Category Archives: Beyond mystery series
Research does show the benefit of what they call “nostalagia”. See The Psychological
You may have written your story with a three-dimensional character. The reader is enthralled with your narration – the character’s background, what they think and what they do. Then your character opens his or her mouth and speaks.
The character, is a 20-something immigrant to say Canada, Great Britain and English is his second language. But he is trying and when he masters English better he will be bilingual. But now he is speaking like a professor of English Literature. What’s wrong with this?
Or your character, a seven-year old boy speaks like he is 27 or older. He has average IQ for his age and your description of him includes a reference to that. Even if you hint at that the normalcy of his life will soon change with events, he is still a seven-year old boy.
Fiction characters’ dialogue must be realistic to their age and life situation.
The first situation was something unpublished I read. My take on that was to have the character speak in some-what broken English in parts, keeping in mind he is learning to speak English. So you would cut out all the “a’s:” and “the’s” as many people learning English as a second language do this. For example instead of saying “The car won’t run,” you say “Car not running.” That also covers another area. When learning English, the person does not use contractions. I also would interject this phrase or something similar a few times during the person’s conversation “How do you say it?…”
The seven-year old boy who sounds like he is 20 years older is from one of my Beyond mystery novels – Beyond Faith. David, PI Dana Bowman’s seven-year old son, David may have been kidnapped, but coming back from that doesn’t make him act older. He may do some things he wouldn’t otherwise do, but in keeping with his age as well as his experience. My publisher picked this one out in one of my rewrites before the book was published. I had David traumatized by his kidnapping in Beyond Blood which had him doing things like drawing demons.But he doesn’t go out and investigate what is happening in BF. He does become tuned-in to what is happening (what he comes up against), but in my changes in the rewrite I had him use his fear to show how he reacted. He had become protective of his mother and so he kept things to himself, even when he and Dana were in a session at the therapist’s. And to show he is still a boy, I have him mix up the meaning of words he overhears. In this scene he and Dana have had an argument about an incident when Joanna, the babysitter took David and Buddy (the dog) for a walk. Joanna went into a drugstore, telling David to stay outside. During that time one of the murder suspects shows up; David is frightened, lets go of the leash, Buddy goes after her. David runs after Buddy, and things happen and almost happen. Back home Dana is furious at Joanna for leaving David alone and at David. Here’s the argument. It is from David’s point of view.
“Go to your room, David. I don’t want to talk to you now,” Mommy said. “And you too, Buddy. You’re as much to blame as David.”
As he headed towards the stairs he heard Mommy yelling at Joanna for leaving David outside the drugstore. Joanna was crying and saying she thought he would be okay with Buddy and she couldn’t bring him in when she had to buy those famine products.
“What are famine products?”
“David, upstairs,” Mommy shouted at him.
(From Beyond Faith by Sharon A. Crawford, Blue Denim Press, 2017, copyright 2017 Sharon A, Crawford).
Notice, Dana is called “Mommy” with David’s point of view. Often when he addresses her he says “Mommy, Mommy…”
So how can authors have their characters talk like well, the characters they are:
1. Get inside their head.
2. Listen to characters around the same age and life situation as your character. I knew a writer who at age 30 was writing a book about and for teens. She figured she was too old to remember how teens spoke, so she sat in a park where teens congregated and eavesdropped. This was before Smart phones. You can probably come up with other ways to listen in. If family dynamics and your main character is a mother – go to a grocery store and watch for moms with kids. You can get great insight on parenting and how their kids act in grocery stores.
3. If you do character profiles or descriptions before you start writing, add some dialogue.
4. When you have some dialogue written, read it out loud, or better still, record it and play it back. Does it sound realistic?
5. And read novels with diverse characters of all ages and situations.
These are just a few ways to get your characters speaking in character. But it will get you started thinking.
Sharon A. Crawford
Author of the Beyond mystery books.
So, you are sticking with you Point of View writing your short story or novel. The story is from one person’s point of view or perhaps two or three. You have each chapter, and scenes from chapters in only one character’s point of view – no POV change until you are in another chapter or scene. Then you hit some geography.
Maybe it is a particular town or city you character is in or maybe even the inside of a house. Suddenly it is reading as if a another “person” has shown up – somebody called the narrator. But you aren’t using the narrator as a separate person. Your main character or characters are doing all the narration.
Let’s look at a hypothetical example. Your main character is a young woman, aged 30, named Caroline. She is returning to her home town after many years away and is driving into the town. Let’s call it Whistletown. And the author is starting the chapter like this.
Whistletown has a population of 22,500. The entrance to the town is on Highway 55, which winds its way into the downtown. Main St. has a grocery store, drugstore, cleaners, bookstore, Lulu’s Diner, a couple of gas stations and the obligatory MacDonalds.
Whoa! What’s happening here? Where is Caroline? Has the area’s tourist bureau suddenly taken over?
There is a fix for this and you can keep in your description of the town. The key is to put your character in it.
Has the population increased since Caroline was there last? Why did she leave? When was she there last and why is she suddenly returning? How does she feel about that as she comes into Whistletown? And how does she drive in? Is she hesitant about returning home? Or does she just speed into the town? What has changed on Main Street and what is the same?
Here’s a possibility for the rewrite of the chapter beginning.
As she drew nearer to Whistletown, Caroline slowed down. Not because of the traffic; there wasn’t much here on Highway 55, just an SUV far enough ahead of her that she couldn’t see its license plate. The other way, nothing. Wait a minute. A big Wal-Mart delivery truck was speeding out of town. Don’t tell me Wal-Mart had come to Whistletown? Things must be expanding. A honk sounded behind her and she realized she had almost come to a stop. She sped up, but apparently not enough for the car tailgating her as it passed her and continued on at race driver pace.
Now she was passing the sign reading “Welcome to Whistletown, Ontario’s home of the Blue Danube Orchestra. Population 22,500.” That was a big jump. It had been only 6,000 when she had hurried out of town, hell-bent in getting away from Josh, after he had broken their engagement to marry Janie, her younger sister. Now Janie was dead and she suddenly regretted their 10-year silence. At least Mom had kept in touch occasionally, by letter and email and the odd brief phone call. She wondered if Mom had forwarded her emails to Janie.
She was now at Main Street and slowed down a bit, forcing herself to look at her surroundings. Lulu’s Diner where she and Josh had spent hours just hanging out, drinking sodas, was still there. And darn if it didn’t look the same. Murphy’s Hardware Store, Samuel’s Grocery Store, Hamlin’s Pharmacy were still there, the hardware store looking a little shabby. But Hamlin’s was now part of the PharmaSave chain and where was the cleaners and…what was that up ahead?Was that a MacDonald’s. Well, that was obligatory these days, she supposed.
She continued driving through Main Street until she had passed the downtown core. Suddenly she had to know if there was a Wal-Mart in town. There was – in an open mall up ahead. As she passed it she noticed a Canadian Tire, a No Frills Grocery Store, a Shoppers Drug Mart, a cleaners, although not the one she remembered from Main Street, and at the far end a huge Wal-Mart.
As she turned onto Robinson Street for her mother’s home, she wondered what else had changed. She had the impression that her mother’s phone calls and emails hadn’t told her all.
That’s one example. We get the outline of the town, its changes, how the main character sees it all and how it affects her and how she feels about returning home after 10 years away.
How do you work “geography” into your fiction so it doesn’t read like a travel piece?
Sharon A. Crawford
Author of the Beyond mystery series. And yes, my main characters are right there for “geography” including Lilly, the main character in “Unfinished Business” (short story in Beyond the Tripping Point) who is returning with her daughter to her old neighbourhood in Toronto where something terrible happened when she was a child.
When I was a journalist, often something happening in my life triggered a story idea. Not necessarily something personal in my life; it could have been something in my neighbourhood or someone I knew or had just met. A big one was when I went through a few years of suffering from debilitating migraines. That one generated several stories published in several newspapers. The stories weren’t about me, but about migraines, headaches, and dealing with pain, including a story on the migraine sufferer who started The Migraine Foundation.
Fast forward to several years later when I am writing the Beyond mystery series. I made one of my re-occurring main characters, Detective Sergeant Donald Fielding a migraine sufferer, who was the main character in a short story “The Headache Murders ” (Wordscape 5 Anthology, 1999 MTB Press), and also a main regular character in the first novel in the Beyond Series – Beyond Blood. It is the novel where my main character PI Dana Bowman meets Fielding when there is a weird Break and Enter at her house. Then her son is kidnapped and a murder is committed. You guessed it – Fielding comes down with a migraine and Dana, being Dana, tries to help Fielding in her in-your-face way. Here I use some of the tricks of the migraine suffering “trade”.
For me it was at a party at my house when I got a migraine. The stress of the party, coupled with dealing with a boarder co-organizing the party (and getting on my nerves). One of my friends sat me down in the kitchen, asked for a brown paper bag and told me to hold it over my nose and mouth and blow into it. as I recall, it didn’t completely get rid of the migraine.
But I thought it would work in Beyond Blood for Fielding and Dana to connect as they had started off getting on each other’s nerves (and continued and still continue to do so). I decided to put it in a bedroom scene – no, not what you are thinking. Dana and her fraternal twin PI Bast Overture are bunking overnight in spare bedrooms at their next door neighbours’ house, because the twins’ house is a crime scene and they have to get out for now. The next morning Fielding bangs on Dana’s bedroom door to question her further and brings her a change of clothes that Constable Nivens (female cop) had gathered. Dana was still in her dress-up clothes from the reception opening for her and her brother’s Attic Investigative Agency the previous evening. Some of the conversation goes like this:
“Thanks.” I grabbed the bag. “You look like hell. No sleep?””
“Just a migraine. I get them all the time. It’ll pass.”
“Migraine. Here come in and sit down on….” A quick look around the room showed an ironing board piled high with clothes standing beside a chest of drawers. A basket of clothing sat in the only chair.:..the bed.”
“No, it’s okay.”
“No, it isn’t. Migraines are awful. My mother used to get them, but thankfully I don’t. She used to blow in a a paper bag, to get rid of the pain, I mean. Maybe there’s one here.” I started rummaging in the dresser drawers.”
Ms. B…B…Bowman, it’s all right.”
“Here we are.” I shook a scarf from a Fashion Shoppe bag and shoved the bag at Fielding. He ignored it. “Put it over your face and blow.”
He stared at me, for once speechless, took a deep breath and sputtered.
“Take the damn bag and blow. And go and sit down. I don’t want to have to deal with a cop passing out in a bedroom.”
A little colour hit his face for a second. He staggered over to the bed, plunked down on the edge, leaned over and blew. (From Beyond Blood, copyright 2014, Sharon A. Crawford, published 2014, Blue Denim Press)
You can see how this pans out – and based on personal experience as mentioned previously. And there is something else different about Fielding from your usual police officer characters.
He stutters. Also from my life, but not me – a classmate from grade school. Not to be disrespectful to my classmate, but it triggered another different character trait to use.
So, the take-away idea is: what can you take from your life to use in your short story or novel? Something a little different than falling down drunk or an argument – although those could be used with a twist.
One piece of advice for writers is to write about what you know. I prefer to use that as the bare basis and go from there. You may also find (particularly in non-fiction where you write fact, not fiction), you will become involved in a lot of research, including interviewing several sources. And in fiction, you may also need to go beyond your own experience as I had to in Beyond Faith when Dana is pushed down onto the cement and suffers a concussion.
And not I did not fall down on the cement or get someone to push me – although I have tripped over weeds and plants in my garden, and fallen down a few stairs – but those are for other stories.
Sharon A. Crawford
Usually taping my TV show Crime Beat Confidential goes fairly straightforward. The latest taping had an unwanted and unexpected guest – Mr. Murphy – he of Murphy’s Law.
I should have expected something like this when even getting my guest interviewee didn’t go smoothly. My guest-to-be is a very busy writer, but very interesting. I had met her before so I’m not talking through the proverbial hat. She was out of town most of the summer and when she finally was back she had one day she could tape the show. So I booked the time for taping at That Channel, sent my guest an outline of the show. (This is not investigative journalism, but informative and entertaining and always focusing on something in the crime area.)
The day of taping was a sunny fall day – not really cold, and not rainy so no worries about water getting into my basement. So what could go wrong?
Almost everything. When I arrived early at the studio I found they had no Internet access (this is an Internet TV station) and they couldn’t tape the show on time. But someone was working to fix the technical problem. Everyone was friendly and there were lots of people in and out, so that when my guest arrived, she was having a lot of fun meeting everybody and seeing what all was going on at the station. Story idea popped into her head for the newspaper where she once worked as a staff writer. I’m used to all this going on (except the technical problem) so I take it all in stride. Meantime, I got ready for my main Beyond book character, PI Dana Bowman to do her introduction. We were then given an update when we would be able to start taping and finally got in the studio close to 5 p.m.
We took our places – my guest, Cathy Dunphy, former staff writer for the Toronto Star newspaper and now the president of a group of mystery writing women and two men called Mesdames of Mayhem, in the sidelines as Dana took her seat in the interview setting. Chris, the technician gave her the cue to start and so Dana went full throttle into her combination rant and intro about the guest. She finished and Chris said, “That was great, but it didn’t tape so we have to do it over.” So, we did, without mishap.
Cathy had to be somewhere else in another part of Toronto by 6.30 p.m. so I was filled with rushing to get back on the set and get going. Translation. I changed from Dana to me without doing something I usually do – look in the mirror to see if my hair was okay. And so, Cathy and I sat down in the set area; Chris tested the mics and then went behind the curtain to do his technical magic. He gave us the signal to start and we were off to the races.
The actual taping went well – no technical difficulties and we were able to leave in time for Cathy to make her 6.30 event only two minutes late and that is after she stopped at Valu-mart to pick up a sandwich for her “supper”. And then pick up her car to drive the rest of the way. I bought a few groceries and returned home by public transit.
A few days later Chris sent me the video to peruse and come up with a title and blurb. So I started to watch. Dana was fine and so was Cathy. But my hair looked as if I had collided with a windmill – bangs all askew. And for some reason only on TV the colour doesn’t come through as it really is. I know that latter because not only does my mirror tell me so, photos taken of me also show it as so. Outside of a bad hair day, the show went very well, especially with two mystery reading addicts talking to each other. See for yourself in this photo not with Crime Beat Confidential