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Category Archives: Characters and plot in fiction

Getting ideas from your garden

Scene from my garden

Many of us writers are also gardeners. I’m not sure why. Both are creative although not in the same vein. One we create with words and the other we create with colour, design and more practically for food to eat. Writing is more in the head and gardening requires a lot of physical exercise. So maybe the two provide balanced living.

For example, when something about a story I’m writing hits a stalling point, I go out in the garden. Often I end up pulling weeds. Like the bad things in life irritating me, which I want gone, I want the weeds gone. And sometimes when someone or some entity (read big utility company and the like) has messed up something in my life, I give the weeds names as I yank them out and pitch them in the yard waste bin. And yes, when I’m done in the garden I often have an idea how to deal with the problem person or entity.

And I often get a story idea – like the short story I’m writing and rewriting about telemarketers.

So, let’s see how something in the garden can bring about a story idea. Let’s take something common in people’s gardens – wildlife trespassing and doing damage. In particular raccoons getting into the garbage and creating a mess. I used that idea as part of the plot in my first Beyond novel Beyond Blood. I had someone doing a series of break and enters one summer also leaving a dead raccoon at some of the places. There was a reason for it and not to punish raccoons for causing damage. You’ll have to read Beyond Blood to find out what.

But raccoons or any other animal doing garden damage can conjure up several story ideas: a rash of garbage and recycling bins being knocked over in a neighborhood on collection days. Raccoons? Or something else. Maybe a red herring for something really bad going on. Perhaps someone in the neighborhood wants to sell their property to a developer and his or her neighbors don’t want to. Or vice versa Maybe a developer wants to tear down some old houses to put up condos. So someone (depending on your story’s angle) might be imitating raccoon actions to make the area no longer livable for the residents and so they will want to sell, but not get caught.

Or back to the weeds for another story idea. Whose name are you using when you pull a weed and why? What’s the problem the person is causing? Take it from there but fictionalize it.  Like I did with the telemarketer story. I wrote it somewhat tongue in cheek but it is a murder mystery (well, that is what I write). I decided to take a crack at telemarketers and created a fictitious telemarketing firm and had a gardener and a non-gardener who are friends go after that company. And that’s all I’ll say.

And from that, you can see your story characters don’t all have to be gardeners. In my Beyond series, neither PI Dana Bowman or her fraternal twin PI Bast Overture are gardeners, but gardens and gardening appear in two of the short stories featuring them in Beyond the Tripping Point. In “Road Raging”, the twins traipse through a garden gone dormant in the fall – they are after a road rager. In “Digging Up The Dirt” inside a garden centre  something poisonous in it is featured.

Want more ideas? Watch the old BBC series Rosemary and Thyme which has two gardeners who are hired to fix large estate gardens in England and always run into murder. One of the two women gardeners is a former police detective. Sometimes PBS runs reruns but it is also available ion You Tube.

Or if you want something currently running on TV on one of the specialty channels – try Midsummer Murders – often takes place in a large beautiful English country garden although murders are investigated by police, not gardeners.

Take a look at the photo from my garden at the beginning of this post. Does it give you an idea for a story?

Cheers.

Sharon A, Crawford

Author of the Beyond mystery series. Latest Beyond Faith. Here is one of the other Beyond books mentioned in the post above. Click on it for more info about it and the other two Beyond books.

 

 

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Dark and stormy nights and other novel settings

It was a dark and stormy night. All right, cliche setting. But perhaps it’s overuse and familiarity has a reason. Settings are important when writing fiction. You don’t live in a vacuum, do you? Neither do your characters and their stories. Even if your character has disappeared to a remote island, there is still a setting. Think ocean, sand, trees, wild animals, an anonymous presence, etc. Even if your character is in prison, there is still a setting – albeit one limited in space.

Settings influence your plot and your characters’ behaviour. Don’t believe me. What about the late Rex Stout’s Nero Wolfe mysteries? Wolfe, a  middle-aged PI, lives in a brownstone apartment in New York City. He seldom leaves his apartment and prefers to spend his time alone in his big orchid room, commiserating with his large collections of orchids. Yes, the plants, in a room of their own.. Not your typical use for a spare apartment room. Wolfe is a loner and an eccentric. When he wants to see clients or suspects, he orders his employee, side-kick Archie to get them in. Any legwork outside the brownstone is Archie’s responsibility. And that is where the reader sees and experiences the setting – a New York City a few decades ago.

So you can see how setting is part of the characters and plot. Sometimes setting can even be a character. Think The Perfect Storm, although here I am treferring to the movie. In fact if you want to see setting, watch the movies and TV shows and see the variety of settings presented. There are hospital series such as The Good Doctor and Chicago Med. So you feel like you are there in the hospital. Or a fire with some of the firefighters stuck inside it in Chicago Fire. You can tell what I like to watch. Even the overdone car chase scene has setting. If you can get your eyes off the cars for a few minutes and just see their surroundings. A car chase on Hawaii Five-O is much different than one through the slushy, snow-covered streets in wintry Chicago PD. And the setting for the car chase influences just how the chase might go.

Back to books. In my mystery novel Beyond Faith, late the last night in November 1999, PI Dana Bowman is walking from a reception party to a midnight meeting with a blackmailer at St. John’s Church. Basically, she is walking from the industrial area of a mid-sized town to its downtown. On the way, I blend in the warm for  November night with a car that seems to be following Dana. I’m not going to tell you what happens with that; instead I’m going to quote some of what happens when Dana gets to the church.

No one else was about, which might make it easy to spot the blackmailer as he or she arrived—if he or she showed up. Even the area of St. John’s was barren of people, but about half a dozen cars were parked in the parking lot. Overflow from the Beaver and Cricket, no doubt. Not the church, which appeared dark, and after climbing the stairs, I found that the door was locked. Odd. But then the time was pushing closer to midnight and St. John’s probably was the church that had been robbed earlier this year.

I walked down to the cement seat surrounding the fountain, and began pacing to and from the seat. My digital showed as five minutes before midnight. More pacing and time checking did nothing except move time forward to 11.58. The blackmailer was pushing it close. A breeze brushed my face and I wished to be wearing the usual wardrobe of jeans, sweats and warm jacket. I also wished the blackmailer would hurry up and get here. Just as I started to put on my fake fur coat something snapped nearby. A tree branch? I jumped and dropped the coat on the ground. Get a grip, Dana. Clutching my bag, I moved away from the fountain seat and looked at the other side of the fountain. (from Beyond Faith, Copyright 2017, Sharon A. Crawford, published by Blue Denim Press, 2017)

And no, I’m not going to tell you what comes next. You have to get the book for that. (Hint. Click on the book at the top of this post.)

But from the Nero Wolfe scene descriptions and from the above from Beyond Faith, something else is going on. We don’t just get a bland description of the setting. The characters are actually doing something in it and the plot moves forward.

Plot, characters, setting – all part of a novel and they are intertwined, connected.

Cheers.

Sharon A. Crawford

 

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Getting you and your new book on TV

Being interviewed on a TV show is a good way to get the word out about your book and, if you have a good interviewer, get out some information about you, the author. One sign of interest in your book, is interest in you, the author. How do you write? Why do you write? Or in my case – who wrote the book, Beyond Faith – PI Dana Bowman, the main character who insists she wrote it, or me, Sharon A. Crawford, whose name is on the cover?

All that and more (including non-fiction books versus fiction books) got covered last week when I appeared on the Liquid Lunch where I was interviewed by host Hugh Reilly and a newbie co-host. This is on the Internet channel thatchannel.com – the channel has been going since 2004. Not bigtime ( or small time) TV but TV is no longer just regular channels. Think Crave TV. Think Netflix. And think thatchannel.com

This was my third appearance in six years (one for each Beyond book) on Liquid Lunch. This time I have mixed feelings about the way it went. There wasn’t time for me to read a couple of pages from Beyond Faith because we chatted too much. “We” is mostly Hugh and meas the newbie didn’t say too much and she put her foot in her mouth about one thing she said. But I handled it graciously.  Also it was a different studio room and setup from the previous two appearances.

But my biggest gripe was my bangs had been cut too short the day before. Clearly I’m reading too many celebrity stories online. I was able to carry on an intelligent conversation and even steer it back to Beyond Faith when it got a bit off track.

You can check it out for yourself here. Or you can click on the Beyond Faith book cover above and that will take you directly to the interview.

And something extra is coming out of all of this.

I am getting my own TV show on thatchannel.com. It will be about crime – true and fiction and  PI Dana Bowman will be a part of it – if she has her way. Show will get going this spring

More info closer to the date. Stay tuned. I’ll keep you posted. Meantime, watch the video (it’s about 27 minutes) and please spread the link to it on your social media. Thanks.

Cheers.

Sharon A. Crawford

 

Sharon holding up Beyond Faith

 

 

 

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When in doubt kill the character off?

 

Dana Bowman from the Beyond mystery series. Still alive.

In last week’s fall finale of The Blacklist, Tom, one of the major characters was killed off in a very brutal way. Those following the British series Inspector Banks were jolted in one episode where a major character DI Annie Cabbot was killed. Blue Bloods killed (off screen/between seasons) a minor, but important to the series character, Linda, Detective Danny Reagan’s wife.

Near the end of last season, NCIS Los Angeles killed off Michelle, the wife of NCIS Agent Sam. Michelle’s roll wasn’t even as a regular, but as a recurring guest. But in a twist, the actor who played Grainger – Miguel Ferrier – a regular –  died in real life. Instead of following suit, the writers and producers had Grainger quit NCIS and go off to some faraway place.

 

 

Perhaps the weirdest one is the actor who played the original Morse on the old Inspector Morse series. Yes, the producers had Morse die of a heart attack when they were killing the series. But not long after the segment aired, John Thaw, the actor who played Morse died  also, but from throat cancer.

Lately, TV series seem to be in a killing mood. Want to delete a character from the series. Kill him. Actors playing the characters want more money than the new contract will offer. Kill off their characters.

So what does this have to do with fiction characters in novels? Maybe something as some of those series originated from books.

To me, killing off a character just to get them out of the TV series, out of the novel series, or even just out of a novel is a poor way to do it.  If you are going to kill a character there must be a reason within the story itself, something with the character and his other relationship with another character or characters.  Even in murder mysteries, characters are bumped off for some reason – maybe they were going to reveal something bad about the murderer, maybe they stood in the way for the murderer to inherit money, maybe revenge and yes even the so-called random killing spree where the killer kills for no apparent reason. there is always some reason even if just in the killer’s mind.

If a character in your novel dies from natural causes,  it has to be worked into the plot. Let’s look at a scenario from Beyond Faith, my latest Beyond mystery. There are two brothers – Gerrard Olsen and Larry Olsen. Near the beginning one of them gets killed. Without giving any spoilers, I had to think which brother and why and of course, who killed the brother and what led up to the killer doing so. That doesn’t come out right at the beginning, but PI Dana Bowman and her fraternal twin brother PI Bast Overture, and Det. Sgt. Fielding are trying to find out. Like most of my mystery novels and short stories, it is not straightforward. It all rises from the characters – who they are – what they have gone through and are going through in life and would they cross that line to kill? That latter is very important for an author to consider. Some characters are such bad assess in what they do that killing is believable. Other bad ass characters commit a lot of crime and/or are mean and ill-treat the people in their lives, but draw the line at killing them. Then there is the so-called good character who is pushed beyond his limits to the point where they kill.

Iit really all boils down to the character and the plot – and the two go hand in hand and drive each other. If you want one of your novel’s major characters to exit the novel, killing them may not be the only answer. That often comes across as lazy writing. Tthat can happen in mystery novels too, although when you get to the end and the good guy confronts the bad guy (or gal – guys don’t have the monopoly on being bad asses), the author has to “get rid” of the bad guy, but shooting her dead is not always the best way. The author has to consider who the good guy/gal is and how she would deal with it. Would she arrest the bad one? Or shoot him? Torture him? Push him into the lake and let him either swim or drown? Having said that, sometimes the good guy (or gal) isn’t the trigger-happy person, but is forced into a situation where it is ether the bad guy’s life or his. Then he might have to shoot – but not always to kill. Be creative. Many authors are. They have killers disappear during one novel only to return in a later novel. Chances are with this type of scenario, the novel’s protagonist probably has had some kind of a relationship with the baddie – so he will have to deal with the before and after. Unless you are a sociopath, you will be scarred  by the death of someone close to you. You will have to grieve.

Back to Inspector Banks and the killing of Annie. That does not happen in the books by Peter Robinson the British series is based on. And to me that is a disrespect for the original author. True, TV series don’t follow the novels they come from and often go off the novel’s track, often for a good reason. They can’t get all the novel contents in a movie or limited TV program. And series have to expand beyond the novel’s plot.

Killing a character on TV or in a novel shouldn’t be done just to eliminate him. There has to be a reason – beyond the character just being bad or leaving the TV series. Haven’t these producers heard of just getting another actor to play the part? It was done years ago with the comedy series Bewitched when the actor playing the husband died. And it was done recently with the British series Jack Taylor. A different actress now plays the part of Kate. Both work.

What are your thoughts and ideas on killing off characters in books and TV. Do you kill of any of your fiction characters? Why or why not?

Comments, please.

Cheers.

Sharon.

Sharon’s latest Beyond mystery links to Amazon

 

 

 

 

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Keeping the suspense in your novel’s plot

As an editor I have read and edited a variety  of fiction manuscripts. The creativity of many of the  writers and the wide range of story lines is very interesting. But one thing (among others) I sometimes find is the lack of sufficient suspense. The story drags; the story, well, it flat lines. Here are a few tips on creating suspense in your novels.

1. Leave your reader hanging – at the end of the chapter is a good place because it not only raises the reader’s interest, it gets him or her reading the next chapter. Here is an example from my mystery novel Beyond Faith.

“From what Sister Olsen had told me about her brothers, I had some idea what might be bothering Eli. Too bad neither Eli Foster nor I had all the facts.”

2. Ask a question. You know the old saying “questions are the signs of intelligence.” Questions also make the reader want to continue to get some answers. These are questions in the narrative, the character’s inner thoughts, not in dialogue. Obviously in dialogue, another character will usually answer the question although they might lie.

Again from Beyond Faith, “Who were they? And why did one seem familiar?” (all Beyond Faith excerpts, copyright 2017, Sharon A. Crawford, published by Blue Denim Press.)

3. Don’t tell all at once. Keep some information from the reader. I do a lot of this in Beyond Faith. The idea is you build up your plot with tidbits even if the character knows more than she is letting on. This is just the opposite from the example in point one above.

4. Use foreshadowing.This is often in conjunction with another technique. Again, see the example in point one above. Another example of foreshadowing is when the character is heading for an encounter they don’t relish. Perhaps with someone they don’t like and know is a nasty person. Build up the tension by getting inside the character’s head. How does the character feel? Scared? Are they sweating? Do they try to avoid meeting this character or delay the meeting by driving the long way to the meeting place. If it is in a restaurant, do they drink a lot, drop the cutlery, knock over a glass of water?

5. Or as a twist, the person is overly confident about meeting someone – a piece of cake, the character thinks. Then, wham, when they get to the meeting place, something happens – a car runs her down; someone takes a shot at her. She finds the person there all right at the meeting place – lying dead on the ground. You can tell I write mystery novels.

6. One suspense-building technique that I use is to have two main characters both heading for the same place at the same time – maybe one knows the other is there; maybe not. But one or both of them know that there is danger at the other end. Each one is racing to get there and perhaps save the other. You flip back and forth between the characters in separate scenes or short chapters. Show the reader what each character is thinking and what is happening to them. And don’t make it easy. In Beyond Faith I have PI Dana Bowman following Eli Foster in their respective cars; then I flip over to her fraternal twin, Pi Bast Overture who is not following anyone, but he has found out vital information about another character and figures out what this character is going to do so he is off to stop it. And no, I don’t tell all to the reader. And I’m not telling you any more here.

There are many more ways to create suspense. The twisted plot is one. And you can get ideas by reading published novels, the ones that do build suspense. Yes some crappy novels get published and I am not referring to self-published here.

And keep writing and rewriting, rewriting, rewriting.

And join a writing critique group for feedback.

And when you have rewritten a lot, hire an editor.

Then you can do some more rewriting.

I just started reading Hunting Muskie, a collection of literary short stories by Michael Robert Dyet (Blue Denim Press, fall 2017 – yes, same publisher as me). The first story “Slipstream”, has many plot threads popping up – all connected to a theme. And it keeps you reading. It also breaks the idea that some people have (mea culpa sometimes here) – that all literary stories don’t contain suspense.This one sure does have suspense.

Happy reading and happy writing.

Cheers.

Sharon A. Crawford

 

 

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Beyond Faith is here – some author thoughts on writing, rewriting and publishing

Beyond Faith has arrived at Blue Denim Press – my publisher. Soon I will get some print copies in my hands; soon it will be available on both the main Amazon site and the Canadian Amazon site. Check these current links for when. The book launch is still scheduled for October 22 at Supermarket Restaurant and Bar; I’m headed for Bouchercon the big mystery writers conference Oct. 11 to Oct. 15, and etc.

Whew! I need to take a deep breath and think. Think about how an author gets to this stage – at least this author – and how it feels.

This is my third Beyond book but still the elation, wonder and gratitude is there – just like  with the first book, and the second book. Although supposedly I am an old-hand at all this (and that is a myth – you always learn from each book’s writing, each book’s marketing – the whole she-bang). Among other things, with Beyond Faith, I learned a lot about revisions and working with the editor at my publisher’s. Some of you may know that I am also an editor, albeit a freelance one. Sometimes experience on both sides of the fence can be a help; sometimes not. The main thing is to remember which side of the fence you are on at that time. Sure past editing experience may help you with rewriting, but you are not the editor. Having said that, the book editor and the book author must not work at cross-purposes. You have to work together to create the best book possible. I like to think that’s how Shane and I brought Beyond Faith to publication.

The little voice in my head is whispering, “I should hope so – after eight revisions requested by Shane since the first submission. And that’s not counting all the revisions pre-submission and when I made all the changes, additions and deletions with each revision. It doesn’t come with the first try. Revision 1, Revision 2 and so on required several rewrites, only to go back the next day to make more changes to that revision.

In between all this and even during, my mind was whirling around with ideas of what and how. Sometimes I had to go out to my garden and pull weeds; sometime go for a walk, sometimes sleep on it. I don’t think I dreamed up any ideas, but sometimes when I woke up, an idea was there in my mind.

Shane would make suggestions for what needed changing and even say something had to go because it didn’t work. One example is in a scene I  had with David, Dana Bowman’s seven-year-old son, who was out walking the dog, Buddy, with his babysitter. The sitter goes into the drugstore and David and Buddy have a confrontation with a couple of the other characters. Shane pointed out that a seven-year-old, particularly David, wouldn’t talk like that. So, I had to do some rewriting to keep the plot intact but make David, well David. Usually I can do this, but something was definitely off. I was also told to put in more menace to have something frighten David then. And I did.

So while waiting for the publisher to deliver the actual print book author copies, I feel a sense of accomplishment, relief but also some trepidation. Because Beyond Faith now has to sell. And while I love doing book promo, there are never enough hours in the day to do all that I think is needed for that. And I am still learning how to do many of those things.

And do you know what is high on my list of impediments to doing book promo? Same as gets in my way of writing.

Screw-ups and other problems in other areas of my life – especially those caused by what I call “outside” – others screwing up, bad weather and the like. Things like unexpected house repairs, health issues, other people wanting me to do things for them now, late and delayed public transportation, bureaucratic and bank errors – all things that steal from my time.

And yes, they all make fodder for future stories. Some of them are at the basis of some of the happenings in Beyond Faith – all fictionalized, changed to be more menacing than in real life. Sorry, folks, not telling which happenings or even which characters fit that category. I will say that I do have an axe since 2014, but it’s used for chopping the ice that sometimes forms on sidewalks in the winter, not for chopping up people.

Cheers.

Sharon A. Crawford

author of the Beyond mystery series

Sharon holding up the previous 2 Beyond books at WOTS

 

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Beyond Mystery Serial Part 6 and words from Dana and Sharon

The arrival of Beyond Faith, the third book in the Beyond mystery series is getting closer.

Dana Bowman here. And Sharon A. Crawford, the real author, always here.We have an update. Beyond Faith’s appearance is coming closer.

Dana: Sharon has negotiated for Beyond Faith and Beyond Blood to get into the Dealers’ Room for Bouchercon 2017. New business cards are in the works.

Sharon: And sorry, Dana, you aren’t on them – like my editor would say – no space.

Dana: That’s okay…at least for now for this serial story which could be called Beyond Reason features me . Part 6 follows.

Dana: Fielding, what do you mean some of the characters here don’t exist. David certainly does and so does Ms. Dugan.

Fielding: Look on the floor and tell me what you see.

Dana (looking down): The floor.

Fielding: But what is there on the floor?

Dana: Nothing. Hey, who stole the hooded guy? Oh wait. Sharon made him disappear.

Fielding: Sharon? I  don’t see any Sharon. . .

Dana: Sharon A. Crawford, the author of the Beyond books.

Voice of Sharon: Ah, hah. You are finally admitting it.

Dana: Yes. No. What the hell?

Dana, turning around and looking at Ms. Dugan and David sitting on the office couch: Well, you two are still  here. So you must have seen Sharon make it disappear and then disappear herself?

David: Mommy, Mommy what do you mean? Sharon. She just disappeared. Maybe she took the dead guy?

Ms. Dugan: What dead guy? There is just us here.

Dana, looking around: Where’s Bast? He was just here too.

Ms. Dugan: Never saw him. Just you, David and me, and of course, Sharon.

Dana, scratching her head: What the heck. And I suppose you didn’t see Detective Sergeant Donald Fielding either?

Ms. Dugan: Who?

Dana: The detective who was investigating your brother.

Ms. Dugan: I don’t have a brother.

Dana: Yes, you do.  He was banging on the door here and he was caught coming out of a hardware store carrying a screwdriver which he is alleged to have used in some break and enters. And he was living with you for now.

Ms. Dugan: I live alone.

Dana: Well, if all this is true, then tell me what the hell you are doing here and what have you done with my brother? I… oh my head hurts.

Dana falls to the floor.

TO BE CONTINUED…. MEANTIME:

Check out my website to see what Dana and I  have really been up to. And yes, Beyond Faith is a reality .

Sharon A. Crawford

and

Dana Bowman

Sharon A. Crawford mugshot

 

 

 

 

 

 

 

 

 

 

Dana Bowman mugshot

 

 

 

 

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