Category Archives: description
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:
I started out with the idea of a novel set in rural New Hampshire. There’s no such thing as a novel set in New Hampshire that excludes the weather. I decided to spread the plot out over a year – up here, you can’t leave out a single month and still cover the territory.
Fate gave me a freebie: the full-year idea fit well with a problem my protagonist faces. She’s stuck at home, probably for good, after years of regular escapes to Kenya.
Today’s weather reminds me of why I changed my plan.
Last fall was lovely. Dampish now and then, but the beeches, oaks and maples all came through with October fireworks in yellow, red and russet. Winter sidled in with a little snow but then appeared to give up. Open ground could be seen in January and February. We had a storm or two, sure, storms that people in D.C. would call blizzards. But nothing you’d mention. Nothing we would, anyway.
Snow gone at the end of February. Temperatures scaling toward 60 every now and then. And then… BWAH-HA-HA-HA-HA!
Arrives the blizzard that breaks the records. With nine days to go till spring, parts of New Hampshire got more snow in a single day than at any time since Cain discovered writing. (He wrote crime fiction.)
Now we’re back up to March’s ordinary 40-degree highs, on one day out of two anyway. And today is the kind of day I’ll end my novel on. I could stretch it all the way around the calendar, ending on a June day of glorious sun, leaving out the black flies. Or I could end on a July day of glorious sun, leaving out the deer flies and the humidity. But no. My heroine will triumph on the first day of Mud Season.
The frost goes deep here. Even calling it “frost” is misleading. It’s a rock-hard layer of frozen earth that can go down five feet. We like it. Foresters can work in the woods all winter with heavy, heavy equipment.
But when the warmth creeps back, the ground unfreezes from the top first. The layers farther down don’t feel a thing. They don’t absorb moisture, either. So for weeks, meltwater mixes with topsoil and sloshes around — and slides and squishes and slops — on that impervious surface. This is Mud Season.
I took the dog out this morning. Winter is still mounded to either side of our forest road. You can’t walk over the plow piles because you’ll go straight down in and never get out again. The road, though, is all spring, from the surface to about two inches down. This new-born world is gluey, gritty, rich and brown. Runnels of melt water dig channels on the slightest slope. A blazing sun picks out sparkly grains of marble in the 3-inch gravel that is trying to hold the our forest roads in place against strong odds.
Pfeffernuss the dog is a 90-pound black Lab with feet almost as webbed as a duck’s. They sprea-a-ad out under her weight and then snap back into place like little backhoes, storing up hours-worth of pawprints for my floor tiles.
My knee-high muck boots go so deep you’d think “muck” is what they’re made of, not what they cope with. The sound they make on the upstroke is indelicate, nay, carnal.
This is what resurrection looks like in New Hampshire. The delicate blossoms and tender grasses come later, as an afterthought. When Mud Season arrives, you know you have come through the dark night of the New Hampshire soul and back out into the light.
The Thursday Night Writers had another set-to this week over my exploding canary. Only four of us were present this time, but the controversy has raged through the whole group since I submitted the first draft of chapter 36 – longer ago than I care to admit.
Here’s the passage:
For my part, I kept the Stark file spread out all over my desk, like one of those impossible variations on solitaire. I inspected every line of every document, straining for some way in which it might imply a deadly secret. I marked Jeremiah’s house purchase with a Post-it memo to trace the sellers. Somehow, the sale wasn’t legitimate? Or Jeremiah’s check bounced? Or maybe way earlier, somebody with the same name had just pretended to be a descendant of Enoch Stark when they bought the house? Pretty thin, Eliza. But it got another yellow sticky note. In the end, the solitaire game looked like an explosion in a canary.
Disregard the plot conundrum. It can’t be quickly explained, and the only problem, as far as the TNWs were concerned, was the canary.
One member is admittedly squeamish. She loves cozies because of their basic rule: no explicit sex or gratuitous violence. Simile or not, she does not want a piecemeal canary obtruded into her consciousness. In a later chapter, a mere reference to “my canary” in the context of the annotated documents was enough to set her off. (Granted, she had been recently lacerated by an episode involving a frog in William Kent Krueger’s Ordinary Grace. It wasn’t a good week to reprise the canary.)
The others, it seemed to me, were going deeper into the image than … I was going to say “a normal person,” but perhaps I should just say “the reader” is likely to. There was speculation as to the appearance of a real exploded canary. A consensus emerged that the resulting color would not be yellow. I believe someone brought up the probable radius of the debris. And there was me, just visualizing little Tweety-colored feathers floating down.
The title of this post comes from a critique I received from Mary Carroll Moore, with whom I’ve taken two live workshops and one online class. She used it when she advised me to abandon the opening sentence of my novel and, indeed, to remove all technical or at least all vivid medical details from the scene, which takes place in a doctor’s office. Here’s the paragraph:
I don’t deny that I was riddled with parasites. I always was when I got back from a field trip. But I saw no reason for Brad to take that tone with a woman twice his age. His father never had a problem with my parasites.
I submitted that paragraph, as part of my first two pages, to a panel at the New Hampshire Writers Day last year. The panel consisted of well-known NH writers – all genres, not just mysteries. Each submission was read aloud by the moderator. The panelists were instructed to raise their hands at the first word, phrase or other issue that “stopped” them.
When my first sentence was read, three out of four of them jumped, but no hand went up. Which means…? You tell me. Please.
(We got well down the second page before I got a hand. Several at once, in fact. But that’s another story.)
So maybe it’s just me. Maybe I’m made of grosser clay than the average cozy fan. Or maybe I just make my friends and seek advice from lovely people who are more-than-average refined. The one thing I’m sure of is that neither the canary idea nor the existence of parasites would boggle the mind of my protagonist. So maybe I’ll keep them both.
The Ick Factor may be on my mind at the moment because of the winning response to the challenge I posed in my last blog: to use in mystery plot the following two words:
Ylem: (in big bang theory) the primordial matter of the universe
Feague: To put a live eel up a horse’s bottom. An eighteenth-century horse dealer’s trick to make an old horse seem lively.
And the winner is….
Judy W.! She commented:
Your current words call to mind a Dick Francis-like mystery set in a racing stable. “The feaguing of the poor horse set loose an explosive diarrhea in the stall that splattered the walls like ylem after the Big Bang. Underneath the residue lay the missing gambler.” Ugh. Sorry, but you did issue a challenge.
Congratulations, Judy! After that, an exploding canary is nothing. It wouldn’t even cover up a dead gambler.
For some reason, when your friends know you are a writer, they become obsessed with sending you words. They may feel you are a connoisseur. They may feel that your vocabulary is inadequate.
Several of my friends have recently been hit with the word-sending bug. While they all said that their lists comprised merely “weird” or “interesting” words, a high percentage of the entries had intriguing connections with the mystery genre. I here offer the best of them to you, conveniently arranged in categories useful to those who murder on paper.
Apple-knocker: an ignorant or unsophisticated person (I was raised to call such persons oyster-shuckers.)
Badmash: Indian, a hooligan
Shot-clog: An unwelcome companion tolerated because he pays the ‘shot’ (i.e., the bill) for his companions (Note: as this word is attested only in the works of Ben Jonson, perhaps it should appear below, under Historical Fiction.)
Snollygoster: An unprincipled, shrewd person guided by personal advantage, not respectable principles
Suedehead: a youth like a skinhead but with slightly longer hair and smarter clothes
Wittol: a man who knows of and tolerates his wife’s infidelity
Absquatulate: to leave somewhere abruptly
Cacoethes: an urge to do something inadvisable
Eucatastrophe: a happy ending to a story
Exequies: funeral rites
Flews: the thick pendulous lips of a bloodhound or similar dog
Sprunt: To chase girls around a haystack after dark
Brannock device: the thing they use to measure your feet at the shoe store.
Peen: the side opposite the hammer’s striking side
Probang: a strip of flexible material with a sponge or tuft at the end, used to remove a foreign body from the throat or to apply medication to it
Bruxism: involuntary and habitual grinding of the teeth
Carphology: convulsive or involuntary movements made by delirious patients, such a plucking at the bed clothes
Uhtceare: Anxiety experienced just before dawn when you cannot get back to sleep for worry about the day ahead
Resurrection man: a person who, in past times, illicitly exhumed corpses from burial grounds and sold them to anatomists for dissection
Skimmington: a kind of procession once undertaken to make an example of a nagging wife or an unfaithful husband
Amphibology: a phrase or sentence that is grammatically ambiguous, such as She sees more of her children than her husband.
Interrobang: what it’s called when you combine a question mark with an exclamation point like this: ?!
Finally, I offer a small prize (a shout-out in my next blog) to the reader who can suggest the best way of incorporating the words below in a (single) mystery.
Ylem: (in big bang theory) the primordial matter of the universe
Feague: To put a live eel up a horse’s bottom. An eighteenth-century horse dealer’s trick to make an old horse seem lively.
I’ve spent this week altering plot points in an important scene in my mystery novel. Since first I wrote it, the characters have evolved, their motivations have changed, and clues have moved, both geographically and logically. But when I surfaced from the job, I found that I had written almost nothing but plot. The reader was getting far too little help visualizing the scene precisely, getting the details that make places and events real and memorable.
Back to my trusty pocket notebook. It contains much plotless writing about things that have seized my eyes and my mind for reasons I wouldn’t even try to explain. None of them are directly relevant to my book. Still, reading these passages fills my mind with the experience of just noticing, of Being There. Maybe they’ll inspire me to find the details that will make my not-too-bad scene really good.
Here are a few of my pocket-notebook inspirations. I’d love to read some of yours.
At a meeting of our local weekly discussion group:
V_____ (a husband) talking, making sense, but pretty platitudinous. J____ (his wife) listening with unchanged expression and posture, but the hand holding her off-V_____ elbow was massaging it, tightening and loosening regularly.
G___ (a husband) discussing photos of galaxies in a book he owned, which he had already discussed with R______ (his wife.) He was addressing the rest of the group with the same arguments he and she had already gone over, but his eyes were usually on her, reliving their own discussion. A committed couple.
At a writing conference:
Up on stage, an author on a panel yaws his orange, desk-style chair rapidly left and right in a short arc. The other authors, in identical chairs, are perfectly still.
A writer teaches a class. As he speaks, in time with an upward lilt at the end of each sentence, his face first rises straight up, then straight out, always maintaining its vertical plane. With the adolescent (he’s not one) intonation, the gesture seems to mean, “You do see, don’t you? Am I being clear? Do you agree?” Sweet, if a bit phony. Yet somehow the gesture also seems mildly aggressive, snakelike.
In the room where I write:
A bird flew into the glass of the door to the balcony behind me. There was a softer thump than usual. I hoped that this would be one of the occasions when the bird just flew off with a headache. But when I went to look, he was lying on the balcony floor. I knelt to look, and saw that his eyes were open and unblinking. (At least I thought they were, but what color are a sparrow’s eyelids?) He wasn’t still. He lay on one wing and his little body was rocking quickly on its longest axis, backforth, backforth, backforth. I saw that he was not convulsing. There was no other movement, no movement of any part. Just his whole body, backforth, backforth, backforth. How could he do that without pushing any part of him against the floor? Then I realized that his heartbeat was moving him. In back and forth, I saw systole and diastole. Bismarck (my cat) came to the door and chittered. When I wouldn’t let him through, he sat and watched. I left, and when I returned, the bird was gone.
Months later: I am working at a card table. My elbows are braced on the table, coffee mug between my hands. My knapsack-purse stands across the table. I am motionless, but one strap of the purse, the looser and closer one, trembles. Why? I am seeing systole and diastole, my own.
A fruit fly remains on a piece of white paper where I put some grapes. A single fruit fly casts a shadow, even on an overcast day.
In the summer Music Tent in Aspen:
A description of Finns. I call them Finns because I think they might be, but more because the first of them I saw made me think at once of a Scandinavian gnome. He was an old man of middle height. We were sitting two rows up from him in the Benedict Music Tent, so I couldn’t see whether white hair sprouted from his ears. But his face was such that I was sure of the ear hair. His skin was a dark brown, but it looked weathered rather than tanned. Or perhaps “tanned” in the sense of leather. Large wrinkles divided his face into subsections. His eyebrows were wild, almost long enough to obscure his vision. His nose was large and long and bulbous, three lumps separated by two none-too-narrow narrower places. His mouth was wide, his lips not especially so. He was smiling, nodding, and talking energetically with the people who accompanied him. They were Aspen Standard, as far as I could see. I can’t remember whether I saw that his teeth were scraggly or assumed it. He was wearing standard old-guy-in-Aspen clothes, a vaguely Western sports shirt and slacks.
The woman was sitting in the row behind them. She came in later with other people, but they all seemed to know one another. My first thought was that she was the ugliest woman I had ever seen. But at the same time, her face was welcoming. I had to work not to stare, and then not to be caught staring. She was the man’s age and about the same height. Her skin was almost as brown as his, very smooth but speckled with large age spots. Aside from the old-lady, nose-to-chin wrinkles, she had almost none. In profile, her face made a perfect convex curve. Her chin was well back, but not receding in a slant; it looked firm, and she didn’t have the feeble, chinless look of a Bertie Wooster. Like the man, she had high cheekbones and a very notable nose. Her nose curved like a raptor’s beak, but not like a witch’s: it didn’t curve back in, but ended at its outermost point, with the septum horizontal to the ground. Not small, but neat. Both man and woman had large ears, his relatively larger than hers, but her hair framed her ears and made them stand out. Her hair was long but not full, clipped back with barrettes behind the ears and straggling down her back. From the roots to her shoulders, it was a slightly grayish white. There, in a visible line, it became a faded, reddish light brown, as if some instantaneous shock had flipped a switch in her scalp. She too was smiling and talking, and her expression made me want to know her.
Now, back to my scene. I’m going for three, very short details with the feel of these passages. I suppose “short” will be the hard part.