RSS

Tag Archives: Fiction Plot and Characters

Muskie and Murder engages audience

Michael and Sharon – Muskie and Murder presentation June 27. Shane Joseph photo.

Muskie and Murder with Michael Robert Dyet (Muskie) and me, Sharon A. Crawford (Murder) made its debut presentation last evening at S. Walter Stewart Library. It was my East End Writers’ Group’s second event for 2018. Although I was disappointed in the small number of people who attended (probably to inaccurate weather forecasts for torrential rain) those of us there were really engaged in the presentation. I’m not talking just Michael and I and our guest speaker, Shane Joseph (editor at Blue Denim Press – our publisher), but the whole audience of writers and readers.

There was a continual conversation going on among all of us and I think we learned a lot. I know I did.

Using four different set-ups, we were all looking at what Michael so aptly titled The War between Literary Fiction and Mystery Fiction. We discussed questions dealing with plot and characters in both and not only discovered there is both in both types of fiction, but we found out we all read more than one or the other. Margaret Atwood (she of Alias Grace and The Handmaidens Tale) and Stephen King (Pet Cemetery,The Shining, The Outsider) entered the conversation – at least their names and writings did. So did memoirs – another “M” area of writing. Perhaps we should add Memoir to future presentations?

Then Shane asked Michael and I questions on plot and characters and then he asked us how often do we write and do we write regularly.

Not as often or regularly as we would like. The other stuff of life (Michael’s day job, my teaching writing and editing, the garden, and house problems ), all took up necessary time. But there are a lot of other things in our lives that can be pruned or purged and some of what is still there can be manouvered somewhat.

Michael and I read parts from our books based on a theme (not telling what – we want to use it at more presentations).

And then it was skit time. Michael played Norah Watson from “Slipstream”, the novella in Hunting Muskie and I played PI Dana Bowman (although Dana might argue about the latter as she thinks she wrote Beyond Faith and is a separate person. Hmm.) Norah had reluctantly hired Dana to find a missing family member, but Norah and Dana are like oil and water.

You can imagine how that went. If not you’ll have to catch a Muskie and Murder presentation in the fall.

PI Dana Bowman and Norah Watson. Shane Joseph photo.

Meantime, this whole presentation, particularly what the writers and readers in the audience said, has inspired me to get back on my creative writing track. Not just writing book promo blurbs and the like, but my own M and M – Mystery and Memoir. I remembered that I used to always write at least two afternoons a week – Friday was sacrosanct for my creative writing, with Wednesday afternoon another one.

Earlier this year I started the fourth Beyond mystery book, started another rewrite of a black noir mystery short story, and returned to my memoir writing – both the book and some shorter pieces for possible magazine publication.

And anyone who dares interfere with my writing time, let’s just say it could mean “murder”.

Well, between the book covers.

Do you write regularly?

How do you do it?

Cheers.

Sharon A. Crawford

The Mystery half of Muskie and Murder.

Michael and Sharon with Muskie and Murder. Shane Joseph photo.

Advertisements
 
4 Comments

Posted by on June 28, 2018 in Uncategorized

 

Tags: , , , , , , , , ,

Getting story ideas from your neighborhood

The latest Beyond mystery. Click on it for more info

In the last post I talked about getting story ideas from your garden. But here’s another story source – your neighborhood. Maybe the house down the street is a marijuana grow -op ( there was one kitty-corner across the street from me a few years ago. Unfortunately I was out when the police raid went down.). Maybe there are always loud arguments from the house next door. Maybe…

Well, never the maybes here. This morning a couple of legal surveyors knocked on my door to let  me know that they would be doing a survey of the next door neighbor’s house – on the other side of my driveway – just to let me know they were there and what they were doing. The wouldn’t tell me why, said they don’t know and aren’t told. Yeah, right. When I found them on my verandah taking pictures of my property i called them on it and they said they need to get the properties next door for boundaries as the underground metal stakes weren’t found.

Oh! Oh!  Even though they said they were probably removed (these houses go back to 1949 and 1950), it got me thinking – what if the underground metal stakes are under my driveway? What if they have to dig up that part of my driveway. What if somewhere the property line is wrong and part of my property is really theirs? And what are they going to do? Build a fence around their property? Sell their house? Or add an addition? Because they have three kids and they are all getting older, and the boy’s room is tiny, I’m guessing it’s an upper addition. Except for selling their house, most larger renovations including fences, require a permit and before that a property survey. If they are building an addition, does the city give  notice to  us living near in case I want to object? I don’t know about Toronto, but when I lived in Aurora, they did when the neighbors wanted to do so. because it would invade our privacy (on higher ground than our house), my then ex-husband and I formally objected. They couldn’t build an addition, so they build a swimming pool and held noisy parties late into the night. Some of us called the police.

You can see where this real life occurrence can give you story ideas? What if the surveyors were actually casing the joint to do a robbery? What if they are actually who they say they are and the boundaries are wrong. What about the change starting a neighbors’ feud – which could lead to murder? What if…?

What is going on in your neighborhood? Does your neighborhood have a neighborhood gossip? Most do. Ours does and I’m going to talk to her, although I suspect in this case I know more. Stay tuned to what is happening in your neighborhood and your neighbors. You may just get an idea for your next story. Just don’t forget to fictionalize it – use the real situation as a kick-off point for your story and create if from there.

And for those in the Toronto, Ontario, Canada area, I’m one of several authors reading at an event for the alumni of workshops and/or courses taught by well know southern Ontario writing instructor and editor Brian Henry this Sunday afternoon. Specifics are:

Author Readings at The Wallace Gastropub

Sunday, June 10, 2018

12 noon – 4 p.m.

Location:

The Wallace Gastropub

1954 Yonge St, Toronto (Just north of Davisville)

Sharon A. Crawford reads from Beyond Faith as she joins other alumni of Brian Henry’s writing classes to showcase their writing creations. More info here.

Cheers.

Sharon A, Crawford’

Author of the Beyond mystery series

 

 

 

Tags: , , , , , ,

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.

 

 

 

Tags: , , , , , , ,

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

 

Tags: , , , , , ,

Fictionalizing your problems

Lately I’ve been inundated with problems, snafu sand the like – 90 to 95 per cent caused by other people, organizations, etc. But I have to deal with them and get them solved. I may go into one of them in a future post as it is writing related, but for now if you really want to know more you can read this post from my personal blog Only Child Writes.

To say I am ticked off at all the time wasted sorting out these problems, but i do have an outlet – so do all writers.

The pen is mightier than the sword

Or in today’s world

Creative Digital is mightier than the sword.

Some of you might go the journalistic route and do a story on the problem or write an op-ed piece. I used to do the former and sometimes do the latter on the aforementioned personal blog. But now I take the problem and fictionalize it in a short story or novel. And because i write mysteries, I can kill off the culprit or make him or her the killer. Fictionalizing is the key word. You don’t want to be sued or worse.

My latest one is a story I’m writing (between dealing with the actual problems, doing client work, and PR for Beyond Faith) is about telemarketers. How many of you (despite any “do not call” type laws) get hit with a deluge of telemarketers calling? Even wrong calls claiming to be wrong numbers? Well, I get too many and usually don’t bother to pick up the phone. But when they leave voice mail messages, guess what I want to do.

The story is still in draft. But it’s working title is “Don’t Call Me.” The story has lots of twists and turns, including the murder weapon. I’m not saying what it is or who murders whom. But let’s just say I had a slew of questions for my police consultant on the crime scene and in the process got the  lowdown from him on how to use that weapon to kill someone. The weapon is not your usual gun, knife, rope, poison, etc. but is something people with a certain hobby would have in their possession.

I promise to use that weapon only in my story and in real life for its regular use.

What problem has been stealing your time and energy lately? Or is it an annoying person. Don’t yell or kill that person. Fictionalize him or her in a story.

Cheers.

Sharon A Crawford

 

Click on the book cover below and get the lowdown on this book and the other two Beyond books at Amazon

The latest Beyond mystery novel

 

Tags: , , , , ,

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

 

 

 

 

Tags: , , , , , , , , , ,

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

 

 

Tags: , , , , , , , , , , ,

 
%d bloggers like this: