Tarot and the Craft of Writing

By Cynthia Ray

The Tarot is a symbolical, archetypical, pictorial description of the way things work.  It is both personal and universal.  The Tarot also outlines the ins and outs of creating and writing a story, the experience of writing, and the required tools and competencies. There are 21 major trump and here I will briefly illustrate their connection to the creative process of the writer.

Tarot Keys 1-29-06 001 The Fool #0

0.  Writing a novel is a path that only a fool would begin, and only a fool could     complete.  The Fool is an androgynous figure setting out on the journey of creating a story and carries a bag of past experience to draw from. The dog represents the companion muse who will accompany this Fool on his/her journey, but the Fool has their attention upon the higher goal, not paying attention to the whopping big cliff s/he is about to step off of.  Here we go!

Tarot Keys 1-29-06 002 The Magician #1

  1. To begin anything, and especially a novel, one must have desire and will.  Almost like magic, what one chooses to focus on and put attention upon, fueled by desire, is that which grows, represented by the Magicians garden of roses and lilies.  Bringing focused attention and concentration to bear on the task is the gift of the Magician.  The writers’ tools sit upon the table.  The wand is will, the cup is imagination, the sword is action, while the coin represents the final form.   It will take a strong will, fueled by imagination to take the necessary actions to bring ideas into a completed story that is perfect and beautifully formed.

Tarot Keys 1-29-06 013 High Priestess #2

  1. The High Priestess is the door to the great subconscious, both the personal and the collective, universal subconscious that Jung speaks of, from which all ideas and inspirations arise. The water from her gown flows through all the cards, ever present, and informs, shapes and nourishes every word that pours from the writers’ pen.  The moons that crown her hair stand for the waxing and waning and rhythm of the creative process.  Expect ups and downs.

Tarot Keys 1-29-06 016 The Empress #3

  1. The pregnant Empress is the writers’ wonderful, weird, creative Imagination. She takes the tiny seeds planted by the Magician and brings forth a riot of form and ideas in her wild garden.  The mind of the writer produces many various and sundry ideas for the novel, many complex characters with which to people it, and revels in the pure audacity of the potential and possibilities.

Tarot Keys 1-29-06 017 The Emperor #4

  1. The Emperor stand for reason, order and form. Here the writer begins to organize potential plots into an outline, and even writers who are outline adverse, must conceive of an orderly progression of the story that will lead to a satisfactory conclusion.  The Emperor is associated with vision and sight, and every writer needs a coherent vision and line of sight to where the story is going, and how to get there.  The Emperor is a visionary map maker.

Tarot Keys 1-29-06 018 The Teacher #5

  1. The Teacher is the writers own inner voice. The key to this step is finding and listening to that voice.  Critique groups are helpful and necessary, advice from the well-known authors and craft books are a good foundation, and practice and study all lend themselves to mastery of the craft of writing, but the only true guide is the writers own unique VOICE that must come through the story, told in his or her own unique way.  The path to finding that voice is trial and error and ever-vigilant practice of listening.

Tarot Keys 1-29-06 019 The Lovers #6

  1. The letter Zain associated with this card means sword, and here the writer must begin the process of cutting away anything that does not lead the story forward. This cutting away requires a willingness to remove, without regret, whatever does not serve the higher purpose of the story.  The Lovers also stand for discrimination, which is related to the sense of smell.  The writer must sniff out the true core and essential elements of the story, versus the “fluff’, sometimes referred to as the writers’ “darlings”, that must be jettisoned.

Tarot Keys 1-29-06 020 The Chariot #7

  1. The Chariot stands for Victory, and the conquest of illusion. The war a writer wages is an inner struggle, wrestling with inner demons and voices that tell the writer they are not good enough, that the story is valueless, and to surrender, to give up. The Charioteer is our inner Self, who hold the reins of mind and emotions and leads us over a rough and difficult road to triumph over those illusions-a victory that allows the writer to continue on the quest, tapping into the desire and will.

Tarot Keys 1-29-06 021 Strength #8

  1. Strength of Purpose. This lion is not a docile, submissive force, but a wild and powerful energy that must be tamed and harnessed, and its power is the writers’ potential creativity.  This creativity must be channeled through the application of consistent, habitual effort.  Just as the physical body builds strength by the habit of daily exercise, consistent patterns and writing practices are required to produce meaningful results.  A strong writer is a consistent writer.  This process is represented by the many leaves and roses draped around the neck of the lion.  The infinity symbol shows that the work of writing is accomplished hour by hour, day by day, month by month, although ideas and inspirations arise outside of time.

Tarot Keys 1-29-06 022 The Hermit #9.jpg

  1. Writing is a solitary activity, and often feels like a solitary climb up a steep mountain. The writer must take time, and create space, to withdraw from the world and write. The Hermit stands alone on a dark mountain, showing the way, and represents all the writers that have gone before, accomplished a work, and all the wonderful stories that shine their light into the world.  The stories that inspired the writer to add to the treasures that we turn to when we are lost, when we are grieving, when we are curious.  The Hermit is also the writer her/himself at the end of every chapter, looking forward, looking back.

Tarot Keys 1-29-06 003 Wheel of Fortune #10

  1. The Wheel of Fortune is movement, rotation, involution and evolution. In this stage, the writer is  fully engaged  in the story as it evolves and changes and emerges from the mind of the writer.  The novel is on its way to manifesting through its many phases.  There are re-writes, and re-thinking of plot lines, and characters motivations.

Tarot Keys 1-29-06 004 Justice #11

  1. All the mistakes of plotting, character development, writing style will show up her to be judged and elements either found wanting, directed back for another spin of the wheel, or shown to be worthy.  Another meaning of this card is action, and for each action there is always an equal reaction – it is cause and effect.  Either the actions and descriptions and responses of the characters work or they don’t. Here the writer weighs her story on the scales, looking for wholeness in the way all of the parts fit together, assuring that the story is balanced, and that it draws the reader into its heart, and evokes response.  There is no punishment or damnation this analytical weighing of the story and its parts.  It is time once again to use the sword of discernment that we first took up in the Lovers card, only at a higher level.

Tarot Keys 1-29-06 005 Suspended Man #12

  1. The state associated with the Hanged Man or Suspended Man is Silence. All previous ways of thinking are suspended in this quietness as we pause and leave judgement behind.  In this suspension of judgement and everything the writer thought about the book before, there is clarity.  Clarity of the deeper themes, purposes and connections that lift the writer up out of the words on the pages in order to see, feel, and know the soul of the book.

Tarot Keys 1-29-06 006 Transition #13

  1. The real meaning of Transition (Death) is change, motion and transformation. The end of one cycle is the beginning of another.  The revelations, new connections and ideas that were revealed in the suspended state lead the writer to further transformation of the book.  It might mean that the writer rearranges major parts of the novel, or even starts over but is ultimately able to bring their story to completion.  With a completed first draft in hand, the writer has indeed accomplished much, which has brought him/her to bare bones of themselves, poured out into the chapters.

Tarot Keys 1-29-06 007 Temperance #14.jpg

  1. Metal is tempered with fire and water, to make it stronger. Here, testing and trials prove the worth of the writers’ words and insights bring further refinements.  There are many ways to test the and temper the book; beta readers, critique groups and the necessary and helpful editor.

Tarot Keys 1-29-06 008 The Deceiver #15

  1. The Deceiver (Devil) is a form of self-doubt, and the inner voices which bedevil the writer with half-truths, deceptions and lies. The same inner demons and illusions were faced earlier, but they return as the writer begins to receive feedback from editors and readers.  If the writer turns their attention and locus outward, instead of following their own inner compass they will find themselves lost and unable to move forward.  The figures in the card have chains around their necks, but when they choose to, they can simply lift them off and walk away from their self-imposed bondage.

Tarot Keys 1-29-06 009 The Tower #16

  1. The flash of lightening that strikes the Tower comes from the Hermits Lantern, bringing inspiration that topple old ideas and concepts. The toppled figures are also the inner demons of the previous card, which are vanquished by the flash of truth and dispelling of illusion. The card is associated with Awakening and exciting intelligence.  The writer experiences the excitement of discovering a hidden theme, or a new way of expressing an idea, the discovery of a vein to mine in the book that was previously hidden, and heady freedom from the chains of the past.

Tarot Keys 1-29-06 010 The Star #17

  1. The Star is linked with Meditation and Revelation. At this point, after many iterations, the writer is working on a final draft of their book.  The book is part of the writer’s consciousness and both the conscious and subconscious are working on it day and night.  Even when the writer is not writing, the work continues to percolate, and in the rest, the in-between times, even in sleep, gifts of insight are given.

Tarot Keys 1-29-06 011 The Moon #18

  1. The Moon represents Organization. Organization has been at play all along as the story unfolded, but now the final changes to the book are made. The Moon also represents rhythm and cycles, and the ups and downs that are always at play in the writing process.   The final version of the book is nearly complete.

Tarot Keys 1-29-06 012 The Sun #19

  1. The Sun shines it light upon the writer here. The intelligence associated with the Sun is Collective intelligence, which mean to bring together, to combine to unify and synthesize. It brings all the lessons of all the cards together in this final form. The writer experiences joy and satisfaction as the book is brought to conclusion.  There should be dancing.

Tarot Keys 1-29-06 014 Judgement #20.jpg

  1. Judgement implies completion, termination. Here the final edits are made in preparation for publication and all is made ready for the books release into the world.

Tarot Keys 1-29-06 015 The World #21.jpg

  1. Publication! At last the book enters the World as a published book!  The letter of this card means signature, and the story and its unique signature takes its place among all of the stories that have been told, to enter the mind and hearts of mankind.  There may be tours and promotions and blogs, but eventually the journey begins again as the writer sets pen to the next volume.

 

For those interested in delving into the deeper meanings of the Tarot, you may be interested in my ongoing virtual classes on the topic.  Find out more here:

This website is also a great resource for exploring more about the Tarot.

 

Point of View, Perception and Values: How to Create Conflict Without Really Trying

by Christina Lay

You may have noticed that we live in divisive times.  The gulf between opposing points of view seems to be widening every day. People who hold extreme views are becoming more extreme. Middle-of-the-roaders are held in contempt.  Allies turn on each other for not being righteous enough. Opponents dig in their heels, become intractable. Fresh arguments break out every day and when we, as observers, try to make sense out of what is happening, we are told that Facts don’t matter, truth doesn’t exist, science is fake, and that we can’t believe what we read, what we see, or what we hear.

Pretty fun stuff, eh? I often find myself with a headache, a touch of nausea and an overwhelming sense of frustration.  Luckily, I have the refuge of fiction. I escape into a world where I’m in control, where I know what the truth is and I know who the bad guys are. I can exist in this simple world of my own making for a long time; it is balm to my soul.

But then reality begins to creep back in, with its confusions and complications. And that’s okay, because nobody wants to read my fairy tales where nothing very bad ever happens. Readers, for whatever bizarre psychological reason, want conflict. They want the strife I am seeking to escape. They want danger, intrigue, a plot. Go figure.

And so I reluctantly take a closer look at the world around me. Sheesh, what a mess. But what a great time to study and learn about conflict!  Complicated conflict. Conflict between well-meaning, intelligent people. Many works of genre fiction rely on simple forms of conflict.  There is a bad guy, or force, or malevolent power afoot in the universe. In thrillers, it might be a corrupt foreign power, in mysteries, a murderer, in fantasy, an evil wizard bent on controlling the world and killing all the pretty unicorns.  It’s not too hard to create a villain who is so loathsome and evil that readers will cheer when your protagonist shoots him in the face. Or lops her head off.

Although great fun, this is not the kind of conflict I’m talking about now. Because in the end, the super villain tends to be a superficial character, and the plot, with all its twists and turns, is ultimately predictable. Because if you let your hero die and the despicable villain you’ve created win, your readers will want to shoot you in the face. I know. As a reader, I’ve been there.

I mostly read genre fiction, and often find myself more interested in the twists and turns of the hero’s other relationships. The friends, allies, mentors, co-workers, parents, children, who can all become, if not villains, antagonists of the most interesting sort.

And at last I reach my point: how friends, allies, parents, siblings, can become the most interesting antagonists without having to kill a single a person. They might even be good people. The hero might love or be in love with them. And yet these antagonists can be believable and diametrically opposed to the hero on some point of such import that they become the main obstacle to the hero’s success and the satisfying ending your reader craves.

Truth is slippery. If there is one thing to learn from reality today, it’s that facts can be hidden, misinterpreted, ignored. The interpretation of an event can be determined simply by where one is standing. “I heard that man shouting sexist insults!” “Well, I saw that woman whack a man on the head with her Love Always Wins sign!” “They were the aggressor.” “No, that group started it”. “The police were being needlessly brutal.” “No, the perpetrator had a gun.”  It is easy to see how two friends, experiencing an event from different locations, could come away with very different feelings. One might feel the need for action, or revenge, while the other does not.

Beyond the immediate physical view point, there is of course the viewpoint that comes from economic status, regional and racial outlook, religious upbringing, relative health or dysfunction of the birth family and so on. It pays to do a little homework, a little world-building, in order give your main characters diverse backgrounds or life experiences, especially from those closest to them. Honoring diversity in your fiction as well as your life can add so much richness to your stories.

Another way to create instant conflict between people with the same values is to give them different ideas about how to protect those values. Take traditional family values versus women’s rights.  One doesn’t have to be a super villain to believe that families are healthier when the woman stays home to raise the kids, but if that person is your progressive protagonist’s new husband, watch out.

I’m sure I’m not telling you anything you don’t know, but I’ve personally found it eye-opening to look at all this conflict around me through the lens of character development and plotting. It doesn’t hurt that incorporating the frustrations of the world into a work of fiction can be, not only informative, but somehow healing. As my characters work through their perceived differences, I can see how there might be hope for all of us to stop being each other’s antagonists.

Adventures in Research

by Elizabeth Engstrom

 

I’m writing a book wherein a murder takes place on a cruise ship.

Last month, my sweets and I took a cruise. Perfect time to do a little research.

This is how it went:

First, I asked the Cruise Director if I could speak to someone in Security, as I was writing a murder mystery set aboard a cruise ship and I wanted to get a couple of details correct.

He sent me to Guest Services.

questions

The guy at Guest Services, when I gave him my card to show I was legit–a real writer– and told him that I wanted five minutes with someone from Security, said he’d call me when someone was available.

No sooner had I gone back to my stateroom than the Guest Services guy called and asked what questions I had for Security.

I quickly had to think, and pare down my questions. Mostly, I wanted just to chat with the guy and find out a few of their procedures, but clearly that wasn’t going to happen. So, off the top of my head, these were my questions:

  1. If there is a murder aboard, who on board is in charge of the investigation?
  2. If it is during an ocean crossing, whose jurisdiction is it (the originating port or the destination port)?
  3. If the crime takes place in a very public place (in the middle of the night), how do they secure the scene of the crime?
  4. If the victim is a member of a cruising group, will the head of security be willing to let the group leader help with the investigation? (My sleuth, of course, will have to solve the mystery.)

Those were my questions. The nice guy from Guest Services wrote them down and said he’d call me back.

Thirty seconds later, he called me back and told me to get in touch with the cruise line via the Media Relations button on their website.

Zero help.

I was very surprised by this, although after thinking about it a while, I guess I wasn’t that surprised. They have to be very careful with their image, and there have been some very high profile murders/deaths aboard cruise ships.

The unfortunate thing about this particular situation is that I’ll have to write the book as I imagine it and then find someone to read it who can tell me if I’m completely off the mark. I’ll then rewrite the scenes that aren’t right, and hope that my assumptions don’t derail the entire plot. All I was asking for was a little information for the sake of accuracy.

This, however, was the first time I have ever been stonewalled when asking for help with research. From policemen to doctors, nurses to lawyers, priests to politicians, everybody is eager to help with their knowledge of things. I’m careful not to waste their time; I’m careful to let them know that I am serious, and also that sometimes getting a book published is a crap shoot. So I do my homework before I engage. Case in point: I knew what I wanted to ask Shipboard Security.

When people ask me about things in which I have vast or intimate experience, I am only happy to oblige. I believe that is true for most people. So ask away. Be bold. Be brave. But be considerate of someone’s time and sensitive to whether or not they want to go on record.

Research is one of the fun parts of writing fiction.

A Whole New World

by Amy Braun

I think it’s pretty safe to say that these days, most of us wish we were somewhere else. It’s hard to get up in the morning and realize you live in a world where absolutely absurd, cruel, and wretched things happen, and that when you do donate or speak out, it can be hard to feel like you’re contributing. I’m not saying to give up (never, ever, do that because your contributions and donations truly do matter and truly do help), but every once in a while we just want to escape this world and dive into another one.

The solution is actually quite easy and pretty cheap: Books.

As a reader, I’m a sucker for a book with an amazing setting. Red Rising, Nevernight, and LifeL1K3 are just some of the books that have drawn me in with their exquisite and visceral worlds. As a writer, creating them is something I’m addicted to.

Urban fantasy is one of my favorite genres to both write and read, and the moment I decided to write Storm of the Gods, I knew it could only be urban fantasy. But I didn’t want my setting to be like most urban fantasy worlds, where the buildings haven’t changed, the people haven’t changed, and my imagination can’t really stretch. No, I wanted to twist in new elements. I had to—You can’t exactly write a book about reawakened Greek gods and expect them to share your idea of architecture and décor.

Greek mythology is one of my oldest love affairs. I won’t claim to be an expert, but I’ve read enough to understand what would appeal to each deity. Since the gods in the Storm universe have only returned to our world thirty years ago after a two thousand year slumber that saw them reduced to fairytales, their powers are not as strong as they had been. While creating the history of this world, I knew that the gods would be divisive but need to work together to build their New Kingdom.

So I took the setting—a reimagined version of California—and broke it up into pieces for each of them and their scions, the humans who are descended from the Olympian’s lusty escapades.

From there, I changed each region to match its Olympian. Dionysus got all the vineyards. Artemis has all the forests and hunting grounds. Poseidon owns Santa Monica and most of the beaches and ocean. Aphrodite’s region is one big romantic getaway on one half, and the other is a literal red light district.

Doing this was a long, tiring process, because each region needed its own security, temples, distinct personalities and types of residents, but it was ultimately worth it. I love the world I created, and it ends up feeling like an entirely different place rather a slight deviation from normality that happens in most urban fantasy novels.

World building is one of the longest and most taxing processes in writing, but it’s one of my favorites. Whenever I do it, I feel not only a connection to the characters I’m creating, but I understand the mechanics of my story and the rules of society. I also understand how my characters can––and often will––break them.

At the time of posting, there are only certain sections that will be explored in the first Areios Brothers novel. But I have at least four more books planned as well as three novellas, so it’s safe to say that there will be more worlds and adventures for anyone who enjoys this New Kingdom as much as I do.

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Amy is a Canadian fantasy, steampunk, YA, and horror author. Her work revolves around monsters, magic, mythology, and mayhem. She started writing in her early teens, and never stopped. She loves building unique worlds filled with fun characters and intense action. She is an active member of the Weekend Writing Warrior community, and has even had a spotlight on the website of international best-selling author Michael J. Sullivan (The Riyra Chronicles, Legends of the First Empire).

When she isn’t writing, she’s reading, watching movies, taking photos, gaming, struggling with chocoholism and ice cream addiction, and diving headfirst into danger in Dungeons & Dragons campaigns. Amy can be found online on Facebook (www.facebook.com/amybraunauthor/) Twitter (@amybraunauthor) and Instagram (@amybraunauthor)

amybraunauthor.com

 

Murder With Sprinkles On Top

by Christina Lay

I’ve always loved reading and watching cozy mysteries, but not until recently have I tried my hand at writing them. As with many things, you don’t really understand the complexity of a task until you try to do it yourself.

As well-versed in the ins-and-outs of the genre as any avid fan, I dove in quickly and with relish. But soon, one important and fairly obvious question occurred to me: how, exactly, does one make murder, the most heinous of crimes, cozy? How do you create a world in which murder happens (and maybe regularly, if you’re writing a series) that the reader or viewer nevertheless finds comforting? A place where half the population ends up dead but still seems like a very nice place to visit?

Clearly one of the anchors of the cozy mystery is a cozy setting. A majority of these stories take place in small towns, and not just your run of the mill small town, but one that is quaint, meaning it’s preserved its historic charm. These towns have lovely architecture, lots of twisting alleys, probably a waterfront of some sort, nearby woods for the disposing of bodies, and a VERY PROMINENT CHURCH.  Quaint shops abound, and our sleuth might even be the sole proprietor of one (maybe the bakery, which is a very popular setting for cozy book series, with cute names like Til Death do Us Tart and Survival of the Fritters. Baking fancy cakes and crime solving seem to complement each other. Here’s a link to a list of them http://cozy-mysteries-unlimited.com/bakery-dessert-list.

Any cozy worth its imported sea salt will feature a tea shop and an antique store—bare minimum. Sometimes the town is larger, like Oxford, but within the larger town are cozy communities, like an elite college, in which everyone knows everyone else’s business, which always proves to be a very important element in helping our sleuth solve the crime.

Which brings us to the other most important key to a cozy, the sleuth. Mostly this will be an amateur, but private detectives like Hercule Poirot and rumpled Detective Inspectors like Tom Barnaby also qualify. The more professional the sleuth however, the less cozy the murders tend to become. The sleuth is nearly always an outsider, no matter what their profession. Even a detective inside the police department will be the odd one out, the one who uses brain over brawn, who always doubts the obvious first clues and champions whatever poor soul is arrested first. Often the amateur sleuth/slash pastry chef is conveniently married to, dating, best friends with or otherwise connected to a professional in the biz, like a police detective, coroner or forensic expert, which is quite handy. But in the end, the sleuth relies on their powers of observation, keen intuition and wits to solve the crime. Which they always do.

The likability and relatability of the sleuth are key to creating a memorable and enduring cozy mystery series. They must, like all good protagonists, be flawed, but in a lovable way. And usually, whatever their deep wound is, it helps them understand the criminal mind and have compassion for the underdogs. First and foremost, they must be unusually smart, even if not everyone thinks so.

Other factors to ensure your murder is entertaining rather than disturbing include:

A victim who was a no good so-and-so. Lots of people wanted them dead, and no one is overly sorry to have them gone. Anyone who is, probably did it.  Also, their death, though possibly elaborate, is swift and unseen. Usually, the murder happens before the book even starts, or off-the-page. It might happen after the world famous detective arrives and the murderer foolishly decides to go through with their plan anyway. Or after all the guests are assembled at the manor house, or when the train leaves the station. Isolating the group of suspects is a great trick for upping the tension. There’s a murderer amongst us!

Limit the bloodshed. This is an element that seems to be ignored more and more in the television version of mysteries, usually the result of what I call “the slaughter of the innocents”.  This is when, once the murderer commits the initial crime, they then feel compelled to kill off several innocent bystanders to cover it up, which of course is what usually tips their hand. I have to admit to being disappointed when what is touted as a cozy mystery ends up with a high body count, among them unfortunate girl guides and birdwatching old ladies who were in the wrong place at the worst time. Besides being depressing, these acts of senseless violence are usually stupid, which diminishes the fun of solving the crime. I shouldn’t even have to say this, but NEVER KILL THE DOG.

No sex. Wait, what? Well, I’ve wondered about this, but it appears to be true. While amateur sleuths are often romantically pining over the local detective, or visa versa, the most they will ever do is share a pint at the quaint local pub and match wits.  I believe this is because sex is really just a distraction from what readers of cozies care about most, which is solving a mystery. No one wants to see rumpled whosit and the dowdy baker get down. It’s just not where the appeal lies. Romance, a hint of it, is just fine, as long as it doesn’t pull our heroine/hero away from what they’re there to do. And naturally, the suspects will be fornicating up a storm, only not on the page.

Cats are king.  Throw in a smart cat, or perhaps a reasonably intelligent dog. Readers of cozies love sleuths who love pets. If the cat helps solve the crime, well, that’s a subgenre unto itself. http://cozy-mysteries-unlimited.com/cat-list  If you can combine cooking and cats, all the better.

Provide a wide array of colorful, likable characters to consult, kill or arrest. Sometimes even the murderer is likable. The sleuth will have an extensive network of interesting acquaintances to contact regarding the case. If, for example, a body is washed up near the quaint lighthouse, the sleuth’s uncle will be the local captain of the coast guard. There will always be busybodies, town gossips, town drunks, and loose but large-hearted women who know the town’s secrets and our sleuth will be friends with them, or have some way of convincing these people to talk. Think tea and cookies instead of truth serum and truncheons.

Comeuppance will be got. In a cozy, the murderer is always flushed out. They might escape the long arm of the law, but they will lose everything they were willing to kill for. If you can think of an exception in the cozy mystery field, feel free to enlighten me.  One exception might be the Serial Adversary, a Moriarty of sorts, but since those chaps tend to be serial killers, their evil antics don’t qualify as cozy.

To sum up, the key to a cozy murder is the fun of watching a character we love solve a baffling riddle by their wits (and possibly their cat’s) alone. So naturally, you’ll need a riddle worthy of their and the reader’s attention. Anything over the top, like graphic violence, graphic sex, grit, torture, profanity, end of the world scenarios or gratuitous explosions, you can pretty much leave at the door. Raymond Chandler claimed that readers of cozies, especially the English variety, “like their murders scented with magnolia blossoms and do not care to be reminded that murder is an act of infinite cruelty”.  For some, I’m sure that’s true, but I don’t think readers are drawn to mysteries just so they can ignore the murder at the heart of it; rather, they prefer to focus on the solving, rather than the commission, of the crime. And just because a setting is cozy, or the sleuth an old English spinster, doesn’t mean we can relax. As Agatha Christie’s Miss Marple says “One does see so much evil in a village”.

What Did You Win, Eric?

 

Littlest Death: An Afterlife Fantasy (a.k.a., Littlest Death: A Labyrinth of Souls Novel):
Winner: Independent Publishers Awards Silver Medal for Fantasy.
Winner: International Book Awards for Visionary Fiction
Finalist: International Book Awards for Fantasy Fiction
Finalist: International Book Awards for Best New Fiction
Finalist: International Book Awards for Cross-Genre Fiction

What Did You Win, Eric?
by Eric Witchey

Last time I posted in this blog space, I talked about award sickness because one of my novels had just won the Silver Medal for Fantasy Fiction from the Independent Publisher Book Awards. Since then, that same novel has won First Honors in the Visionary Fiction category from the International Book Awards. It also won finalist (top five) positions in several other categories, including Fantasy Fiction. At the same time, another novel of mine won First Honors in the Fantasy Fiction category from the International Book Awards. Yet another book won a Finalist position for both cover design and short fiction. The books are, respectively, Littlest Death: A Labyrinth of Souls Novel from ShadowSpinners Press, Bull’s Labyrinth from IFD Publishing, and Professor Witchey’s Miracle Mood Cure from IFD Publishing.

Note: Thanks are in order here for Alan M. Clark for his cover designs for both Professor Witchey’s Miracle Mood Cure and Bull’s Labyrinth.

Has my good problem, Award Sickness, gotten worse? Yes. Yes, it has. Thank you for asking. On top of that, I now have another good problem. I now have conversations that go sort of like this:

“Congratulations! What kind of stuff did you win?”

“Uh. Um.” Eric looks down and shuffles his feet.

“Really,” they say. “Cash, like the Pulitzer or the Nobel?”

“Uh. No. It’s not like that.” Eric waves his hands as if to push the assailant away and avoid embarrassment.

“Well, what then?”

“Stickers?” It sounds so tiny and pointless to Eric, so he adds, “I won some really cool stickers to put on my books. And a certificate!”

“That’s it?”

“A silver medal on a ribbon. I won that, too.” He doesn’t want to say he could wear that heavy bit of kitsch around his neck if he wanted to shout to the world that he is the worst kind of self-impressed language geek.

This kind of conversation confuses non-writers who often think recognition of excellence means income or fame. Having won quite a few awards for my writing, I can say with some confidence that awards rarely translate into income or fame. Sometimes, but rarely. This absence of fame and fortune even confuses some writers, so it’s time to come clean on the whole award thing.

Here’s what I won.

On a purely material level, I won stickers, a medal, and several certificates.

On a marketing level, I won the right to have Littlest Death presented to an international audience at the New York Book Expo and at the Library Book Expo in New York. Also on a marketing level, Littlest Death press releases went out to 800 various media, blog, and vlog outlets for consideration for exposure. Oh, and I can put stickers on the covers that appear as part of the presentation and advertising on places like Barnes & Noble, Amazon, and GoodReads.

Yay! Of course, I have no idea what that means in terms of sales. I won’t know for months, and possibly years, to come.

From my personal perspective, I won validation for the Afterlife Fantasy genre, which is embodied by Littlest Death. I had been thinking about writing an Afterlife Fantasy for some time, but I probably would never have done it because it would not have fit into any existing marketing category served by the octopus imprints of the big five publishers. A book like Littlest Death would have made the rounds of the imprints for several years. I’d have received the usual “loved this but not quite right for us” rejection letters. Instead, it came out from a small press that isn’t quite so risk averse.

Most important from my perspective, I won validation for the creative process that resulted in Littlest Death.

When I teach, I often say that craft tools should be based on the underlying linguistic and cognitive principles that govern the reader’s internalization of emotion from story. The test of a principle-based tool is pretty simple. It must be all of the following:

  1. Useful as a descriptive tool for finished, text-based story.
  2. Useful as an analysis tool and solution predictor for revision of text-based story.
  3. Useful as a design tool for the production of text-based story.

To that end, I have spent about 25 years obsessively characterizing and recording tools that fit the above criteria into a personal catalog. I use these tools constantly, and I teach them to others. However, prior to writing Littlest Death, there were a few tools in my box that I believed fit the criteria but that I had never actually tested on the design level. I had only used them as diagnostic and revision tools.

I used the opportunity to write my Afterlife Fantasy to test the design power of the untested tools. Specifically, the tools I often used in revision and description but had not really applied during story design were:

  • Irreconcilable Self as a control for character psychological and sociological development.
  • Vertical Story Analysis as a design tool to support manifestation of Dramatic Premise (Lajos Egri) and Character Arc prior to composition.

I’m not going to explain these tools here. Sorry. It would take too long. I’m just saying that these tools have been in my box for a while, and I have used them to revise many stories that went on to sell. In fact, I used them to revise Bull’s Labyrinth, which won the International Book Award for Fantasy Fiction. I also used them to revise some, but not all by any means, of the stories in Professor Witchey’s Miracle Mood Cure. I had just never used them up front before initial composition, so I felt a little bit like a fraud when I taught them because I had only proven to myself that they worked on two of the three levels of proof for “tool” that I require.

Once Littlest Death went into print and I started getting emails from people who cried tears of joy while reading, I felt pretty good about having demonstrated the tools’ usefulness in design. Once Littlest Death won two awards and several finalist slots in competition against many thousands of other novels, I started thinking it might be worth considering a few more such experiments in design.

What did I win?

I won validation of knowledge, confidence in that knowledge, and the confidence that sharing that knowledge with others will be useful to them.

Resuscitating a Manuscript

By Elizabeth Engstrom

I have a new novel coming out this summer. Guys Named Bob.

This book was written long ago, had some serious interest by my agent, and several publishers in New York. I never inked a deal because they wanted me to change things I didn’t want to change.

Years later, I’ve evolved with regards to how I view my art and my career, and the message I want to send out to my family, my friends, my fans, into the universe. It was time to make big changes to the manuscript.

This was not an easy thing to do. Technology has changed radically since I wrote that book, and technology changes everything.

rewriting

But I worked with it, and I altered the story to fit who I am today. I still rejected some of the changes those editors thought I ought to make in order for it to be more of the mainstream type of book they wanted to publish, so clearly, this is not a book for everyone. But it is a book that I wanted to write then, was heartbroken when it wasn’t picked up by a publisher, and now that it has been picked up, I’m delighted to put it out into the marketplace.

Bottom line: Some projects take more time than others.

My book Candyland was outlined during a dinner party on the back of an envelope. Seriously.  It practically wrote itself, and very quickly. My agent and I had a falling out over it, and I fired him as an agent. Since then, it has been published in an anthology, as a stand-alone novel, and was made into a movie (Candiland).

Other books take years to write.

Guys Named Bob took decades. I wrestled with committing to it, wondering if I had anything original left in the tank. Was I now just rewashing old story ideas? Did this mean I was finished as a writer? Am I even capable of writing anything new and fresh?

Well, yes. Life has interfered with my writing career for a while now, but I’m back at it. I have a list of projects to finish, and have a renewed passion and excitement for them.

Bottom line: Life has its seasons. We evolve as writers. No experience is wasted. Joy, heartbreak, disappointment, love, desperation, insecurity, determination… These are all things we must experience first-hand before we can put them on the page. And while the circumstances of a piece of fiction may need to be updated, those emotions remain eternally relatable.

And oh: I have a new website. Check it out. http://www.elizabethengstrom.com