The Traveling Interview

June 29, 2013December 22, 2014 / Lisa / 3 Comments

Author Susan Schreyer ( http://writinghorses.blogspot.com/) asked if I would like to be part of a ’round robin’ author interview. The questions stay the same so you can follow the trail and see what each author thinks.

What are you working on right now?

Book #2 in the Mountain Mystery series, Sparrow’s Silence, is due soon. Book #3 is beginning to simmer in the depths of that space where ideas come from. Oddly enough, the first new character to spring to life is a troublesome dog. And then there’s this story in a different genre plaguing me.

How does it differ from other works in its genre?

Well, let’s see. Sparrow’s Silence is set in Wallace, Idaho, which is such a unique setting. One thing I strive for is a setting that becomes as important as the characters. I want the ‘place’ to be so real, that it pulls at you and haunts you. That’s what I like in books I read, too. I want to be swept away, not just by the plot and characters, but by wherever the author wants to send me.

What experiences have influenced you?

Moving to the woods was a huge influence. The mountains seem so mysterious. I just know there are endless stories up there in the areas few people go. Every time I try to write a story in a different landscape, say for instance the badlands where I have family, the story falls flat. If the setting doesn’t give rise to an almost homesickness for me, it sure won’t for the reader.

Why do you write what you do?

Well, the easy answer is because I love to read mysteries. The harder answer is that I love when a story pulls me in with questions. Not just plot twists, but character questions, too. I always want to know why things happen, why this person is who, and where they are.

How does your writing process work?

I have to say I envy Susan Schreyer, because she plots and outlines. That seems so organized and professional. I tried it once. And failed. I’m an ‘organic’ writer who always knows the very last line of the story. I may not know all the characters, I rarely know the plot. But I know how it is going to end. So writing becomes figuring out how to get to that ending.

What is the hardest part about writing?

Oh man, being able to find time. I want, and know I need, a set schedule. But just like my inability to outline, I also fail at schedules. I’m pretty good at setting aside weekend time, but I need more than that.

What would you like to try as a writer that you haven’t yet?

The non-mystery story I’m attempting is one with multiple points of view. I’ve never written that way, and am intimidated by the scope of multiple voices. I’m not sure I can pull it off, but at the same time even if it never gets published, it’s going to make me stretch and learn as a writer.

Who are the authors you most admire?

Elly Griffiths. She is a master at the haunting landscapes. Try her first book, The Crossing Places.

Elizabeth Peters. I’ve been reading her books for many years. I love all her series, but especially the Amelia Peabody books. These are written in first person, but she does a fantastic job showing the point of view character through the eyes of other characters, even in first person.

Meg Gardiner. All of her books, but especially the Evan Delaney series. Meg knows how to write action and tension and how to grab the reader immediately.

S.J. Bolton. I love how she keeps me wondering what is myth, what is fact, what is ghost story, what is real.

Then there are the authors I love to read: Carol O’Connell’s Mallory series, C.J. Box, Val McDermid, Sharyn McCrumb, P. J. Parrish’s Louis Kincaid series, and Patrick McManus. He writes mysteries, now, too, but when I want to laugh, I pull out his earlier essays on growing up with quirky characters. Try They Shoot Canoes, Don’t They?

Who are new authors to watch out for?

Kaylan Doyle, Susan Shreyer, Lisa Harris. Wonderful writers. And then there are the poets, Sabrina and Pat. I’m not using their last names as they are not ready (in their minds) to be public. But when they send out their poems, you’re going to be blown away.

What scares you?

My son is now driving. Enough said.

And here, for those who want to continue with these travels, is a link to the next person to get interviewed, author Lisa Harris. Lots of humor, quirky characters, and romance…if you like that mix in mysteries you’ll like her writing. http://www.peaceloveandallthegoodstuff.blogspot.com

Where did this little guy go?

Beginnings

June 20, 2013 / Lisa / 7 Comments

I’m pondering beginnings.

1. A young friend is a writer. I’m hoping to interview her, here, mainly for selfish reasons. I want to remember what it was like when I started out. Which means I’m trying to find the right questions to ask. I remember the feeling of secrecy as I sat alone in my room with lined paper and pencil, afraid someone would walk in and ask what I was doing. I’m not sure I was consciously aware of the world opening up, but I remember realizing that dreams were, in a way, coming to life on the page. When I read things I wrote a long time ago, I cringe. But at the same time I laugh and don’t make changes because there is so much enthusiasm in those stories, even if the craft of writing still had to be learned. Heck, I’m still learning. But you know what I mean. Those early pieces are just dang fun to read.

Have I lost that enthusiasm? No, but the stories don’t overflow, meaning I don’t write non-stop all day. Now I’m more inclined to write while the muse is flowing and then go back and revise. Back then, I just knew that everything was perfect. So maybe the naiveté has been tempered by craft.

2. A story is finished and waits on cover art. I have another story I’m fiddling with and a bit overwhelmed by. I also want to start on a third in the series. I know I want it to be a prequel as several people liked a character that is killed off in the first book. I can feel the tiny, faint, niggling feeling that tells me an idea is there, but still buried. I have some thoughts, I’ve jotted a few notes, but I can also tell it’s too soon. If I try to jump in and force the beginning, to start before the idea is firmed more, then the whole story will die.

That itch is there but it’s too soon to scratch.

3. And then there’s the beginning a poet starts. She has finished her radiation, her chemotherapy, and the changes to her body. Now she starts the healing. Those who haven’t been through it assume it’s the start of a joyful time, of relief, and there is that, in a small part. But it’s also the start of anger and deep sadness, and feeling like you’re going insane. Few people realize that some who have had to deal with cancer, end up with PTSD afterwards. Few people want to talk about that. And so she begins the uphill battle to regain who she was, and learn who she is. As part of that she wrote an amazing poem that I hope she will allow me, some day, to share here.

The thing about all these beginnings, that I hope she realizes, is that they pass.

pincushion flower (scabiosa)

Archaeology Terms

June 7, 2013 / Lisa / 3 Comments

Last week a person I work with told me a story. He said things like ‘I stepped up when no one else would’, ‘the bullying had to end’, ‘in the nick of time’, ‘down to the wire’, ‘I got in his face’, ‘they picked the wrong guy’, and so forth.

Last week I signed up for an online course in archaeology through Coursera. One of the first lessons was on terminology.

What does that have to do with the opening paragraph? The word ‘context’. In archaeology, it refers to where something is found. Obviously that can tell you a lot more than the object alone.

So the context of the opening paragraph? He’s an accountant type and was talking about a disagreement with an auditor. The context of the story dramatically changed my response.

I’m enjoying the online course a great deal, but I keep getting distracted by how it ties in with writing. Think about the context of a story. Dialog, as with the accountant, changes dramatically depending on context. So does physical movement, internalizations, emotional reactions…well, pretty much everything in a story. And while this seems very obvious, at the same time I have to admit to rarely thinking about it.

It’s so obvious I’m not sure I need to think about it. I mean, I know if a character says ‘Who said you could come in here?’ the line will have a completely different meaning if the character says it standing in the kitchen, to another person, or standing in the kitchen, alone, speaking to the fridge.

Where I need to think more, and where I regularly fall short in writing, is context related to scene setting. If I have a character sit at a table, it’s not enough to say a ‘wood table’ or a ‘littered table’. Is the character sobbing? Then, context beefs that action up. Is there a box of tissues sitting conveniently next to her, or does she hold a crumpled corner of tablecloth? And that’s where I need to work more. The tiny material things that add to the context, bring depth to the character or scene, and that, on their own, might seem trivial but are, in actuality, vital to making writing original and believable. I tend to ignore the little things. At least until the editors point out my characters haven’t put clothes on for 200 pages.

So, look around you and think about context. What is near? What does the context you are in, at this moment, say about you? What, in your proximity, do you value? And for you writers, do you remember the value of context, or do you, like me, forget?

Look at the photo below. Would the rocking chair have the same significance if found alone, as it does found next to the spinning wheel? The context, the proximity, begs a story. Who sits there? Where did they go? What happened to interrupt? The chair by itself, I think, would just look lonely.

Actually, I just wanted to post a photo of the free flooring I was given, that got installed in the writing space of the cabin…