Tag Archive for: Laura Lippman

A Master Class in Mystery Writing

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By Kay Kendall

Are you a fan of Laura Lippman’s detective
stories or Megan Abbott’s crime novels? Do you ever wonder how they manage to
draw you into a web of intrigue, book after book—holding you spellbound,
keeping you reading way past your bedtime? Lucky me, I got to learn some of
their secrets last Saturday in New Orleans.

That’s where Laura Lippman and Megan
Abbott were joined by other award-

Back l-r: Bill Loefhelm, Laura Lippman,
Megan Abbott,  Alison Gaylin.
Front: organizer Greg Herren.
Not pictured: Alison Gaylin
and moderator Susan Larson.

winning authors Alison Gaylin, Bill Loefhelm,
and Erica Spindler in presenting a seminar designed to teach the essential
skills needed to write a novel. In a program sponsored by Mystery Writers of
America, these five bestselling novelists instructed us participants how to
move from the idea stage all the way through to final editing. And clearly, they
know their stuff. The awards and accolades among them include the Anthony
Award, Agatha Award, Daphne du Maurier Award, Edgar Award, Nero Wolfe Award, Shamus
Award, Strand Magazine’s Novel of the Year, and the International Thriller
Writers Award for Best Novel. Here are just a few of many points made by these talented
authors. <For more background on each author, see http://mysterywriters.org/wp-content/uploads/2015/10/Teacher-Bios-Website.pdf> 

Megan Abbott began by suggesting ways to expand on
your book idea, confiding that her inspiration often comes from news items. She
doesn’t
always begin at the beginning of a book, instead starting by writing
about what has inspired her—a murder, a rumored sexual encounter. She ran us through
exercises that got our creativity flowing.
Laura Lippman talked about the importance of proper
plotting and shared her method for diagraming plots. She said that if you get
stuck in writing your book, it usually means that you’ve taken a wrong turn in
your plotting, and you must fix it before you can continue. When she sees
something wrong in her diagrams, then she knows where the problem lies. “There are no
formulas,” she said. “The only thing that carries over is that I have finished
writing a book before, so I figure I can do it again.”
Erica Spindler discussed the use of setting and details to
ramp up tension. She quoted Stephen King, who said, “I write about the thing
under the bed.” She said, “I write about the wolf in sheep’s clothing, in other
words the friendly neighbor who turns out to be Ted Bundy.” Details added to a
story must do one of two things—either effect one or more characters, or, move
the plot forward. So, identify and chop extraneous details.  
Bill Loefhelm examined the critical area of character
development. “The trick to writing a successful series,” he said, “is to create
characters that people want to return to. That is the most effective tool for
storytelling.” One way of doing this is to take a tried-and-true one—think Sherlock,
Batman, Superman—and make the tired character new, fresh, twisted. Dialogue is
an important way to show character, but he cautioned not to overdo accents or
slang. A little goes a long way.
Alison Gaylin switched from discussing writing a book to
rewriting it. After your first draft is completed, she said to go back and do
these things. Drop clichés and tropes. Get rid of info dumps—dribble out crucial
backstory details throughout the whole book instead.
The seminar concluded with a discussion among the instructors,
moderated by Susan Larson, two-time chair of the jury for the Pulitzer Prize
for Fiction and book review editor for The
New Orleans Times-Picayune for 22 years. The focus was on the idea of a
muse as inspiration for writing. What stuck with me came from Bill Loefhelm,
who didn’t buy into the muse concept. However, if there was one, he said she would
be like Rosie the Riveter, with her sleeves rolled up, ready to work with him
when he came to her, when he was willing to work hard on his writing.
Greg Herren organized this wonderful day of
learning. He is outgoing president of the Southwest Chapter of Mystery Writers
of America and an award-winning New Orleans author of two mystery series, among
his other writing activities. This program is called MWA-U, Mystery Writers of
America University. Find it online here — https://mysterywriters.org/mwa-university/about-mwa-university/

~~~~~~~ 

Kay Kendall’s historical mysteries capture the spirit and turbulence of the
1960s. DESOLATION ROW (2013) and RAINY DAY WOMEN (2015) are in her Austin Starr
Mystery series. Austin is a 22-year-old Texas bride who ends up on the
frontlines of societal change, learns to cope, and turns amateur sleuth. Kay’s
degrees in Russian history and language help
ground her tales in the Cold War, and her titles show she’s a Bob Dylan
buff too. Kay lives in Texas with her Canadian husband, three house rabbits,
and spaniel Wills. In her former life as a PR executive, Kay’s projects won
international awards.

 

A Sense of Place

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One of the comments we
see frequently in reference to the beautifully written and award-winning Louise
Penny series is: “I want to live in Three Pines!” Or words to that effect.
And isn’t that exactly
what we authors hope for when we create a fictional world? We hope readers love
our worlds so much they want to take up residence! It’s true with all books
but seems especially true with a series where the community created is revisited with each book.
Also this sense of
place is a big part of who the characters are. Just like where we’re all from tells
so much about us. How they feel about where they’re from is important. And whether they’ve always lived there and continue to do so; or
perhaps they couldn’t get away from their roots fast enough.
Some strong examples
of series with a sense of place are:

  • Stephanie Plum and her
    irreverent Jersey burb surroundings,
  • Jessica Fletcher and
    her cozy Cabot Cove community,
  • Tess Monaghan’s rough
    and tumble Baltimore,
  • And, of course, the aforementioned,
    Three Pines with     Chief Inspector Armand Gamache of the Sûreté du
    Québec and the cast of complicated characters who invite us into their village.
We chose Laguna Beach, California for the
setting of our Pampered Pets mystery series for several reasons.
Our two amateur sleuths aren’t originally from
California, they’re from Texas. Those Lone Star roots are a big part of Caro
and Mel even though they both have pretty distinct reasons for leaving the
great state of Texas. 

Laguna Beach is not only the perfect place for
a pet-themed mystery with its pet-friendly merchants and off-the-chart number
of pet owners (more registered dogs than there are kids), it’s also the perfect
place for Caro and Mel.
The community is a seaside resort in southern
Orange County located midway between Los Angeles and San Diego. It has
spectacular cliffs, glistening beaches, and breathtaking views of the Pacific,
but it also has a uniquely artsy and almost European feel. The quaint
boutiques, coffee bars, and sidewalk cafes provide a sense of place that
brings together people who care about their community and each other. A
community interested the greater good and setting things right when they go
wrong.
In our fictional Laguna Beach there are some
great restaurants and stores, just like in the real village. However, though we’ve used a real place we’ve populated the tree-lined village area, the Hills
and the fabulous beachfront homes with characters from our imagination.

In our make-believe world you’ll find: 

  • Judd Malone, no nonsense, stay-out-of-police-business homicide detective, 
  • Diana Knight, former screen star who still brings to mind the magic and glamour of a bygone era in Hollywood, 
  • Darby Beckett, wholesome and sometimes naive owner of Paw Prints pet photography, 
  • Ollie Hembry, former rocker turned pet rescuer, 
  • Kendall Reese, flamboyant dresser and pet groomer extraordinaire, 
  • Fan favorite, Betty Foxx, silk pajama-wearing senior with a strange sense of fashion and an eye for the gentleman, 
  • And, of course, assorted adorable cats and pups.

They all, like us love the unique and close-knit community. We think it’s the perfect place for Caro and Mel. And for a bit of fictional murder… 


What specific things do you love about the settings in your favorite mysteries? Do you enjoy returning to those favorite places? 



Our most recent book, Fifty Shades of Greyhound, has been called “A real tail-wagger!” (That’s from Buttercup aka Trixie the smart puppy who stars in the Paws & Claws series by NYTimes bestselling author Krista Davis). It follows Desperate Housedogs, Get Fluffy, Kitty Kitty Bang Bang, and Yip/Tuck. Next up is, The Girl with the Dachshund Tattoo. 


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Real Beauty

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On Oscars night, social media went wild with often-cruel
snark and criticism of some of the older women at the Oscars who had had
plastic surgery, in particular Kim Novak. 
In reaction, crime fiction author
Laura Lippman posted a photo of herself without makeup, special lighting, or
any kind of flattering filters and challenged other authors in the field to do
the same in an attempt to show what real people actually look like at all ages.

The response was overwhelming. Mystery and thriller writers
and readers, male and female, posted what some people called “raw selfies.” I
put up one myself.

 Erin Mitchell put
together just a few of the earliest responders into a video slideshow that’s
absolutely wonderful. http://www.youtube.com/watch?v=AM9kBqG5VEM

Each of us who posted our raw selfie also wrote about what
prompted the photo and about the issue of society’s distorted expectations and
demands on women in the realm of physical appearance. This led in many cases to
intense conversations on Facebook and elsewhere about this issue. I had a thread that ran through more than 20 comments.
 I argued with some of
my feminist literary writer friends who blamed the older women like Novak who
had fallen into the movie industry’s trap of disvaluing their looks. One asked,
“And where are the men in this?” And I was happy and proud to tell her how many
of our male crime fiction colleagues had involved themselves in this little
protest movement.
 What’s your take on
this whole subject of society’s definition of female beauty as an underweight
teenager’s body and face? Also, what did you think about the Real Beauty
Project video?

 

COMMENTS (Blogger still won’t let me comment conventionally):

Reine, thank you for laying out so clearly the evolution of your feelings about physical appearance. I do think these perceptions change–and often for the better–as we mature. I sympathize about the problems with holding hair dryers and combing hair since I have similar issues–and these are universally issues no one takes into consideration. Often a person may take medicines that affect the thickness and quality of their hair or skin and meds and illness can impact so much more than that of our physical appearance.

Mary, I think the people who control our media focus the images of women they promulgate according to what will make them money. Many men may well not buy into those images, but many men and women are pretty much conditioned to think that those images are the only way women should be. It’s very pervasive and very powerful.

Whose Story Is It Anyway?

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One of the first rules taught to new authors is to write about what you know. Now clearly, I don’t personally know any murderers (or at least I don’t think I do). But in our books, the lives led by Mac Sullivan and Rachel Brenner are within the realm of my comprehension. I may not have an Irish wolfhound for a pet, but I do have a dog and understand the mutual devotion that develops between animal and owner. My characters, even the villains, have traits, habits, and motivations that I’ve encountered in real life. Maybe not to the degree that would push someone to kill, but my fiction writing is grounded in reality.

But that’s different than writing a book on a real-life event where the people involved are still alive. Laura Lippman, in her critically acclaimed novel, What the Dead Know, encountered that criticism when she based the storyline on a true-life mystery that had occurred 30 years earlier in a nearby town. She answered those critics when she explained, “Still, I hope that readers understand the difference between writing stories based on true incidents, and writing ones that are inspired by asking, “What if . . . .” With that question, real life is left behind and fiction begins.”

I accept that rationale and Lippman certainly made significant changes in her characters to distinguish them from the family in the real-life tragedy.

But this week, I read a New York Times article on Julie Myerson, a British novelist, who has written a memoir about her teenage son’s drug addiction. The boy, thrown out of the family home when he was 17, “denounced his mother as insane…for exploiting and exaggerating” his drug troubles. Myerson, who encountered a firestorm of criticism when the book was published in England, now claims that had she known the criticism she would receive, “I wouldn’t have done it.”

To me, though I haven’t read her book, Myerson violated a couple of sacred rules. First, you don’t make money off your children’s troubles. Even though she is writing from the perspective of the parent, the bottom line is that her child was going through Hell and that’s not a money-making venture. Her son gave an interview to The Daily Mail where he said: “What she has done has taken the very worst years of my life and cleverly blended it into a work of art, and that to me is obscene.”

She argues that it’s important that the public understand the nightmare of teenage drug use. But since it was clear that her son objected – this is not a guide that Myerson should have written. Is there a need for a book to help parents going through a similar experience? Probably. But since it was predicated on events in her son’s life, it was not her decision to make unilaterally.

And there is always the concept, certainly promoted by my own mother, the original Evelyn, that you don’t air your dirty laundry in public. Why would you want to expose your child to public examination and possible ridicule?

Some argue that Myerson was the victim of sexism. That mothers are held to a higher standard. Not by me. I would have the same objections had the father written this tome.

I understand that as an author, sometimes when you are in the midst of a crisis, it’s the only topic you feel you can write about. And perhaps it would have been cathartic for Myerson to write about her anguish. The difference is that this story was appropriate for her personal journal – not for publication. The cost of this book for her family may well be incalculable – regardless of any royalties she may accrue.

Evelyn David
Murder Takes the Cake by Evelyn David
Murder off the Books by Evelyn David
http://www.evelyndavid.com

The Definition of Genius

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There are writers who simply blow me away. Their use of language is so extraordinary that I deliberately read every “a, the, an,” etc.” No speed reading or skimming allowed.

When I read Laura Lippman’s To the Power of Three, I decided that I’d never write another word again. No point. She said it all, and so much better. I felt that way when I read James McBride’s The Color of Water. In both cases, while the story and memoir were compelling, I was dazzled by the imaginative metaphors and similes the authors used. I just knew I’d never be able to replicate that kind of genius.

Those feelings, while understandable, should be transitory. What I should have learned when I read those books was (1) enjoy beauty where you find it, and (2) genius is, as Mr. Edison pointed out, “one percent inspiration and 99 percent perspiration.” I suspect that Ms. Lippman and Mr. McBride sweated bullets over the language that leaves me in awe.

I was prompted down this road of reflection by an interview I recently watched with Malcolm Gladwell, author of The Tipping Point, Blink, and most recently, Outliers: The Story of Success. Gladwell insists that success is never an overnight event, but rather almost always the result of much practice. He uses The Fab Four to illustrate his point. While the media and Ed Sullivan were proclaiming the shaggy foursome from Liverpool overnight sensations, in fact, The Beatles had spent two years as the house band for a strip joint in Hamburg. They played 8-hour sets, 7 days a week. That kind of practice and experience gave them an edge that most garage bands simply don’t have. As Gladwell posits, “no Hamburg, no Beatles.” His take on genius: “Talent is the desire to practice.”

Murder Takes the Cake debuts this month. Both halves of Evelyn David have been up to their collective eyeballs in promotional activities. We’re going to mystery conferences (Malice Domestic and Deadly Ink), speaking in libraries and other venues, appearing for booksignings, blogging, Twittering, Facebook-ing, MySpace-ing…just about everything except actually writing a new mystery. Whenever we start a new project – a book or short story – the first few pages are like pulling teeth. Hard and unpleasant. But once we get into a rhythm of writing every day, the words begin to flow, the ideas flourish.

I wasn’t stirred by Lippman’s or McBride’s promotional efforts. It was their writing that inspired me. I need to get back in the groove again – and that takes practice.

Please share books that inspired you.

Evelyn David