Over the past two days I have written the following: 1) a confession by a murderer; 2) an abduction; 3) a car crash; and 4) a suicide—all of which transpire in the matter of about an hour or less. This is all part of the transformation of my novel, Anne, from women’s fiction to a murder mystery. Though I know it won’t be long until I have to rework the parts of the novel I’ve written in the past, for now I am having fun adding new scenes.
Yikes. Did I just say that I am having fun writing about people committing murder? The “real” me, not the “writer” me, does not like to think about people (or pets) dying. Who does? So how am I able to kill off my characters without shedding a tear? Heartless, I suppose. But only when it comes to fictional characters. I’d be remiss if I didn’t give some credit to my fellow bloggers on Thursday Night Writes who have paved the way with their own heartless stories of murder and mayhem.
There’s still one more death to go but that one was written a few years ago as part of Olivia. Though originally the result of an accident, the death could benefit from a few tweaks to make it more sinister, maybe a full-fledged murder!
I’m excited to be reworking what I now realize was a flat story about family relationships into an exciting murder mystery, albeit not your typical Tana French mystery with a plethora of suspects. At this point in the writing I do not have any suspects, other than the guilty party. Naturally I’m concerned that the “zero suspects” approach will be less than satisfactory to “my” readers. But I remind myself that it’s still early in the process—the chrysalis has a long way to go before the butterfly emerges.
A lack of suspects isn’t my only concern with “Anne.” I’m afraid that I’m front-loading the novel with the stuff that keeps readers of murder mysteries turning the pages.
Did I mention that I don’t have a sleuth? And many miles to go with Anne?
Spoiler alert…I’m indulging in some writer whining. Again.
Tonight, a remake of a movie that holds a special place in my heart, “Dirty Dancing,” airs on ABC. Among many other negative reviews, TV Guide had this to say: “In an era where actual dirty dancing…has gone so mainstream that Katie Couric knows how to do it, this adaptation does not tango with the present…”
And yet, knowing that it will be a huge disappointment, I will watch it.
I’ve registered for the 2017 New England Crime Bake. Without allowing myself to consider what it would entail, I paid the extra $49 for the Agent and Editor Program, which includes critiques of a pitch and a query as well as the opportunity to pitch to an agent.
Initially I thought that I should pitch my current project, Gabby, at the conference. She’s nowhere near ready but if I focus on her I might be able to whip her into shape by November. What does pitching Gabby do to my plans for a trilogy that takes place in Woodbury, NH?
If I am committed to creating a trilogy, I am pretty certain it doesn’t make sense to pitch the novel that is chronologically the last one (Gabby). I am also pretty certain that it would be incredible if at the Crime Bake I could pitch a cohesive trilogy.
The truth is that in addition to Gabby, my other rough drafts are not ready to be pitched. Anne, Olivia, and Claire. Yes, that is four novels not three but Anne is begging to be joined with her daughter Olivia, and if I acquiesce, I will have a trilogy. But Anne has no murder. Or murderer. My list of characters reveals that I can change a death to a murder and provides a potential murderer. That was easier than I expected. Now for some suspects…
However, that is not the biggest issue with Anne and Olivia. It’s somewhat like Katie Couric and dirty dancing. The premise works for 1993, when it is set, but not so much in 2017. Will it be relevant to readers?
Claire is next. She has some flexibility as to when she takes place but as a senior citizen she is aging the longer she waits. Luckily, she is endowed with a murder, murderer and some suspects. And a man in the attic is timeless.
So now I’ve created a three-headed monster: Anne/Olivia, Claire, Gabby. Do I put Gabby aside and return to Anne/Olivia because she started all of this? Is what I’ve invested hours of time and brain cells into worth resuscitating? Or am I trying to breathe life into a bunch of Word files that I would be better off jettisoning into the Trash folder?
Funny how I can hear a little voice in my head, let’s call him John, giving me some advice—most likely because I have posed this same question to my writing group numerous times. Don’t worry about a trilogy, just focus on getting one novel in good shape so you can pitch it in November. Burn those early writings. They were just practice. And that’s just some of what I assume his advice would be.
But I love my ladies.
My road down the path to becoming a genealogy junkie started innocently enough, as I imagine it does for many addicts. (See my blog post of September 13, 2016, A Pilgrim in the Family.) My husband’s family is my drug of choice.
When my research revealed that Bailey Clough, my husband’s fourth great-grandfather, of Lyman, NH, fathered Helen Luella Clough at the age of sixty-nine, I knew I had some digging to do. I located Historical Sketches of Lyman New Hampshire, written by E. B. Hoskins and published by Charles P. Hibbard in Lisbon, NH, in 1903.
If these sketches are brief and contain little of deep interest, it is because Lyman is a small farming town, and its history has been quiet and peaceful, with no events of a remarkable character.
I smiled when I read this. It is how I envision Woodbury, NH, home to Gabby, Anne, Olivia, Em, Lexi Rae, Claire, Louise. Nothing has happened here of a remarkable nature. Until now.
Finally, on page sixty, I found the Clough family: William Clough served in the French and Indian war three years, was captured by the foe and carried to France, where he was kept a year or more. He entered the Revolution without enlistment, and was at the battle of Bunker Hill. His children were, namely: Zacheus, Enoch, Bailey, Cyrus, Abner, Jeremiah, Elizabeth, and Dorcas.
Turn the page and there’s virile Bailey: Bailey Clough, son of William, married Susannah Smith, sister of Reuben Smith, Nov. 28, 1799. Their children were, namely: James, born in 1801; David, born in 1803; Darius, born in 1809; Benoni, born in 1812; Chester Hutchins, born in 1822; Susan; and Bailey.
Aha. Bailey had a son with the same name. And Helen isn’t listed among the offspring of Bailey Senior. The son must be the father. If the children are listed in order of birth date, which the author generally did, then Bailey would have been born after 1822. As Helen was born in 1838 or 1839 or even 1841 (I think she lied about her age so that she wouldn’t appear to be ten years older than her second husband), it’s hard to believe that her father was the younger Bailey.
I scanned all of the biographies in the history hoping to find something to link Bailey Clough, senior or junior, and the daughter, Helen, and the wife, Lydia. Nothing there, nothing in Ancestry.com, nothing in Find A Grave, nothing in Wikitree. I can’t believe I’ve reached a dead end in the nineteenth century.
I’m mentally exhausted. And ready for a trip to another cemetery!!
PS After writing this post I was itching to resolve the Bailey Senior/Junior mystery. I returned to Ancestry.com and looked at some other family histories (the least reliable source of information) that I had ignored earlier. Some more research and I am closer to saying that Junior was married to Lydia Stevens and was the father of not just Helen Luella but also Martha Ella. (And I get complaints about the names of my characters!) Bailey Junior was born in 1817, making him old enough to be Helen’s father. He died around the time that Martha was born so it is conceivable that Helen went to live with relatives, as the 1850 census shows her living with an eighty-year old Bailey Clough and possibly her aunt and uncle.
Mystery almost solved…now to get to work on my own mystery.
If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
—Ernest Hemingway in Death in the Afternoon
Gabby has me diving into the freezing cold water of the North Atlantic, searching for the seven-eighths of my book that is underwater. Although just a meager portion of the seven-eighths, this is what I’ve uncovered:
- Subplot. I’ve fleshed out a murder subplot that wasn’t in the original NaNoWriMo novel. I wasn’t certain I even could use it when it appeared but I’ve grown to like it. I’ve been massaging it, expanding it, and I can see its potential as both a red herring and a means of inserting more of the backstory of some characters.
- Murderer. I’ve changed the murderer. This is big!! And it’s involved reworking not just the murder itself but also relationships among the characters. This change helped me flesh out the relationship between a mother and daughter, going back eighteen years to the daughter’s conception.
- Conflicts. You can never have too many of those, can you? Possibly in your real life but not in a book. My NaNoWriMo conflicts were superficial but now I’ve created some meaningful ones that will help Gabby develop into a well-rounded, mature woman.
- Family history. I’ve delved further into the history of the paternal side of the protagonist’s family, starting with the life of her great-grandfather. One of the perks of being an author is that you are in control of what happened generations ago that affects your living characters. It’s more fun, and easier, than using Ancestry.com.
- Whodunit? Most recently I have visited with each of my characters in order to discover who he or she thinks is the murderer. Through these conversations, I have learned more about my characters’ flaws, as well as gained some insight into where I need to place clues.
At this point, working with the separate parts of the structure of the novels means that I will have to fit all of this information together to form the novel. It is going to be like taking the pieces from numerous jigsaw puzzles and jamming the pieces together to create one much larger puzzle, all the while looking under the sofa and the coffee table for the missing pieces that make up the dreaded hollow places.
During all of this, I haven’t written one word that increases the word count of the novel. And that’s okay. For now.
I have to confess–I did it. I murdered someone. It was a first time for me but probably not the last. I’ve been advised to say no more.
My sister-in-law (also an aspiring writer yet definitely not someone you associate with murder) here visiting from Florida by way of Pennsylvania was a most eager accomplice. While snapping green beans and sipping wine, we planned the murder. Over dinner, she would interrupt the flow of conversation with “what if…”. Certainly not appropriate conversation for a dinner party but totally acceptable among family members.
You’ve no doubt figured out that I am writing a murder mystery and the person I killed is a fictional character in the novel, whose identity I am not at liberty to reveal.
The outline for this murder mystery is supposed to be my submission for this week’s writing group. I’ve been working on it what feels like every free minute I have (which haven’t been many lately). The outline has been inching and crawling toward the murder; at times I have felt as though I am writing away from the murder instead of toward it.
Thus the decision to jump right to the outline of the murder and skip the remainder of the forty-nine unwritten pages leading up to it. (Murders should happen by page fifty, I am told.) I am certain John, our fearless leader, has instructed me or someone else in the group (we all start to blend together after nearly seven years) to do just that. I am beginning to see the logic in it. Now that I have the murder, or at least the first version of the murder, committed to paper, I can return to the beginning and force the actions of the characters to keep the reader guessing who the murderer is. Reminds me of solving quadratic equations. Creatively.
Today’s post on the Maine Crime Writers blog by Bruce Robert Coffin about why he writes resonated with me, as do many of their posts. Beyond the writing connection, it may be because I spent my “formative” years (ages 4 to 14) living in Bangor.
Funny how my reasons for not writing when I should be writing mirror Coffin’s reasons for writing…
He writes to quiet those voices he hears in the middle of the night. When I can’t sleep, I think about my characters and what they are up to and–just as when I was hypnotized on a stage in front of hundreds of people–before I know it I’m sound asleep. No need to keep pen and paper on my nightstand. (I do but, as you may recall, I can’t read what I’ve written so I use it for grocery lists.)
Coffin apparently has some demanding, strong-willed characters in his stories who have no qualms about disagreeing with his plans for them. My characters, on the other hand, hang around as they lean against the walls, hands in their pockets, and wait for direction from me. Don’t they realize how much work they make for me with their lack of gumption and rebelliousness? Give me a protagonist who has a mind of her own and flaunts (my) authority and I’ll step back and let her take charge.
I don’t know where he gets some of his characters, either. Apparently his Sergeant Byron takes Coffin for rides in his car on his way to catch the bad guy. Instead of the other way around. As none of my characters have drivers’ licenses they expect me to drive them wherever they need to go. I just don’t have time for that. Maybe carpooling is the answer?
One thing we do have in common is that he doesn’t appear to prepare in-depth outlines. (And why should he? His characters run the show.) I’m a proud pantser and I surmise that Coffin is as well, based upon his comment that the enjoyment he derives from writing is not knowing what is going to happen in his stories.
Unfortunately for me, a newbie cozy/murder mystery writer, demands are being made of me that I may not be able to meet. After submitting my rough plot summary and character description for a new cozy to my writing group last night I’ve been asked to write the murder scene. Before I write anything else. The audacity! That I should know “who done it” before, well, before I know anything else. Apparently the writer, unlike the reader, should know this prior to investing time and energy into writing the actual book. Sigh. Big sigh. How do I reconcile this with my badge of honor as a pantser? I suppose it could be to ensure that the reader will want to invest time and energy into reading my book…