Author Archives: Heidi Wilson
The To Be Read pile is an ambiguous object.
On the one hand, there’s a genuine guilt factor: “I really shouldn’t spend any more on books till I’ve read these. Or at least till the pile is smaller.”
On the other hand, there’s the built-in humblebrag: “You should see my TBR pile! The floor joists are starting to creak!” (“Why, what a very cultivated kind of youth this kind of youth must be!“)
Neither argument is relevant for a book hoarder deciding to buy a new book. Books aren’t substitutable. This is something that non-bibliophiles find hard to understand. Raise your hand if anyone has ever said to you, “Don’t you have enough books already?”
The fact that David Mitchell’s sixfold fantasy Cloud Atlas, acquired a month ago at the Five Colleges Book Sale, is waiting on my TBR pile does not mean that I can pass up The Devil I Know by Claire Kilroy, a novel based on Ireland’s Celtic Tiger property boom.
But is it fair to call this book accumulation hoarding? The book hoarder – or let’s just say ‘owner’ – fully intends to read the books. True, all those people living between stacks of decades-old newspapers also defend their possessions fiercely, claiming that they will, or may, or might read them someday. The social worker brought in by the family claims to know better.
Let us try for objective truth here. The Literary Hub website provides a scientific calculation of the number of books you can read before you die. Plug in your age and your own estimate of your reading speed (“average,” “voracious” or “super”) and they will tell you how many books you’ve got to go.
Getting the number is like hearing the first Bong! of the church bell for your own funeral. My number is 875. Only three digits. On the bright side, my TBR pile is much smaller than that. Even if I count all the TBRs that have moved over the years from the Pile to my shelves, unread, because a higher pile threatened an industrial accident, I can probably buy a few hundred books and still die absolved. Only a few hundred.
Suppose your number is smaller than your TBR pile, honestly counted. Is it hoarding then? According to the Diagnostic and Statistical Manual of Mental Disorders published by the American Psychiatric Association, the criteria for hoarding concern an inability to discard hoarded items. Nothing about how much you acquire. (Note that the APA is vaguely aware of a definitional difficulty here: they are currently debating whether to say “regardless of the value others may attribute to these possessions” or “regardless of their actual value.”)
No problem there. I just donated seven cartons of books to the above-mentioned book sale. I now have exactly enough room for my TBR books on my shelves. The only remaining problem is where to put the next 875.
However, the DSM also stipulates that “the symptoms cause clinically significant distress or impairment in social, occupational, or other important areas of functioning (including maintaining a safe environment for self and others).”
Again, we have a definitional problem. Distress or impairment to whom? I don’t mind the occasional spilled coffee when I miss the one remaining mug-shaped space on the table with my current reads because my eyes are fixed on the text. Is the pained expression on my husband’s face “clinically significant”? If so, he must need a psychiatrist.
I had already invented a historic house for my murder. It dated to pre-Revolutionary times. I knew how it had begun –smallish, built by a hard-working tiller of the stony New Hampshire soil – and how it had grown as the family prospered. The foursquare, four-room shelter expanded, front, back and sides, as the nineteenth century progressed. The second story lost its sloping bedrooms and acquired an attic. Greek Revival doohickeys appeared. Even the sheds and barn grew neat.
This week, I got a chance to visit the kernel of my mysterious house. A kindly neighbor is selling his 1775 farmhouse, and he gave me a royal tour. I found myself regretting that I had allowed my fictional Stark House to be tinkered with by a bunch of equally fictional ancestors.
We stepped from the narrow front porch into a graceful swirl of centuries. A narrow wooden staircase on the left of the hall was painted in a deep, vivid blue, like the rich colors that once graced Mount Vernon. The paper on the walls reminded me of the papers Americans imported in the eighteen hundreds, when they established themselves among the nations — as consumers with the best of them.
To either side of the hall were parlors, each with its fireplace, rooms deliberately kept small to conserve heat and prevent drafts. There were signs of new prosperity here, too: the wood-paneled walls may have been the work of a carpenter known to have come through town in the 1830s. He dressed up a number of the local houses – no one wanted to be left behind the fashion. My neighbor had stripped off the centuries of paint that disguised it; you can now stroke the original wood of this 19th-century upgrade.
Behind the smaller parlor was the “warming room.” It shared a chimney with the large kitchen behind the company rooms. Here babies came into the world and the old left it, tended by the women of the family as they kept the kitchen fire going and the stew on the simmer. Our woods here in the Upper Valley still grow good lumber, but the trees that provided its wide floor boards and the original rafters above the kitchen are no more.
The old kitchen has become a living area, its original rafters once again visible, and the extension of the house to the back now houses a modern kitchen. One thing hasn’t changed: my host had a stew in progress that any Puritan goodwife would have envied (or at least asked for the recipe.)
When we made our way down to the basement, I knew that I had missed a great opportunity for my fictional Stark House. Its walls were made of fieldstone, like the walls that run through all our woods and pastures here, but with a big difference. These had been matched and placed with such care and skill that the corners were militarily precise. Just over our heads – we’re both about middle height – huge wooden beams lowered over us. Many had been replaced over the years, but some were still unsquared trunks from those ancestral forests. Think what crimes I could have committed – and concealed! — in such a basement. Just a little monkeying with the light fixtures….
Outside, under the lawn, there are signs of another foundation, probably the barn. I ached to know whether it had once been connected to the house by sheds and work buildings in the style known as Big-House-Little-House-Back-House-Barn. Those convoluted connections figure largely in my murders.
I can see that I’ll have to write a sequel, if only to add the counterpart of this lovely place to my fictional Oxbow, New Hampshire.
You know how the writing mavens warn you against letting yourself get carried away by your research? Against noodling around in depth upon depth of interesting stuff instead of turning out text? Today we consider how much fun you can have if you ignore them.
At present, I’m plotting a mystery that will involve a rare books library and its collection of illuminated manuscripts. My first and most valuable co-conspirator is that deeply respectable institution, the British Library. Their daily Medieval Manuscripts blog greets my every morning with some new twist on their very old theme. The BL is digitizing its collection, so you can burrow down to find what interests you or browse just for fun.
This phoenix was on display at the BL’s recent exhibition “Harry Potter: A History of Magic,” which brought together texts and museum objects that Harry himself might have used to pursue a wizardly education. It comes from a bestiary that might have been the text for Hagrid’s Care of Magical Creatures class. (The exhibition sold out long in advance for every single day, a first for the Library.)
For facts and figures, and above all to avoid howlers, I’m studying Christopher de Hamel’s 2017 blockbuster, Meetings with Remarkable Manuscripts. (Okay, it may not have been on the bestseller lists. But it’s 632 pages long and weighs three pounds.) De Hamel is the former librarian of the Parker Library of Corpus Christi College at Cambridge, a treasure house of manuscripts.
De Hamel travelled the world to research this book, visiting twelve of the most important and most beautiful manuscripts in existence. The earliest dates to the late 500s, the latest to about 1515. Each essay combines his travels, accounts of each rare book library and its denizens, his musings on the manuscripts – including some new observations and deductions on the making and history of each – with multiple images of the illuminations, of their present homes and of the men and women who bought, sold and preserved them.
Chapter One concerns the Gospels of St. Augustine, owned by Corpus Christi itself. It is the oldest surviving Latin gospel book anywhere in the world. The saint in question is not the fourth-century Bishop of Hippo but the missionary who brought Roman Catholicism to England. The book’s readings of the text and its imagery served as exemplars for later and more elaborate gospel books down the centuries.
Its predecessors may be even more interesting: scholars suggest links between the style of its art and Ethiopia, a home of early Christian monasticism. That style of Ethiopian religious painting persists today.
De Hamel’s anecdotes are even more enticing than his scholarship. Here we see him in his librarian persona, dressed in full academic regalia, presenting the Gospels of St. Augustine for Pope Benedict’s veneration when he visited England. That’s Rowan Williams, the late Archbishop of Canterbury, on the left.
The Gospels of St. Augustine are also used during the enthronements of Archbishops of Canterbury, and at the last two such ceremonies, de Hamel again presented the book. He reports that in 2003, at the enthronement of Rowan Williams, at the first vibrating notes of the opening hymn, the parchment pages of the book rose and fluttered. He adds that the same did not occur for the current incumbent.
In the succeeding chapters, we meet, among others, the Book of Kells, the Copenhagen Psalter and the Visconti Semideus. Here are a few tidbits that may find their way, suitably transmuted, into my mystery:
De Hamel says he is often asked if the Book of Kells is like a Book of Hours. And if so, his questioners want to know, what is a kell? Such innocent ignorance pales beside the vandalism of one George Mullen, who “restored” the Book of Kells in the 1820s and saw fit to touch up the decorations with white paint, to “improve the definition.”
The Copenhagen Psalter, we learn, was probably created as a first reading book for a young prince. This purpose is demonstrated by a large, carefully drawn alphabet and a table of punctuation and abbreviations. Its illuminations are certainly royal. If manuscripts, de Hamel says, were accompanied by music, the Copenhagen Psalter would require trumpets and a church organ.
More endearing, though, are the marginalia, calculated to appeal to a child. One of them shows a cat playing a rebec, a sort of early fiddle. This image occurs in many illuminated manuscripts and harks back, de Hamel believes, to whatever tale or folk belief gave us “Hey diddle, diddle, the cat and the fiddle.” He adds that when a dinner guest of his own, a master of medieval music, arrived with a rebec, an experiment became possible. The musician played, and de Hamel’s cat “rushed in as if drawn by a magnet, rolling on the floor in ecstasy, as punch drunk as a dervish.”
The Semideus is a manual on warfare, presented to Filippo Maria Visconti, duke of Milan, in 1438. The violent subject matter was appropriate to the recipient, a warlord whose emblem was a blue viper devouring a child. Yet the pictures of tactical devastation are charming, washed with soft pastel colors and full of tiny, perfect detail. This battle scene is viewed from the opposing page by the Madonna and Child, beaming down on the carnage from the center of a sunburst (another Visconti emblem.)
The St. Petersburg National Library is the current home of the Semideus. When de Hamel arrived, he went through a near-Soviet experience of rigid and inexplicable bureaucracy interspersed with casual Russian friendliness. At last he settled down to inspect the precious manuscript. He was so immersed in his work that it was well past lunch time when he looked up. The Russian invigilator keeping watch over the reading room realized he had missed the meal – so she brought him a handful of whiskey-flavored chocolates to eat while he continued to handle the manuscript.
Could I put together my mystery plot with less information than this? Logic says yes. I say no. These winding little back alleys of fact are putting flesh on the bones of my story and slowly filling the memories (and the unconscious) of several of my characters. At any rate, the mavens can’t prove that I don’t need to do this. Until they can, I plan to enjoy myself.
Not winning the Freddie Award is quite a bargain.
The Freddie Award for Writing Excellence is awarded annually to the best unpublished, uncontracted and unagented mystery submitted to the Florida Chapter of Mystery Writers of America. The winner gets free admission to Sleuthfest, the Florida MWA chapter’s annual conference, a nice plaque and possibly a chance to pitch the agent or editor who did the final judging.
I didn’t win, but for my $30 entry fee, I got to submit the first twenty pages of my novel to be scored and commented on by three anonymous judges. That’s a lot of expertise for thirty bucks. Making use of it may prove a little challenging, though.
When the email popped up in my inbox, my heart turned over. I could tell from the first words, which showed up in the subject line, that I hadn’t won, but I was steeled for that. The terror came from facing the comments of three professionals, none of whom were friends, members of my writing group, or being paid to be helpful. However, I had thirty bucks on the table. I made myself hit “open.”
The Freddie has each judge fill in a rating sheet with separate scores on characterization, plot & conflict, dialogue, opening & setting, style & pacing, and mechanics. Most of the ratings were accompanied by a brief commentary on the reasons for the rating, often with examples and suggestions (not actual suggested wording, but “something like this….”)
Within each score sheet, the numerical ratings matched up well with the degree of criticism in the rater’s comments. But that’s where the tough part comes in. Here are the possible scores:
10 Author has done an excellent job. Very few if any mistakes and none that impacts the story
8 Though some areas might need polish, the author has done well overall
6 Entry requires extensive editing or story development to engage the reader
4 Major rewrites or restructuring is necessary
2 Serious flaws. An in-depth study of craft is needed
By the grace of God, I opened the score sheet from Judge JM22 first. S/he had given me a 10 in every category. The downside: there were no further comments. (The score sheet tells the judges to “enter comments in each section – especially if you take off points.”) I knew it had to be downhill from there, but with one perfect 10, at least I hadn’t been cast into the outer darkness.
Then the pain began. Judge JM21 gave me three 8s and two 6s. JM20 made it two 8s and three 6s.
I parsed those comments up, down and sideways for a week. I re-read the manuscript. I whined, “But don’t you see…?” to invisible interlocutors. Then I sucked it up and started taking notes. I wrestled with the wide range of the ratings, until I saw that whatever rating box they checked, the judges agreed closely on the nature of the problems they spotted.
- Too much backstory. Check. Assignment: Pick what’s needed for immediate comprehension. Find locations farther in for what will become necessary later. But that turned out to be the lesser benefit from these comments. Working with them, I’ve seen a way to alter a subplot that will be much clearer, easier to explain and actually work better with my main plot.
- Too little emotional reaction from Eliza, my protagonist, over the dilemmas I have posed for her. Check. I am a prim, mimsy New England Puritan, and we don’t get upset in public. It’s rubbed off on Eliza. Assignment: make clear how much trouble she thinks she’s in, either in speech or privately in thought. Just be sure to convince the reader.
- Too little sense of place, early on. Check. However, there was enough place-ness for one judge to conclude, correctly, that I want the location to be a major player in the story. To make my word count, I cut a lot of description. Back it comes, and I’ll worry about cutting later.
- No murder or mystery evident. Sorry, judges, no check for this one. I’ll ramp up the expression of conflicts and emotions, but I like to watch my murders develop slowly, out of situations and characters that just cry out for them. All my favorite authors do, too.
Maybe the best part of the whole exercise was the tone of the comments. They were frank, but nobody was snarky. When they liked something, they said so. The judge who gave me the lowest scores even attached a copy of my manuscript with quite a few comments inserted, some not even related to his/her remarks on the score sheet and the majority positive. S/he even gave me two happy faces for nice tidbits!
That judge prefaced her manuscript comments with the following. I’m trying to hold it in mind as I consider (but don’t buckle under) all the suggestions:
I hope you find some of my specific comments helpful, but please remember, I am ONE reader, and others will see things differently. However, when you’re submitting to agents, they’re going to be looking for hiccups and issues with the craft and mechanics, so I am pointing some of them out as they jump out at me. Take what makes sense to you and ignore what doesn’t.
Good advice of all of us.
P.S. One judge downgraded my Mechanics because spell check showed “a few flagged words.” S/he and I must have different spell check programs. Mine was written by someone who learned English as a second language. On Mars.
Heidi here, reporting progress for once.
It’s almost embarrassing to admit that, in just a couple of hours, one highly structured writing exercise adorned my bare plot with complex characters, details of setting and multiple red herrings. Truly, it happened.
After pantsing my first novel, I swore I’d never go through that again. I was already using Scrivener, though not handily, so I bought Stephanie Draven’s Plot Your Book in a Month with Scrivener. Then came the miracle.
Draven starts you off on characters, and you have to do it her way. The exercise requires you to set up eight, count them, eight, separate folders under each character’s template. These are Vocation, Vulnerabilities, Strengths & talents, Flaws, Ideals, Beliefs that must change, Goals and Problems. For each, she demands of you five examples in your character’s make-up.
I started with my villain. He was due to commit a crime (art forgery) for money. Ho, hum! But pondering his vulnerabilities (by which Draven means innocent weak points, not the character’s fault), I discovered the motive behind the motive. His desire for money has its roots not in greed, but in resentment. The origins of this are familial, but over a lifetime it has added malice to his purely personal flaw of greed.
As this dynamic developed in my head, suddenly, from nowhere at all, a countervailing vulnerability popped up. My forger works in a precise and detailed genre – but he suffers from a longing to paint in the Impressionist style. He is not at all good at it. For reasons I won’t go into, this innocent commitment will betray him.
From his resentment and malice flowed a conviction that “Hell is other people.” To him, they are either obstacles or nuisances, though he is usually careful to conceal this. It hampers him in dealing with new people in new situations. At the same time, it causes him to be a loner and to be perceived by those he encounters as lonely, a sympathetic trait.
Spending time in the character’s mind brought me into his physical world as well. I felt rather than deduced that his natural pace is slow and his focus on details. As he is well up in years, this lifelong trait can come across to new acquaintances, incorrectly, as the slowing of physical and mental faculties with age, another sympathetic trait.
This perception of his physical traits, in turn, spilled over into the creation of another character, with whom he will be in conflict. She was always going to be more than a generation younger than he, but now she is also taller, robust where he is lanky, obtrusively energetic. He, in contrast, seems hardly fit for the pace of the 21st century.
And while I was thinking physically, another connection occurred: I want the setting of my books, northern New Hampshire, to be vivid to my readers, almost a character in the story. So my villain, thin and not robust, is always cold no matter where the thermostat is set.
Draven knew what she was doing when she put the vulnerabilities before the strengths. Once I had watched my villain develop layers of motivation, it became clear that his strengths would not all appear, or in fact be, villainous. His desire for distance from other people, along with the demands his professional associations, require him to have excellent manners. His extensive knowledge of his academic specialty is necessary for his crime – but it also garners deserved respect from his colleagues and gratitude from the few outstanding students whose careers he promotes. (They, in turn, can be put to good use in his nefarious schemes.) It will also, I hope, form an additional thread of interest to readers.)
The whole exercise was so inspiring that it was hard to keep the categories separate even on the first run-through. Vulnerabilities suffered through no fault of one’s own blossomed into flaws via unfortunate methods of coping. Strengths quickly became ideals – because our own good points are always the really important virtues, aren’t they? Initial problems bred solutions that became complications of a straightforward criminal enterprise.
So thank you, Ms. Draven. If this thing ever sees print, a fulsomely autographed copy will be yours.
P.S. I have to say, the “one month” thing isn’t working out. Each new exercise takes me days to think through and tinker with. However, if you’re a wo/man of steel, and don’t eat or sleep much, maybe you could manage it.
Being days late with my blog post, and having been inexplicably visited by a poem this morning, I’m going to imitate Karen (see Dec. 12) and favor you with it. Apologies to non-poetry-fans.
The Taste of the Rose
Here it is imperceptible
That the rough calyx has begun to retreat
And the pink point to encounter the sun.
Here pink folds are still one solid mass
Though already they are crisp and smooth.
The scent is already thick.
Here at the tight center
It is fortunate for me
That I am hardly larger than my egg.
The taste is pink, crisp, smooth, as well as scented
All the way out to the edge of the drooping bud.
Now I encounter air. Now is the time
When the fact of my future wings is clear to me.
It is not my nature to consider
Whether they will be black or bright.
I took a busman’s holiday today. I’m starting to plot my second book and, needing to get a blog post out, I gave myself permission to noodle around online, seeking useful info for my plot and a blog at the same time. My next set of murders involves forging medieval manuscripts. So it’s perfectly legit for me to find out how to do that, right? Just because I enjoy it doesn’t mean I’m not working.
I had great hopes of a news story on NPR yesterday. Seems the French police arrested the CEO of Aristophil, a Paris dealer in manuscripts, who has collected billions of Euros from investors for “shares” in his portfolio of assets. But alas! for my murders. These manuscripts seem to be perfectly real. The police claim it was the investment management that was shady — a giant Ponzi scheme. In any case, the court is having the collection sold at auction, so if you’d like to bid on the manuscript of the Marquis de Sade’s 120 Days of Sodom, you’ll soon have the chance. [Breaking news! The French government has stepped in to declare the Sade manuscript a national treasure. It’s out of the auction. Sorry.]
It turns out that the University of Delaware’s Library possesses a special collection devoted entirely to forged manuscripts. It was the gift of Frank Tober, a chemist who worked on the Manhattan Project. His interest in the subject began with the chemical methods of detecting fraud, but twisty subjects lead to twisty trains of thought. Before he was done, Tober had branched out into counterfeiting, the forgery of artwork and furniture, hoaxes, and imaginary books and libraries.
At first I thought the pickings were slim for me in the Tober collection: it has only one forged illuminated manuscript. It always pays to keep digging, though. The Tober manuscript is one of hundreds produced about a century ago by the “Spanish Forger,” whose work still lurks in museum collections today, although many have been identified. And the art market always adapts. The Spanish Forger’s work is now eminently collectible. And probably easier to forge than the original manuscripts. (Plot idea here?)
Of course, when you are surfing the web, diversions and byways are legion. Searching for forgeries naturally brought me to hoaxes. I was thrilled to find a “Museum of Hoaxes,” right in San Diego, where I will be visiting in another week or so. Well, almost there. Only a hundred miles away. I could visit! And the web site kindly gave directions:
We’re based in San Diego, California. If you’re in the downtown area, get on i-5 north and keep driving until you see a giant floating jackalope off to your right. You can’t miss it! If you reach LA, you’ve gone too far.
Oh, boy! I’ll just… Wait a minute. Just drive north? Till you see a floating jackalope?
Maybe I’m not really competent to write about forgeries, far less spot them.
The “museum” is, of course, just a web site. I would have tumbled to that eventually, when I scrolled down to the “Staff” section:
Curator Pretending to be in Charge of a Museum
Deputy Curator in Charge of Fire, Electricity, Dead Pigeons, Insane Hamsters, Frog Skeletons, Poltergeists, and Medical Curiosities of All Kinds
I seem to have wandered far from my serious and entirely justified research project. And it’s lunch time. I’ll leave the rest for another day.
Heidi here. I’m in book jail, and I’m not writing fast enough. I was already not writing fast enough when I came down with the flu. The words dried up completely. Here are my four tried-and-sometimes-true methods for making the deadline anyway.
- The filing method: shuffle paper (or electrons.) Look through all those appended notes for corrections and improvements. Organize them. You may use pretty-colored file folders to do this. If you get lucky, some sentence will click and you find yourself writing instead of amending.
- The copy editing method: You’re going to have to weed those adverbs eventually. Start the line-by-line read-through. The upside of this method is the same as for Number One. Some connection will appear that sets you to churning out words for elsewhere in your book. If worst comes to worst, you end up with fewer adverbs and cleaner prose.
- The jig-saw method. Bring up on your screen all the hopeless dreck you’ve generated while trying to get your current chapter right. Clip out the substantive bits that simply must be in the final version or the plot won’t work. Dump them in a new file. Try to make them fit with each other. This method works the way physical jig-saw puzzles do: each sentence — even each phrase — that meets your eye might just fit over here… or over here… or…. And you’re just going to do one more piece before you stop. Really.
- The butt-on-chair method. For those of us raised as New England Puritans, this is Number One, not Number Four. If you were a serious writer and a virtuous person, you would simply ignore your illness, sit down and write. The result would be War and Peace or the Iliad, at least. On account of your will power, you see. The fact that this is a total crock never penetrates the Puritan mind. Neither does the fact that if you try it, you succeed only by using methods 1, 2 or 3.
You’re going to be sick no matter what you do. But if you can bring yourself to put your hands on that keyboard, and something does click, for some blessed number of minutes, you’ll forget to feel sick.
Holiday tip: check out The Harvard Book Store’s Holiday Hundred
I like my cozies cozy. We’re talking mystery novels here, of course. The base-case definition of “cozy” is “no overt sex or messy violence onstage.” For me, there’s one more requirement: the story has to happen in a place and/or a social setting made so vivid by the author that living in it for the length of a book is worth the price of admission. Cozy, after all, is a matter of one’s surroundings. Solving a murder? Not so important. It’s local color that makes me part with my cash in the bookstore.
Currently, I’m reviewing the presence of the great state of New Hampshire in the umpteenth draft of my novel. It’s a wonderful place, no question. I notice, though, that my local color focuses only on the nice stuff. Autumn-leaves-sort-of-thing. This is the “place” equivalent of the sweet and comforting cat owned by so many mystery protagonists. Said cat never ignores her owner, gores the vet or vomits on important people. Autumn color on the Kancamagus Highway is New Hampshire’s version of that cat.
So I’m hunting around for aspects of the New Hampshire life that will take readers into the real place, including the unsweet parts, which they will nonetheless want to explore with me. Here’s where that effort took me.
The Kancamagus, narrowly defined, is 37 unspoiled miles of two-lane road through the White Moutains, no turnoffs (except for trailheads), no gas stations, no food outlets, no nothing. On the other hand, it starts in Lincoln, New Hampshire, home to the Loon Mountain ski resort and a stretch of random and ramshackle shops whose only purpose is to extract dollars from skiers and leafpeepers. You can eat a gyro, spend more on a mountain bike than the annual household income in Rwanda, or get your nails painted blue with little sparkles on. Every tourist trap in the country could boast the same. So how is this New Hampshire?
I find a possible connection: a little strip-mall shop that sells very upscale foodstuffs, organic of course, plus Luna bars, sandwiches, and elaborate chocolate pastries clearly made by machines in a factory somewhere well to the south. But one of the sandwiches is a lobster roll better than anything I’ve tasted on the coast of Maine. Why make that a specialty? Because this is northern New England, mountains or no mountains, and the lobster is one of our totem animals. (So is the moose, but you don’t want moose on a bun.) Serving bad lobster is done in New Hampshire, yes, but it is nevertheless Not Done in New Hampshire.
Winter is another New Hampshire specialty. I do let my heroine enjoy the first pristine snow of the season. This brook isn’t just down the road from my house, but its twin brother is.
Where I have to be stern with myself is on the downside of all this loveliness. Hence :
We aren’t the rural state we once were, either. In the southern tier, New Hampshire is becoming downright post-industrial. The Portsmouth Naval Shipyard is no longer the economic engine of the area. It’s more a blight on the sea coast. Good place for a thrilling climactic chase scene, though.
So one way or another, I imagine I’ll give my readers a place more interesting than some non-denominational Heaven. If I get really desperate, I still have one lead to follow:
So here I am, on what I hope is the final substantive rewrite of my first mystery. I pantsed it, and I had a great time. I loved my characters, just set them down on the page and let them romp. Have you ever watched very young children – five or six years old, say – make up a game out of their own heads, coming up with a story and acting out the roles? I had that much fun, I really did.
And now it’s all come home to roost. The bill has come due for all those joyous episodes of ‘Ooh! Wouldn’t it be great if …’ For instance, I have a character who started out a genealogy snob involved in a lawsuit and ended up burying his ancestors (literally) and switching sides on the suit.
Well, no disaster. I can see how that could happen. But as I romped through my game, I just sketched in the change, didn’t take time to act out in my head the character’s inner or outer experiences. Result: a vague and confusing switcheroo at best; at worst, a great, clunky meta-clue to the reader: this character is being manipulated to work a plot. Why, he’s not a real person!
My faithful TNW critics (make that critiquers) pointed out a similar problem with another character. I noticed for myself that the police showed up, getting things wrong, when I needed to spur my amateur detective on to greater effort, but not when the police probably would show up in a real investigation. To crown my shame, one colleague gently pointed out that the pair of cute ferrets I had introduced (to make this work a proper cozy) really ought at least to appear in the closing scenes.
This isn’t one of my usual streams of whining complaint. I really can see how to solve the problems, and I’ve set about it. I’m pulling together separate files of all the passages on each faulty character, each badly constructed plot line. And that job has me wondering: if I had done that work before I started writing, I’d be a plotter, wouldn’t I? It sure sounds more efficient. But would I then lose out on all that five-year-old, cowboys-and-Indians fun?
On a practical note, here is a question for readers: do you use a writing program like Scrivener? If so, is there an easy way to pull characters’ appearances and tease out individual plot threads to be looked at separately? It took hours to use keywords and the ‘Find’ function to do this job for a single character.
At present, I have each scene in a separate file, color-coded by the plot line that the scene mostly serves. But my writing is not so clunky as to confine each scene to actions serving only one plot. In Scrivener (I think – I’m no adept) I would have to put each paragraph in a coded file if I want to pull out individual subplots, and it still wouldn’t be precise. Ideas, anyone?