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Category Archives: Blue Denim Press

Beyond Faith rewrite done, now what?

Dana Bowman preparing for her next appearance later in June

Last week I finally completed the last rewrite of Beyond Faith for the publisher. I say “final” as there will still be one more when it is partway through production to check it over for minor things – such as the odd spelling or punctuation mistakes. No big changes are supposed to occur as at this stage, changes will now cost the publisher money.

So, what’s next? Promoting Beyond Faith. of course. The publisher has already started that and so have I. I will be a guest reader at the book launch of literary fiction author Shane Joseph at the Toronto book launch of his new short story collection Crossing Limbo, Saturday, July 8.  3 p.m. to 5 p.m. at Supermarket Restaurant and Bar in Toronto. I will read a short excerpt from Beyond Faith – using the manuscript 8 1/2 by 11 1/2 sheets and maybe pump up the font size for my bad eyes – well the left eye. (If I don’t continue to use the various prescription eye drops I go blind in the left eye. All these health issues – beyond eyes – are interfering with my life – writing and otherwise. One of the others is dental and the editor at my publisher’s joked that the next Beyond book should be title Beyond Teeth).

So with all this medical crap going on with me, I decided to do some transference in Beyond Faith. Without going into details, I will just say that one of the main twin PIs, Dana Bowman, has her own medical issue crop up that she has to deal with and that influences how she operates to sort out all the criminal issues going on and who is responsible.

And that is the way I liked to do it – i.e., I write complicated plots with plenty going on and lots of twists. And I might do some hinting at that in future blog posts. For now, I’ll just say that Dana’s medical problem has nothing to do with eyes or teeth. And leave it at that.

Meantime, Dana and her comedy skit partner, the aforementioned Shane Joseph and several of his books’ charactes are preparing for another performance where fact is mixed with fiction. More on that in another post. For now here is a link to Shane’s blog post about Crossing Limbo.

As for Dana Bowman, she is staying between the book covers – for now.

Cheers.

Sharon A. Crawford

 

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Beyond Faith new novel

The second beyond book.

The contract for Beyond Faith, my third Beyond mystery book is signed and yesterday I completed the second last rewrite for the publisher. There will be one more kick at the … no, not cat – no cats in Beyond Faith – there is a dog,but I do not kick dogs, or cats either. I will get one more chance at any rewrite after the editor at the publisher has another look at it.

He and I have worked together to get Beyond Faith ready for publication this fall and once the last rewrite is done, I will pull our the book promo ideas now running round in my brain (and some no doubt taking a nap), and what I have read in emails and social media and get them going.

But the rewriting has been intense. Shane, my editor has pointed out things that are unclear, silly and inconsistent, and like all editors (myself too when I wear my editor hat), things that can just be deleted. I found a few of all those on my own. From there I was able to rewrite a better story, make my characters more interesting and realistic and hint at what’s to maybe come in future Beyond mysteries.

It is an experience for me to be the one whose novel is being edited instead of the other way around. I do say that I work from both sides of the fence – writing and editing. This full fence position (positions?) gives a wider perspective of the writing and rewriting process.

I like going deep deep into the story with its rewriting. Sometimes I get so carried away I forget to get up and eat lunch at a reasonable time. And I find myself acting out scenes – although many times it is to get the logistics of what is happening. Without going into a lot of details to spoil it, Beyond Faith has a whole lot of pushing going on (and I don’t mean the drug-dealing kind). Trying to see how someone would fall when pushed (as opposed to tripping and falling) isn’t as easy as you think.

What do you do? Get a friend to push you or persuade them to let you push them so you can see it from behind? It is important to get these details right, but at what cost? No, I didn’t get friends involved, but I did some research online and I moved around inside and outside to get a better idea.

This going inside your novel’s story and characters and seeing where it takes you and then having it make sense and flow, but be interesting and different is what I like doing. It is like going into another world, although it is debatable who controls it – you or your characters.

But if I didn’t do it, the novel would be superficial.

And while I’m doing it, God or somebody else help anyone who phones or comes to my door; If jerked suddenly out of this intense creative state, there is no telling what I will do. Although I seem to be more mouthy (as in “what do you want?”) instead of pushy.

What about you? .

Cheers.

Sharon A. Crawford

 

 

 

 

 

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Writing fiction from reality

beyond-the-tripping-point-cover Amazon link-72dpi4Sometimes writing fiction from reality can make a stronger story. And I am not referring to the “reality” of so-called reality TV shows. I’m talking about your personal experiences.

There is a catch, though. You are writing fiction so you need to change charactes’ names. You might also want to change places and timelines. One of the most important points is that because this is fiction, you can change what happens – in fact you can use what happened in your life as the seed for your story and go from there.

One of the short stories, Porcelain Doll, in my short story collection Beyond the Tripping Point (Blue Denim Press, 2012) is taken from a regular occurrence in my childhood – but a pleasant one. So I did a “what if?”

My late father worked for many years as a timekeeper for one of the railway companies. Mom and I had free travel passes on that railway line and the competing railway. That was how we travelled to visit Mom’s relatives and to other places each summer.

So, I took that travel and the approximate time and created a “What if?”

What if the dad was a bully?( My Dad wasn’t.) and the mom was a doormat scared of him? (My Mom wasn’t.) What if the dad also bullied the daughter? (My dad didn’t – he used to call me his princess.)

So, I extracted a few facts from real life – a family of three who annually visited a grandfather on a farm, the mom knitting, the dad obsessed with the train service, and what the train ride was like at that time (early to mid-1960s), and the daughter’s obsession with reading Agatha Christie mysteries and dolls. Here the resemblance gets more than murky.

What never happened on a train in real life (at least not on any trips I took), occurred here – from playing poker for money, a prize doll (hence the story’s title), murder, disappearances, the aforementioned bullying – and the aftermaths. Story is told going back and forth between the present (1989) and the past to move the plot along to a startling conclusion.

With this use of my past I could get the feeling of being there on a train ride in the late 50s and early 60s including some little known facts such as the trains actually had a separate coach for smokers and you couldn’t smoke in any other coach, a somewhat novel idea in the days before smoking and non-smoking regulations across the board. My dad smoked back then. There was also the train route and where you would have to change trains – although I kept it to the same route I changed the location where the grandfather lived. So, I had feelings and remembrances of these train rides.

What I didn’t have was how the little girl in Porcelain Doll would react and act to what happened. That was pure fiction and that is where I had to get inside Sarah’s head. And…

No, I’m not telling you anymore. This is an example to give you an idea how you can do it. If you are stuck for a story idea. I think Porcelain Doll is a stronger story because of my past experience. Certainly others who have read it have said so.

If you want to read Porcelain Doll and the 12 other stories in Beyond the Tripping Point, you can click on the book icon at the top to get more information about the book.

What personal experiences have you had that could be turned into fiction – with a lot of well, fiction in them?

Cheers.

Sharon A. Crawford

 

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Same old same old to twisted plots

beyond-the-tripping-point-cover Amazon link-72dpi4If I saw one more TV mystery where the cops found the dead body in the trunk, I was going to do more than scream. And I did. I wrote “The Body in the Trunk” (from my short story collection Beyond the Tripping Point, Blue Denim Press, 2012). Instead of a body being found in the trunk the story deals with getting a body into a trunk and the why behind it. I also, as I often do with these stories, wrote it as a satire, in the noir black vein.

At one point I was also getting bored with reading mystery novels where the main character, a private investigator seemed to be continually broke. So, in “The Couch” I created a young (mid-20s)  private investigator who has too many clients. The story, also a satire noir black, deals with how the PI tries to downsize the clients – first using standard legit means, and when that doesn’t work, turning to crime. The payback is unexpected. “The Couch” was first published in an anthology, before being published in Beyond the Tripping Point.

So if you hit writer’s block on creating a new plot – take a twist on an old one, but one that is overused to the point of boredom.

And let your creativity loose.

You never know what will surface. It is just criminal. (Sorry, couldn’t resist that).

Cheers.

Sharon

And as usual, click on the book icon at the top to find out more about my Beyond books.

 

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Don’t Write the Same Old Same Old

The latest Beyond book in the series

The latest Beyond book in the series

When writing fiction, particularly mystery, thriller and suspense, don’t develop plots and characters that have been used before. Do readers really want another jaded police detective who is an alcoholic? How about yet another body found in a trunk?

Readers want to be surprised, entertained, and have something different. Those who like to try to figure out who done it and why like a challenge. If it is too easy, that won’t work.

Twists and turns in suspense, mystery and thriller novels work very well – provided they are different. And if you are writing a series, you need to write the unexpected even more so your readers don’t get too comfortable with your series characters. You want them to relate to the characters and develop a bond, but you have to shake them up with each book’s plot and characters.

Remember your characters need to be like real people – they can’t be stagnate. Throw them lots of curve balls and see how they act and react.

Some authors that are masters at this are Julia Spencer Fleming, Peter Robinson and Harlan Coben. The latter writes standalone mystery-suspense, while the former two write series mysteries. Spencer Fleming, for example throws a big curve with each book. Just as something seems to be sorted out between her two main characters – Rev. Clare Fergusson and Russ Van Alstyne –  right at the end of the novel, something happens that seems to come out of the blue.

But it is not really out of the blue – if you go back throughout the novel you will see events and what the characters are doing that make the unexpected logical. Some examples (without stating which novel) are when the priest and the cop finally get their relationship solidified, the priest who was previously in the armed forces and is now on reserve, is put on active duty outside the US. Right at the end of the book. Great hook to get the reader to read the next one in the series.

The reader knew Clare’s background here,so that wasn’t grabbed from the air. It was the timing.

And that’s what is important. Timing. In my Beyond novels, I build up the suspense with (among other things) a growing relationship between the main character PI Dana Bowman and Detective Sergeant Donald Fielding. Both are relationship shy – that isn’t too different. But how it evolves (or does it?) is different because of other things going on in the novel. The ending has a big twist.

This is the novel I’m still putting the finishing touches on for the publisher. So, I’m not going into more details. The previous and most recent one, Beyond Blood has a bit of a cliff hanger at the end – the premise here being, when a crime victim has been rescued, it may not all be rosy and comforting for them. In fact, it isn’t in real life.  I took that idea and left the reader wondering about a character’s dealing with after effects. The short story collection Beyond the Tripping Point has four stories featuring Dana Bowman and most of the rest of the Beyond gang. These stories take place the year after. And the current Beyond book is later that same year and the character is still suffering some after effects.

Unexpected events change people – how they live their lives afterwards.And that varies with each person. So, too, should your fiction.

Don’t be lazy and write the same old same old. Surprise your readers – but make it logical. That may sound like an oxymoron, but be creative.

And read what is already written to see what works, what surprises and what doesn’t. Read books by Julia Spencer Fleming, Peter Robinson and Harlan Coban, and yes my Beyond books too.

You can get more information about the Beyond books by clicking on the Beyond Blood icon at the top.

Cheers.

Sharon

 

 

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Writing the right story beginning

Amazon.com link to Sharon A.'s short story collection

Amazon.com link to Sharon A.’s short story collection

If you have ever started to read a novel and became bored by the end of paragraph one, it might not be that the story is dull. There is a good chance that what you are reading isn’t really the story’s beginning.

One story beginning, particularly with novels, that has me yawning is the big character background story. Or the big travelogue of a city or a town. As my old journalist and creative writing instructor would say, “So what?”

You can start with character or setting or both together. The trick is to bring in something about your story. Something that will grab your reader. You need a good lead (or “lede” as it is sometimes spelled), as we old journalists call it.

I was a freelance journalist for 35 years and writing a good lead for my articles was very important. Otherwise it was impossible to write the rest of the story. The lead lets the reader know something about what the story is going to cover and teases them in to read all the details.

So when I write fiction or edit other authors’ fiction, I always pay attention to the lead. Sometimes the lead is hidden a few pages later or even a few chapters later. One author’s novel’s actual lead was a chapter near the middle. She needed to pull out that chapter and a few after it and bring them to the front. And then do some rewriting.

Rewriting, of course, is always necessary when writing fiction and ho-hum leads can be fixed then.

Off the top of my head here is an example of a bad story beginning.It is made up and not from any client’s fiction or any of mine.

Ellen was born in 1960 in the town of Crystal, the third in a family of four siblings. Her mother was an Osborne before her marriage to James Clark. She was a shy child who didn’t say much in school but she always got good grades. Her mother was also quiet and her father spoke in a loud boisterous voice. Ellen’s two older siblings, Daniel and Robert, teased her. Her younger sibling, Gail got on better with her brothers.

And on and on ad nauseum.

Do we really care about Ellen and her family?

Let’s see what we can do with that beginning – if we want to get some family background in and make it relevant to the story. If we want to make the reader care about Ellen and her family and read on. Something like this:.

Ellen Clark had always been shy and withdrawn. Until now. If her older brothers, Danny and Robbie, could see her now, they would be sorry they spent her childhood teasing her. They would be proud of her for what she just did for them, for her, and for the rest of the family. Especially Gail. Poor Gail. Best friends with Danny and Robbie had not helped Gail.

Ellen smiled as she looked down at her feet and what lay there.

Or something like that. Hey, I write mystery fiction. Anyway, let’s compare the two story beginnings. We still have Ellen, her shyness, her two brothers and the fact that they teased her and her sister Gail hanging out with the two brothers. We don’t mention Ellen’s birthday year or the town,  or her parents names or their main traits. That can come later. We have woven in a few things to tease the reader in. What did Ellen do just now? How did she go from being shy and withdraw to taking some kind of action. And what about Gail or the parents? What is lying at Ellen’s feet? Or should that be “who”?

This is the type of lead to draw in the reader. Even if you are not writing a mystery, a story needs some suspense, which could  very well be about the relationships in that Clark family. Or it could be something else – whatever your imagination conjures up.

I’ll end with the beginning of one of the short stories in my mystery collection Beyond the Tripping Point as it does have some family background woven into it. And I’ve used another technique to start the story and then pushed into the family background.

“The police can’t find her, Ms. Bowman,” Robin Morgrave says.

Rosemary Morgrave has gone missing and I’m putting on a brave smile for her twin brother. Robin sat on the other side of the desk in The Attic Agency’s third floor office. Only my twin brother, Bast, nodding, stops me from losing it. Ever since David, my seven-year-old son, was abducted last August, I’ve been living in Panicville.Sure, we got him back, but how much of him returned? He follows  Bast around like an investigator-in-training. His brown eyes stare right through my soul.I wish he’d just say how he feels. But since his return, David hasn’t opened his mouth except ti swallow liquids and food. He doesn’t even cry. (Excerpted from Beyond the Tripping Point, copyright Sharon A. Crawford, published  by Blue Denim Press, 2012).

You can pick it apart and try to guess what will happen in the story. Or you can read it. If you click on the BTTP icon at the top of this post, it takes you to my Amazon profile as well as to information about Beyond the Tripping Point and the novel (with the same three characters) Beyond Blood.

Cheers.

Sharon A. Crawford

 

 

 

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Following your muse when rewriting novels

The latest Beyond book in the series

The latest Beyond book in the series

The more I rewrite my third Beyond mystery book, the more I learn about fiction writing. It is not all about making sure plot line works and is consistent and that characters are believable. The muse, that nebulous creative force does factor in. And not only when you are sitting at your computer, but when you are busy doing other things.

I can be making dinner, going for a walk (although not too much of that lately with our November weather) or even be asleep, when suddenly something will pop into my head to include in my novel. Sometimes it is an answer for some plot and/or character problem. But often it is something completely different that will work. Sometimes it is a reminder about what is missing.

The latter that happened with me is about my main character, PI Dana Bowman and is about including more emotion with her, especially after she suffers a severe trauma at the end of Part 1 in the novel. The novel’s first chapter has her feelings upfront and centre. She is feeling down and the weather (rain in November no less) is making it worse. She also runs into Don Fielding, the Detective Sergeant she met in Beyond Blood and where she ignored their attraction to each other. So, that comes up in the beginning of the new novel.

I have included the aftermath of her traumatic experience – emotional and physical but something still needs to be included near the end and the end of the novel. And so, the elusive muse brought this to me as well as an idea of how to write it.

Lesson learned? Let your mind (and body, too) go on to non-writing activities and get some sleep to give the muse the space to show up.

We writers need all the help we can get. Unlike some writers who claim they hate writing, I love writing, no matter how difficult it can sometimes get. What I don’t like is all the other stuff I have to do and the time it takes.

Well, now I have found something positive about doing housework, but with a disclaimer here. I do like to cook (and eat too), partly because it is something creative.

So, does doing one thing that is creative help another thing that is creative?

Speaking about Muses and being creative, a reminder for those in the Toronto, Ontario area. This Saturday, November 26 I will be participating in the Toronto Heliconian Club’s Gifts from the Muses Show and Sale – selling my Beyond books and reading an excerpt from Beyond Blood at the end of the 2 p.m. entertainment session – I’m after the musician then. More details here.

And if you can’t make it, the Beyond Blood icon at the top of this post links to my amazon profile – which also shows the Beyond the Tripping Point short story collection. Might make good Christmas gifts.

Cheers.

Sharon A. Crawford

Gift of the Muses Show and Sale

Gift of the Muses Show and Sale

 

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