of the Writers Guild of Great Britain, The Crime Writers Association and English PEN. She travelled the world when her daughter was small, doing all sorts of strange jobs to support them both - from cleaning motels to working as a magician's assistant - before returning to live in London where she wrote her first novel, which was published by Gollancz (part of the Hachette Group). She writes novels, children's books, poetry, plays and screenplays, and was the recipient of an Arts Council of England Award. She likes dancing but she doesn't like driving. She likes knitting. Check out her website at http://www.emperorsclothes.co.uk/
I'm joined on my blog today by award-winning author, Anna Lee Huber. I had the pleasure of meeting this talented writer, last year at Bouchercon, during a signing for new authors. On Saturday September 14, Anna and I will be doing a joint signing at Centuries and Sleuths in Forest Park, IL at 11:00. Hope to see you there!********************************************************************************** Love the title of Anna's 2nd book!
Scotland, 1830. Lady Kiera Darby is no stranger to intrigue-in fact, it seems to follow wherever she goes. After her foray into murder investigation, Kiera must journey to Edinburgh with her family so that her pregnant sister can be close to proper medical care. the talented Anna Lee Huber
But the city is full of many things Kiera isn't quite ready to face: the society ladies keen on judging her, her fellow investigator-and romantic entanglement-Sebastian Gage, and ultimately, another deadly mystery.
Kiera's old friend Michael Dalmay is about to be married, but the arrival of his older brother-and Kiera's childhood art tutor-William, has thrown everything into chaos. For ten years Will has been missing, committed to an insane asylum by his own father. Kiera is sympathetic to her mentor's plight, especially when rumors swirl about a local girl gone missing. Now Kiera must once again employ her knowledge of the macabre and join forces with Gage in order to prove the innocence of a beloved family friend-and save the marriage of another...
Thanks for joining us today! Mortal Arts, the second in your series featuring Lady Kiera Darby, is set in Scotland in 1830. What made you choose this particular place and time? Anna's award-winning first book
When I decided to write a historical mystery series with a heroine who has some knowledge of anatomy, I knew 1830 would be the perfect time period. It’s just after the trial of Burke and Hare, two body snatchers-turned-murderers, which plays into the public’s fear of Kiera once news of her involvement with her late husband’s dissections comes to light, and it’s just a few years before the Anatomy Act of 1832. Not to mention all of the other reforms being made with the Catholic Act of 1829, the Reform Act of 1832, the beginnings of the building of railroads, the ramping up of industrialization. It’s a very interesting period. Lots of conflict.
Could you also tell us a little about what inspired you?
I have difficulty pinpointing exactly what first inspired me to write the Lady Darby novels. I was very deliberate in choosing the genre, and I crafted Kiera’s backstory to give her the investigative skills I wanted her to have, and the rest of her history was created from the consequences of that. The plot of Book 1, The Anatomist’s Wife, even grew from that. I chose to set it in the Scottish Highlands because I needed an isolated location. I tell people that Kiera feels like she’s always been there, in the back of my mind, and I think it’s true. From the very first, even before I knew who she was, I could hear her voice very clearly in my writing. So perhaps that’s why I have trouble deciding on the inspiration. It happened when I wasn’t paying attention.
Lady Darby has been described as “an unusual and romantic heroine.” What makes her so unusual? Is she someone you would want to be friends with?
First of all, she’s a gifted portrait artist, determined to pursue her art—something not very common for a woman in her time. She has the ability to lose herself in her art, and to see to the heart of the person she is painting, which often unnerves people, even as it makes her portraits special. Even more startling, she was forced to assist her late husband, who was a famous anatomist and surgeon to royalty, with his dissections, sketching them because he did not wish to split the credit for his anatomy textbook with an illustrator.
So she has knowledge of anatomy that she’s unwillingly collected. When the scandal broke over her involvement with her husband’s work, society and the general public vilified her, concocting all sorts of gruesome rumors about her. Her standoffish demeanor and quiet reserve do not help matters. She is not comfortable in society or large gatherings, but she is fiercely loyal to those she cares about. She is intelligent, insightful, and witty. I would definitely want her for my friend.
Tell us about Sebastian Gage, Lady Darby’s romantic interest. Can you give us a hint as to which actor you would cast to portray him in a film version of the novel?
Sebastian Gage is a gentleman inquiry agent who works with his father to help the upper class with their sticky situations. He is charming and extremely attractive, and a bit of a golden boy who is much in demand at society’s gatherings. He also has a reputation as being a bit of a rakehell, but Kiera soon begins to doubt that persona. His true self is somewhat a mystery and he does not share himself easily, which frustrates Kiera to no end. If I got to cast Gage, I would choose someone like Rupert Penry-Jones. He was fabulous as Captain Wentworth in the BBC version of Jane Austen’s Persuasion. (Hmmm...me likes!)
What was your favorite part of writing Mortal Arts?
My favorite part of writing Mortal Arts was getting to spend more time with the characters I’d created in The Anatomist’s Wife and take them further along on their journey. I love it when they surprise me.
My least favorite part was struggling with the doubts and crisis of confidence I had in myself. I had quite a lot of trouble with “imposter syndrome.” There’s this fear, irrational as it may be, that you fooled everyone the first time around. That you truly can’t write. And now you’ll be found out. I constantly had to shore up my belief in myself as a writer.
How did writing Mortal Arts compare to writing your debut novel, The Anatomist’s Wife? What was similar about the process? Different?
Writing Mortal Arts was my first attempt at writing a sequel, and it was also my first time writing to a publisher’s deadline, both of which added pressure. In one sense it was harder, feeling all of that added pressure, fearing I wouldn’t be able to write another good book. On the other hand, it was also easier. The book was already sold, so all of those worries I felt that I would never be published were no longer there. I’d achieved what I wanted, and that was a huge relief. I had to do more plotting with Mortal Arts. However, I already knew many of the characters, so that was less work.
When did you first know you wanted to be a writer? Do you have any manuscripts buried in a drawer somewhere?
I first started writing in elementary school, and I have a box full of old stories I wrote then. I moved away from it in high school and then college, but returned to it again after graduation. I wrote four unpublished manuscripts before The Anatomist’s Wife sold. Some of those manuscripts may someday see the light of day, after extensive edits. But others will remain buried on my computer, as they should be.
What advice do you have for aspiring writers?
First and foremost, never give up. I’m a testament to the power of perseverance. I always say, the only way you are guaranteed not to succeed is if you give up. Second, write, write, write. It’s absolutely the best way to learn. And then find a critique group or a few trusted people who know what they’re doing to help you make your writing better.
The third Lady Darby novel, A Grave Matter, is scheduled for release in July 2014. I’m finishing that up, and then I want to work on a side project I started a while ago. It’s more of a straight Gothic suspense novel set in Regency England, and I hope to have that polished and ready to go by the end of the year.
If it's anything like the first two, it will be another winner! Congrats on your success!
Anna Lee Huber is the award-winning author of the Lady Darby historical mystery series. Her debut, The Anatomist’s Wife, has won and been nominated for numerous awards, including two 2013 RITA® Awards and a 2013 Daphne du Maurier Award. Her second novel, Mortal Arts, released September 3rd. She was born and raised in a small town in Ohio, and graduated from Lipscomb University in Nashville, TN with a degree in music and a minor in psychology. She currently lives in Indiana, and enjoys reading, singing, traveling and spending time with her family. Visit her at www.annaleehuber.com.
My post in WD appeared Sept 6, 2013
A few years ago, when I was first trying to figure out how to get my debut novel A Murder at Rosamund's Gate published, I came across Writer's Digest. Full of advice for the fledgling writer and published author alike, Writer's Digest gave me some great insights into what I needed to do to polish my manuscript and write a compelling cover letter. (I mean, tell me it's not important to know "How to see your work through an agent or publisher's eyes?" or, "Knowing when to stop: Expectations for a satisfying ending.")So I really appreciated the opportunity to write a guest post, "How to write historical fiction: 7 tips on accuracy and authenticity" for Writer's Digest. In this post, I talk about the tensions I've experienced as a historian-turned-novelist, while writing historical fiction. I also try to offer a few strategies that have worked for me in reconciling these tensions. Check it out! And while you're there, try out the daily writing prompt! Although I have to giggle, because today the prompt is: "You are a local news reporter for a failing network. Your boss tells you to ramp up the news by getting “creative” and constructing your own stories. What’s the first fake news story you create and broadcast on air?"
Fake News! Totally fun! Accuracy Shmackeracy! If you do take up the challenge, will you post it here too? I'd love to see it!
I think a simple quote by the late great science fiction writer, Douglas Adams, will summarize what I've been thinking, as I work my way through my edits....
"I love deadlines. I like the whooshing sound they make as they fly by." --Douglas Adams
Still trying to make my deadlines, so will be blogging again soon! Nearly done though!
I know I really need to play it cool, but I just can't. The Bouchercon panels were recently announced, and I'm going to be on a panel with not one, but two, of my very favorite authors: Anne Perry and Caroline Todd (half of the Charles Todd writing team). I'm really looking forward to meeting the other authors on the panel too: Susanne Alleyn and Anna Loan-Wilsey, who have written some top-notch historical mysteries. And to top it all off, the session will be moderated by the lovely and talented Holly West, who was kind enough to interview me on her blog a while back. the first Pitt novel I started reading Anne Perry's novels about twelve years ago, right when I first finished my Ph.D. in history. I hadn't been able to read for pleasure for many years--writing a dissertation will do that!--and I knew I missed reading mysteries in particular. Somehow, I stumbled on Anne Perry's Inspector Pitt series, and I was hooked. I think I read her first TWENTY books in about six months. I kid you not. I loved the characters, the mystery, and of course the history, and I couldn't get enough. When I ran out of Anne Perry novels, I turned to--you guessed it--Charles Todd. And then Rhys Bowen, Jacqueline Winspeare, and a whole slew of other authors who write great historical mysteries.
These were the authors who inspired me to write my own historical mysteries. I don't know how many authors are lucky enough to meet their personal literary heroes. Back in May, I did get the opportunity to meet Caroline Todd at Malice Domestic, which was a thrill. But I can honestly say, I never expected to get this opportunity, and I have no doubt it will be a highlight of my writing career!
I've been running into a funny problem while reflecting on the edits for my second Lucy Campion mystery (From the Charred Remains, out in April 2014!). It's the same problem I encountered when talking to a book group tonight...I'm having some trouble keeping the details of my stories straight.
Crazy, right? How can I not know my own stories? I spent YEARS writing them (at least A Murder at Rosamund's Gate.) But still, I have notes and charts and timelines and figures (yes, figures!) detailing subplots, tracking character motivations, etc. And yet, I'm still a bit confused sometimes. How is this possible?
So I raised the question of my faulty memory with my chief psychological consultant (literally my resident psychologist, a.k.a my alpha reader). "I wrote the darn thing!" I whined, er, lamented. "How can I not remember all these details? I shouldn't have to re-read my notes to know my own story. Do I just have the worst memory in the world?"
And, with a lift of his eyebrow and a stroke to his goatee, my cognitive psychologist replied, "Ah, well let me tell you about a little thing we in the field like to call PROACTIVE INTERFERENCE." And here's what he explained:
"I'd imagine it's always harder for the writer to remember the details than it is for a reader. For the reader, there is one reality and it is laid out there on the page. The writer, however, has vividly imagined (and discarded) many realities. These early imaginings compete and interfere with the memories for the most recent version of the story. This proactive interference is a hallmark of human memory and, sadly, it is largely unavoidable. Be thankful that you took good notes in the first place!"
(See why I keep my alpha reader in my permanent employ? He helps me rationalize my disorderly thinking with a neat psychological construct!)
But this idea of proactive interference, and this notion of multiple imagined (and discarded) realities, really does resonate with me. I've found that even though I take notes as I write, I don't keep track of the scenes, characters events, etc. that get deleted or shuffled around. So I retain this memory of what I wrote, even though it's no longer in the manuscript, which is why I'm sometimes confused months later. I also wrote another unrelated novel in the interim, which probably doesn't help with my recall of the one currently being edited.
Perhaps I could do a better job of documenting the changes I make when I write (although, really, it's not like I EVER get rid of a draft!). But, in a way, I sort of like the idea that underlies this confusion. Maybe it's part of the romantic image of writer as creator: the idea that one being can simultaneously hold multiple realities is strangely compelling. Or maybe its just convenient to pull out the "proactive interference" defense. Dazzle my questioners with the multiple realities angle, and I can sidestep the missing details altogether. But what do you think? Will that fly?
I’m joined today by Peg Herring, author of the Simon & Elizabeth Historical Mysteries, the Dead Detective Paranormal Mysteries, as well as the Loser Mysteries, our focus for this interview.I met Peg at Malice Domestic a few weeks ago when we did a panel together. When I heard about her protagonist Loser, a homeless woman who solves mysteries and speaks only thirty words a day, I had to learn more.
From the official blurb:
Loser returns to the hills where she was raised in search of peace, but even in lovely West Virginia, trouble manages to find her. One of her fellow foster children returns to the little town of Beulah, and the secrets she carries with her will lead Loser into a tangle of deception.
Nadine hasn’t got much to say about why she’s back in Beulah, and her son Eddie might be just a little too good to be true. Still, Loser’s willing to help them - at least until Nadine pulls a disappearing act.
Each time Loser learns the answer to a question, another one arises. Why did Nadine run from a comfortable life and a successful husband? Is Eddie a good kid or an opportunistic manipulator? What happened in the town of Romulus that was worth killing for? And most important: Can Loser protect the innocent and at the same time preserve her own life, the life she’s only recently begun to want?
Hi Peg! Thanks for joining me today! Can you tell us more about Loser?
PH: Loser is in her mid-twenties and quite dysfunctional. She can’t sleep inside; she counts how many words she speaks per day (under 30 is a must), and she doesn’t interact with people unless she absolutely has to. In the first book, Killing Silence, readers learned how she came to be so damaged. In the second book, Killing Memories, we see her start the long healing process.
What inspired your Loser Mysteries, and Killing Memories in particular?
PH: I spent several months in Richmond when a family member needed my help. She lived in one of the lovely row houses in the Fan, and I loved walking around the area every afternoon, gawping at the mansions, the statues, and the cobblestone alleys. However, there were homeless people, too, and the thought of someone so desperate living so close to such wealth made an impression on me.
How did you go about doing research for your Loser mysteries? I assume it was a little different than how you researched your historical and paranormal series!
PH: Definitely! Historical research (as you well know) means a lot of poring over books and websites to achieve historical accuracy.
I did most of the research for the Loser Mysteries before I knew I’d be writing the series. Wandering through the Fan was restful for me during a stressful period of my life, but I was soaking up details the whole time.
The actual writing means a lot of Internet time, because I live in Michigan, and I can’t just trot off to Richmond to confirm a detail that’s fuzzy in my mind. We’re lucky that so much is available on-line. For example, I located a picture of the DMV to help with Killing Mysteries, and lately I researched the Richmond police force for the third book, Killing Despair on the department’s website.
You’ve written three different series now (a feat I’m extremely impressed by). Was your experience with Loser similar or different from the other series? Do you switch between series, or are the other series finished?
PH: The idea for a story comes easily: it just floats into my head. I usually begin with a character, and the story builds naturally around him or her.
I focus on one book at a time when I’m writing, but I do switch among the series, because they’re all current. Edits for a book in one series might interrupt the writing of another, because they come when the editor sends them.
It’s a little rough sometimes to get started again when I start the next book. For example, I just finished one of the historicals, in which Simon is a contented tradesman of the Tudor era, a man who’s comfortable with himself. It took some thought to get myself back into Loser’s head and to put myself on the streets of Richmond with a woman who is definitely not comfortable with herself.
What is your favorite part of writing?
PH: My favorite thing is that day when the writing goes well, when everything falls into place and makes sense. I sometimes go away from home to remove the distractions of laundry and lawn care, but if I get in the zone at home, I can be productive there, too.
PH: My least favorite part of this job is keeping up with the technology, mostly because I’m not that interested. Way back when, I learned MySpace. Then I added Facebook and learned to get around there. Then Goodreads and a host of other reader sites. When Twitter came along, I established a presence there, though it’s pretty minimal. People rave about how other sites help their sales, but I’m reluctant. In the first place, I don’t have any more time, and in the second, I don’t enjoy being lost on Pinterest!
What has surprised you most about the writing/publishing process?
PH: I think everyone’s surprised by the same sad facts: You don’t get rich. You don’t get famous. You don’t just write the book and then relax. (Wait, what? I'm not going to be famous? --SC)
What advice would you give to aspiring writers?
PH: I always start with one word: persist! Everything necessary for writing success requires persistence. You have to keep writing to improve your craft. You have to keep asking someone to look at what you’ve done. And you have to keep reminding the world that your work is out there, ready to be enjoyed.
What are you currently working on? What's next?
PH: The third Simon & Elizabeth Mystery, The Lady Flirts with Death, has a June 5th release date from Five Star Publishing. I got my author copies a few days ago, which is always an exciting time.
My other publisher, LL-Publications, has the next in the paranormal Dead Detective series, Dead for the Show, somewhere in the copy-editing phase. No release date yet.
As I said above, I’m at work on the third Loser Mystery, Killing Despair, and I just hit the place where it feels like it’s coming together, so it shouldn’t take more than a dozen years now!
Thanks for inviting me, Susanna. I enjoyed meeting you at Malice, and though I’ve only started A Murder at Rosamund’s Gate, I already like the characters! (Aw, shucks, thanks! -SC)
Thanks again for stopping by! I hope you can come back again to talk about your historical novels, which are terrific!
OTTOMAN Water Wheel c. 1550 - 1850 Hama. Syria ©Kathleen Cohen
Because I think in metaphors, this Syrian water wheel perfectly explains my absence from my blog. Since A Murder at Rosamund's Gate released a month ago (has it been that long already?!), I've barely done any writing. I've been so busy with my day job (faculty development), my night job (teaching), my all-the-time job (family), not too mention all the fun book-related events I've been doing, that I've been neglecting my super-late-at-night job (writing). And I miss writing. For me, writing is just fun. The problem-solving, the research, the dreamy imaginings, the discovery of character and motives, the joy of putting down the perfect word at the perfect moment...It's all a process I truly enjoy. Yet, I'm conscious of being like the Syrian water wheel above. Immobile. Fixed. Dessicated. (Temporarily, I hope!). Normally, as each of my little cups bearing water gets emptied, it will soon swish down through the water to be replenished. Right now, I think I've emptied one too many cups. As the noted psychologist Mihaly Csikszentmihalyi might say, my flow of creativity has been halted. (Check out his Ted Talk on the secret of happiness and connecting with your creative self.) But I'm excited. In a few weeks, the academic year will have ended, I'll have turned in grades, wrapped up the programs I run, completed some work travel, and then I'll have time to write--and perhaps more importantly--the flow will return, and I'll get that water wheel turning again.
But I'm curious...do you have a metaphor or mental image for how you think about writing, (or anything else that you particularly enjoy?)
My book started years ago, when I was a graduate student, pouring over 17th century murder ballads. The ballads served as musical 'true accounts' of murderers who wrote letters to their victims, urging them to rendezvous in dark deserted fields. I knew I had to write about these monsters. I drank lots of coffee. I spent years writing this first book, scene by scene, in little half hour bursts, at coffee shops, on the train, when the kids were sleeping, until one day--in 2010-- I finished. Even my husband--alpha reader extraordinaire--did not know much about the story. "It's set in the seventeenth century," I'd mumble. "A servant gets killed. Another servant tries to figure it out. Stuff like that."But eventually, I asked him and a few other trusted friends to read the book. I revised again, queried, queried, queried, while writing an entirely different book in the interim. In 2011, I got my wonderful agent who quickly connected me to my equally wonderful editor at Minotaur. My journey was no longer an imaginary jaunt; the path to publication was suddenly very real. In 2012, more changes happened. The title of my book got changed. My publication date got pushed back. My beautiful cover was revealed. Multiple revisions happened. Copy edits made me crazy, but I learned a lot in the process. I had my first public appearance as a novelist ("2 minutes at Bouchercon"). At some point, I received my ARCs.2013. Months still passed. My book began to be publicized. I reached the 100 Day mark. Another few months passed. My book started to be reviewed. My hardback copy came in the mail. And now...Be still my heart...
MY BOOK IS FINALLY HERE!!!!
Thanks to all my colleagues, friends and family--especially my husband--who made this possible!!!!