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Tag Archives: Fiction Plot and Characters

Making Your Short Stories Sparkle and Sell

Cover of Sharon A. Crawford's mystery short story collection. Click on it for publisher's website

If you want to lift your short stories above the mediocre there are many things you can do. One of these is to be original in your story and in your characters. Readers like something different in their plot and eccentric characters can be a big draw whether you are writing commercial or literary fiction.

Three of us commercial fiction authors – Rosemary McCracken, Madeleine Harris-Callway and Sharon A. Crawford – who write both crime novels and short stories will be discussing why and how we do it. We will cover how we get story ideas and how much is from real life and how much from imagination. A couple of us have series characters in some of our short stories and in our novels, so we will discuss how we deal with time lines. Is it difficult going back and forth from writing novels and short stories and what the heck is the difference in how you write each?

Then there is marketing your short stories. Each of us has unusual ways we market our books (both the short stories and the novels).

And this panel will not be just the three of us talking. We are open to lots of  q and a.We want to get a real conversation going on short story writing. Here are the details about this upcoming panel being held by the East End Writers’ Group Wednesday, June 29, 2016.

Making Your Short Stories Sparkle and Sell

Do short stories come from real life, imagination, or both? How do you market short stories? For June’s East End Writers’ Group meeting join fiction authors Rosemary McCracken (shortlisted for the 2014 Derringer Award), Madeleine Harris-Callway (finalist for 2015 Arthur Ellis Award for Best First Novel), and Sharon A. Crawford (author of the “Beyond” mystery series) for a discussion on writing and marketing short stories.  Copies of authors’ books available and there will be  networking and food at 9 p.m.

Time and Date: 7 p.m. to 9.30 p.m., Wednesday, June 29, 2016

Location: S. Walter Stewart library branch, 170 Memorial Park Avenue, Toronto, Ontario, Canada

I am doing a guest blog post on Rosemary McCracken’s blog Moving Target about libraries and how they were and are important to me in my writing career, then seguing into this upcoming panel which is held at a library. There is a serendipity for me about this library branch. You’ll find this and more when my post is up on Monday, June 27 at Moving Target.

Meantime you can check out the panelists:

Rosemary McCracken http://www.rosemarymccracken.com/

Madeleine Harris-Callway http://mhcallway.com/

Sharon A. Crawford http://www.samcraw.com

Cheers.

Sharon A. Crawford

That’s my short story collection – Beyond the Tripping Point – book cover at the top of this post. If you click on the book cover, it will take you to my author profile on amazon.com

 

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Writing through complicated novel plots

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

Sometimes novel plots can get away from you, especially if like me, you write mysteries or thrillers. Even doing an outline before starting to write won’t stop potential confusion for several reasons.

Characters, especially the main ones, have a habit of taking over the novel and that means directing the plot. Which can be a good thing, because it shows that your novel has life. But when, like me in my Beyond mystery series, you have more than one point of view  character, you not only have to deal with one rogue character, but sometimes two. Dana Bowman the main character in Beyond Blood is an outspoken willful PI with a mind of her own. Her fraternal twin brother, Bast Overture her partner in solving crime is a bit tamer. But he is a former crime reporter and the words “reporter” and “journalist’ send out flares of “digging up the dirt.”

So with two nosy-parkers on the loose (often working somewhat separately) and adding in some other characters such as police Detective-Sergeant Donald Fielding and Dana’s six or seven-year old son (age depending on which book), this author is often juggling a lot of plot development.

A disclaimer: I don’t do much of an outline beforehand. Sure, I have some idea of where I want the story to go, but I find if I do too much outline or summary I seem to automatically switch to write-the-novel mode and I’m off in that direction for then.

So, what do I do to try to keep the plot consistent and making some sense?

I do some flipping back and forth to check – maybe after the day’s writing session or perhaps just before I start writing the next time. Or as often happens a couple of niggling plot developments are in my mind and I need to sort them out. So I use the Word “Find” tool to go to these plot developments and from there do one or two things:

Make a note either in brackets in red in the paragraph or whole scene or with the Comment tool about what needs to be changed. I also keep separate files on some areas of plot development that come up and/or I want to put in. Not exactly an outline, but more of a description of what I’m trying to do…at that point. Until Dana and/or Bast step in.

When all else fails I just go in there and make the changes/corrections.

With two PIs I have to make sure they don’t overlap in what they do – unless they are actually doing some of their investigation together. When working alone, they have to keep each other informed of what they find or the reader could wonder “How did he know that?” And do it without long conversations between the two. Sometimes they leave each other phone messages or sometimes I use a couple of short narrative sentences, such as “Bast brought Dana up to speed.”

It gets even trickier in the current Beyond novel I’m rewriting when one of the twins suffers a concussion.

But, hey I like a challenge. It is one of the things that makes writing fiction interesting.

Cheers.

Sharon A. Crawford

Click on the Beyond Blood book at the top to go to my amazon author profile and books.

To see what I’m up to with the Beyond books and characters check out the Gigs and Blog Tours page of this blog here

 

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Point of View clarity important in writing fiction

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

Currently I am reading a mystery novel where the characters’ points of view are all over the map  – in one chapter without a scene change, in one scene, Even in one paragraph the point of view switches from one police detective to the other. They are police partners, but this “jumping heads” (as it is known in the editing business) is not only ridiculous and annoying it is distracting from the story. And it is an interesting story.

Looks like the author’s editor was asleep at the computer. I blame the editor, not the author because as an editor I find that 85 per cent of my fiction clients mess up the point of view. And, yes, if the author mixes up points of view, then it is his or her editor’s job to fix it.

So, what is acceptable in fiction writing (unless you are going for experimental fiction, which this mystery novel is not)? Here we go with the standards:

In novels it is acceptable to have multiple points of view as long as it isn’t overdone. Do we really need to know what minor characters A and B think?

Up to five points of view are the limit in my opinion.

Keep the same point of view within a chapter or a scene. Next chapter or next scene you can change the point of view. For scenes this is usually indicated by extra line spacing and starting the first paragraph flush left or separating the scenes with an asterisk. Read Peter Robinson’s mystery novels. He usually has three points of view and does a superb job of it. He uses the change of scene change of character POV method with extra line spacing.

Other authors indicate change of character POV by putting the character’s name at the top of the change – this can be with a new chapter or new scene. I use this method in my latest Beyond book, the mystery novel Beyond Blood. The story is told from four different points of view – Dana Bowman, Bast Overture (the two fraternal twin PIs), David Bowman (Dana’s six-year-old son), and the mysterious “Him.” I put the character name and the date and time (a word on that in a sec) just before the character POV change. This change usually occurs with chapters but I do have it within chapters – change of scene change of character POV with the above-mentioned indication.

It is not necessary to always use time and date unless it is relevant to your novel. I’m not the only author who does this. I do it because Beyond Blood is a fast-paced mystery that occurs during eight frantic days in August 1998. Often when I switch point of view what is happening with that character is happening simultaneously with another POV character. And that is another reason to switch POVs.

Switching POVs is also a good way to heighten suspense – if you end one scene/chapter with one character left out on a limb and the reader does not know what will happen with him or her next. Instead they go on to another character – more waiting to find out/more suspense. And it also allows plot development that just might not be possible using one character’s POV>

Switching points of view in a novel also allows the author to get deeper into each main character – and gives the readers a more intense looksee at the characters.

My POV on POV anyway.

Cheers.

Sharon

Click on the Beyond Blood icon at the top to find out more about my Beyond books.

 

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Electronic mania versus telling a good story

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

We are bombarded with electronic devices in our daily lives and that includes TV shows. Sometimes the story gets lost in all the “bells and whistles.” But what about books? In particular novels set in present time? Should authors overwhelm the reader with smart phone usage, social media and the like?

A story in the May 2016  issue of The Walrus writes about this conundrum. Here writer Naben Ruthnum, discusses how some authors like best-selling author Joy Fielding skirt around it. While summarizing the story lines and acknowledging that the story is important, Ruthnum wonders how long this approach will be relevant in our digital/social media obsessed society?

Ruthnum writes “By ignoring the contemporary reality of instant communication, authors such as Fielding are preserving the nail-biting satisfactions of their art. But how much longer can these books provide escapism-seeking readers with relief given that their trick of withholding details is in direct conflict with our expectation that information always wants to be free?” (bolded part is mine).

That’s a big point with mystery novels – readers get temporary relief from a mad mad world and that includes overdoses of electronic media leading to overwhelm.

Yes, mystery novels do imitate reality. But the reality is what the story is about, the story’s setting and its characters. As in real life, not all people are digitally proficient; nor do they all immerse themselves in the whole digital/social media life-style. So, Fielding and other authors have to be true to that. And they are.

Personally, after all the over-abundance of bells and whistles on some TV shows set in present time (not futuristic and not fantasy), I prefer a somewhat toned-down digital presence in the novels I read (and write for that matter).

Many mystery novel authors handle this digital business very well. Marcia Muller’s PI Sharon McCone has a nephew who handles all this digital stuff so only what is necessary to the story is told. McCone gets to do what she does best – personal investigation while her nephew helps out on the digital end.

Mystery novel authors like Peter Robinson, acknowledge the digital aspect – his police officers have smart phones (they are called mobiles in England) but his main character Alan Banks doesn’t investigate by being glued to his smart phone or sitting in front of his computer (which some consider passe these days). He does what police should be doing – gets off his butt and interviews people, as well as following suspects in his car.

And yes, Robinson makes use of one current technology available to police in most cities world wide – CCTV- the police surveillance cameras on public city streets.

And I do the same in my Beyond books. Perhaps the short story collection Beyond the Tripping Point is the best example as stories in there take place in different time periods – 1965, 1980s, 1999 and present day. So for the first two – no technology-infested society. In 1999, where my fraternal twin PIs, Dana Bowman and Bast Overture are introduced, technology is relevant to the time – so I have cell phones (that have antenna and fold closed), Polaroid cameras for “instant” photos, and dial-up Internet connection, but with email functions. (Note: in Canada DSL didn’t get going until late 1999 – after the four “twins” stories in BTTP. I should know. My computer techie son’s computer business at that time was testing one of the DSL’s in 1999 and in late fall1999, my son hooked up my computer o one of the first DSL’s provided. Dana uses a computer for basics such as email and leaves all the computer technology to her brother. So in my third Beyond book (which I’m still rewriting), which is set in November and December 1999, I have computers – desktop and laptop – using DSL. There are also onlinr forums involved which Bast accesses – but it is all part of the plot and the twins’ investigation of a case. And birth record searches (which is part of the novel’s plot) were not online then (I checked with Service Ontario on this one), so Bast has to go into the Ontario Government dept. office to do an in-person search.

My BTTP stories set in present time do use electronic realities such as CCTV and smart phones. In fact one story, the main character is obsessed with using her device but that is part of the plot. The plot, the story is never buried in electronic devices.

Which is what Peter Robinson and many other mystery novelists do. Use the current technology (or technology for the time period of your novel) as it applies to  your story. Don’t make the technology the story unless that is your plot.

A happy medium often works best. Besides, we mystery novel readers need a rest from the over-indulgence of digital on TV in other areas of our lives. And that’s one reason I like reading from my Kobo (I do still read print books). Not a lot of flashing digital nonsense. And the print size is bigger – better for my fading eyesight (left eye)

Our eyes and brains need this respite, this escape from too much digital.

What do you think?

And on another note, I will be part of a panel (along with Ali Cunliffe and Susan Viets) about Self-publishing from both authors and editors perspectives. Hosted by the Editors Association of Canada, the panel/seminar will be held in Toronto Tuesday, April 26, from 7.30 p.m. More information on my Gigs and Blogs page here and also on Editors Association of Canada website.

Cheers.

Sharon

Again click on the Beyond Blood icon at the top to find out more about my Beyond books. At least we have this digital function today.

 

 

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Picture it to kick-start your story

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

I teach a memoir writing workshop called Writing Your Memoir from Pictures. Participants look at old family photos, old newspaper stories, old ads to bring their minds back to their past. From there they start writing part of their memoir, perhaps even the beginning.

A variation of this could be done to get you going writing fiction or to help you create a scene in your story.

Let’s consider a photo of a family member or friend – whether in print or digital. Or even a photo posted online of someone you don’t know. Maybe you are having a hard time visualizing what your character looks like. Or maybe you have some idea but are having problems describing the character. Looking at a picture can trigger some ideas. I’m not saying you should make your character an exact copy, but images can get ideas swirling.

If your story is set in the not-too-distant past, maybe up to 150 years ago, old newspaper photographs, and ads especially can help you get ideas of how society lived at that time. Sure, newspaper stories back then, can tell you that. However, just looking at pictures and letting your mind absorb them, can help you create that scene in a town set in the 1950s or during one of the world wars or another time – whatever your story dictates.

Picture it and let your mind absorb. Then let your imagination loose.

You know what they say about a picture being worth a thousand words.

Cheers.

Sharon

If you click on the book cover at the top, it will take you to one place where my Beyond books area available

 

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Making your fiction characters sick

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

I’ve talked before about giving your fiction characters tags such as jangling keys in their pocket or going silent when someone starts arguing with them. These tags show character traits and help the reader connect better with them. The first trait mentioned might occur when the character is impatient and the second opens a lot of things the author can show about the character. It might be as simple as the character hates arguing but he or she might be afraid to speak up when challenged. Both those bring up the question “Why?” in the reader’s mind. And give the author leeway to build his or her character.

Another trait that can be used is health issues – good or bad. Maybe you want your character to be an extreme fitness buff. Maybe he is passionate about playing golf. But the flip side of the coin can present even more interesting character tags – the character’s illness or an injury – the latter maybe occurring during the story. For example, the late Robert Parker in one of his Spencer novels had Spencer get shot in the chest and part of the novel dealt with his recovery and how it affected him both professionally and personally.

In my Beyond novel, Beyond Blood, I give Detective Sergeant Donald Fielding an affliction no one really wants – migraines. I know of where I write here because when I was in my early 30s (back in the grey ages, of course), I had migraines with almost the whole enchilada in symptoms. Didn’t have the aura but I did get sick to my stomach and of course the pain. And lots of treatments were tried and not all worked or were only temporary. Then there was the personal and professional repercussions. I had to postpone story interviews with subjects because I had a migraine, and one of the treatment options – blowing in a brown bag, supposedly to stop the pain (it didn’t work), was done around the kitchen table during a big party I held. My girlfriend who suggested that was coaching me and there were some onlookers around the table.

Which gave me lots of options for Fielding, I combined my personal experience with imagination for his migraine attack. Not a party, not a kitchen, but in the main character Dana Bowman’s bedroom. That’s all I’ll say about that scene except the cause of the migraine was the same as many of mine were – stress.

So you can use your personal health experience for one of your characters in your novel or short story. Just make sure it is worked into the plot and isn’t a tangent. And yes, Fielding’s migraine incident was part of the plot. Also, it could be a friend’s illness, but just make sure if the illness is yours or your friend’s that the character doesn’t turn into a copy of you or your friend. Use the illness as a character tag.

And next Thursday, March 24, I’ll be joining four other Crime Writers of Canada authors for a lively panel discussion and q and a about what and how we write. Here are the details:

Murder and Mayhem between the (book covers) at Gerrard/Ashdale library branch

March 24, 2016

Join five Crime Writers of Canada authors Sharon A. Crawford, Steve Shrott, Lisa de Nikolits (three mystery novelists) and Mark Eddy and Nate Hendley (both true crime authors) for a lively discussion about crime writing and their books. Sharon moderates this panel and the authors just might read a bit from their books. More information.

Location: Gerrard/Ashdale Toronto Public Library branch

1432 Gerrard St. E., Toronto

Time and Date: 6.30 p.m. to 8 p.m., Thursday, March 24, 2016

Maybe I’ll see some of you there.

Cheers.

Sharon

If you click on the book cover at the top, it will take you to one place where my Beyond books area available.

 

 

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Turning personal tragedy into fiction

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

A wounded deer leaps the highest.
– Emily Dickinson

We all have personal tragedies in our life, whether it is losing a family member or close friend to disease, “natural” disaster, unnatural disaster such as war, accident or murder. Unfortunately these are now all part of living. We may also be carrying emotional baggage from our past. Sometimes these life tragedies can dig deep within our psyche. But, we writers have a bonus here to help us heal. We can write about it.

If memoir or personal essay is too personal, then  we can fictionalize the tragedy. Let me give you an example. As a child I was bullied by a teacher, a nun. So I’ve taken that experience, changed it to much worse and have a character in my most recent Beyond mystery loosely based on this nun. But I haven’t written fact. Instead I did the “what if:? scenario. What if one of my main characters was assaulted by a nun as a child and the nun surfaces in her adult life? How does she deal with it?

And the nun, what could be her story? Why is she the way she is. In my real life, I have no idea, so I fabricated a background of childhood torment and how does this affect the nun as an adult? The timeline for the story is different as my Beyond books are set in the late 1990s. And of course, the name of the nun is different. For one thing, in the late 1990s nuns weren’t using saint names, but their own names. So I made up a “real” name for this nun character

You can get the picture. Don’t write your story (unless it is memoir) but fabricate it into a fictional story that is part of your plot.

You may come up with something very creative and there may be a bonus – it might help you work through this piece of baggage you have been carrying around, often buried so deep you don’t realize it.

It’s worth a try.

On a recent personal note, I am dealing with a personal tragedy – a close friend died of lung cancer last month. She was only 51. Her memorial is Saturday afternoon. After that, I will need to follow my own advice.

Cheers.

Sharon A. Crawford

If you click on the book cover at the top it will take you to my publisher’s page about my books and my background.

 

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More tales from the novel rewriting trenches

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

Still working furiously to make changes in my current Beyond book to meet my publisher’s deadline. Making progress, despite distractions and glitches from others.

The research mentioned last week hit some more glitches. The social issue in the new novel (not telling what it is – no spoilers here) ran into the same roadblock with the Ontario government department as the police query with the local police services corporate communications department. No reply.

So, my journalist background came into play here. Journalists don’t give up on their research, despite roadblocks and twists and turns.

The two library books I had looked at in the Toronto Reference Library? Sure, I had made some notes but that wasn’t enough. So I bought the out-of-print one on Canadian Law (it fits the novel’s time period) secondhand from amazon.ca .Counting the day I put in the order online, it took three business days to arrive in my mailbox. The other Canadian Law book – a q and a type with questions for civilians I found out from an editing client that over 20 copies are circulating in Toronto library branches. I put a hold on it and if there are still some other copies not on hold, I should be able to renew my copy three times.

I phoned Service Ontario and after being shunted around three times got a very knowledgeable person in the specific department who answered my questions.

For that one nagging police procedure question that the two books couldn’t answer, I emailed a retired police colleague via Linked In. He replied immediately, answered part of my question and said he would contact one of his police connections to get more of an answer. I gave him my email address to avoid the Linked In quirks in email and he has replied again this week, apologizing for the delay and why (that is his business) and that he would be contacting his colleague that evening.

Meantime, I’m rewriting to get around anything that wasn’t true with the social issue and police procedure back in 1999. And also rewriting to deal with any plot threads left dangling. Some will get deleted as irrelevant.

Also there is the matter of my two main characters, fraternal twin private investigators Dana Bowman and Bast Overture trying to take over the plot. I have to listen to them because they can have good ideas.

And it is their story. Always listen to your characters.

As for the other distractions, I’m trying to rein them in. Personal calls that come during my writing time (which pretty much follows a business weekday give or take a few hours at either end), I will now let them go to voice mail. My dentist appointment will have to be moved to February 29 after my deadline. I have a big problem with medical people who don’t have some evening and weekend hours .I may ‘not be working outside my home, but what about those who do? Why should they have to take time off for dental and other medical appointments, Hey medical professionals. Get with the times. Yes, some professionals (like police, transit drivers, etc.) have work hours all over the map. But many people still work regular business hours (excluding email and social media). Medical clinics understand this and even my optometrist works one evening a week and some Saturdays. My eye specialist doesn’t. My dentist doesn’t. So, unless a medical emergency, I work their times around mine.

I have also worked in editing clients after the end of February and any new inquiries re work, they are being told I am booked up until … Two current clients have been scheduled in after the end of February – it is set up to work for both of us.

Now, back to the novel rewriting. Bast and Dana are waiting impatiently for me to get to it.

Cheers.

Sharon A.Crawford

If you click on the book cover at the top it will take you to my publisher’s page about my books and my background.

 

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Crunch time for publisher’s deadline for novel

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

I am in the last month to finish the rewrite of the third book in my mystery Beyond series before submitting in to my publisher.. Of course, it won’t be the final rewrite. Once a publisher decides to publish a book, the author always has more rewrites.

I have limited my email time – I set a timer and when it rings I finish the current email and the rest can wait for another day. And I am particular which events I go to .

Some of the latter has been railroaded because I also just got yet another sinus infection over the weekend. So the two writing-related workshops I planned to go to, I had to cancel.

And with all my health issues, I am trying to keep medical appointments to one health issue a month. Last summer and fall when all these health issues kept coming and coming, often overlapping, I tried to deal with them all at once, including medical appointments. That caused way too much worry and anxiety and I might have had to add “shrink” to the list.  So, I’m trying the one-at-a-time approach and hope it works. Some of the medical people aren’t too happy about it. Too bad. I am trying to get more sleep to help heal.

But I like to rewrite what I have written. Sometimes the most creative twists in plots and character development occurs here. It is also a time to fix plot and character inconsistencies, get rid of excess and not necessary scenes and even chapters, smooth out the telling – get rid of awkward phrases and sentences, polish it all up. .And do final fact checking on your research.

It is the latter that is driving me crazy. A few new police procedure questions and also questions on the social issue in this novel have come up. And I’m having trouble getting the experts to reply to my emails and phone calls to get some answers.

My police consultant just retired and has moved out of the country. I am grateful for all his help with my other two books and this third book as well. So, I’ve been doing what most authors without police connections do – contact the corporate communications media department of the police services. I have emailed and phoned there and have received no response. It has been a week and a half.

Meantime I visited the Toronto Reference Library and looked at criminal code books from the shelves and stacks. Made notes as those books are not for lending. My book is set in late 1999, which is an added glitch. And did more Internet search.

Also emailed a government department’s service questions part. That was done two days ago and so can’t complain yet about that

I am also rewriting to change parts of the plot to fit in with what my research (at the library and online) has revealed, even to the point where I have a few options for a couple of areas.

But I need some answers.

So, I will try some contacts via Linked In and see where that gets me.

For those of you writing fiction, how do you deal with this type of non-response to your research questions? How do you get your rewriting done to meet your deadlines?

Cheers.

Sharon A. Crawford

If you click on the book cover at the top it will take you to my publisher’s page about my books and my background.

 

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When your research and plot just don’t jibe

Beyond Blood_Final Ebook

Sharon A. Crawford’s latest in the Beyond series

You are writing what you think is a terrific story. You have done all your research – you think. Then, you find something crucial in your plot just would not happen in real life. You do have some leeway in fantasy and science fiction, but I’m referring to mysteries, romance, historical fiction and other commercial fiction, as well as literary. Let’s say you are writing historical fiction and a real-life character, well-known from the time you are writing in, is a part of your plot – maybe even crucial to the story.

But you goofed. Your story is set in the same time as this historical character lived, but you have just found out in re-checking your research, that no way could your famous historical character be in such and such a place when you have placed him there. At that time, he was living in France and your story takes place in England. You have set your story in the Victorian era, so you can’t just have your character take an airplane from France to England.

What can you do?

Delete this historical character from your story completely? Keep him in, but just as a reference to the times and something in your plot (music, government? Move some of your plot to take place in France? Change the historical time of your plot? Or?

Whatever you choose to do, it will require some re-writing. But you need to be accurate. True, for the purpose of your story, you have some leeway, but you can’t lie about history. If it were me, I would go for moving some of the plot to France, unless I decided this historical character didn’t need to play an active role in your plot.

I don’t write history – exactly. But my Beyond mysteries take place in the late 1990s, although the current one I’m writing just gets into the 21st century. So for police procedure and anything else – such as computers and cell phones, and medical (as there is some of that in the story) have to be what they were like back then. So I have to be careful with all that – including laws and even the names of courts. Gets tricky.

Currently I am fact-checking my research as it is incorporated into the novel. One of the characters suffers from a concussion. Fortunately there is a lot of information about concussions, both on the Internet (I’m referring to respected medical sites such as the Mayo Clinic) and books on the subject because of the current concern about sports-related injuries – many concussions.

The problem here is to make sure what the medical professionals do now was done in 1999. And also my character’s concussion is not from a sports injury.

Fortunately, the books on sports concussions go into details about past diagnoses and treatments. Studies and the like posted on the Internet often have references footnoted by number. (they all should have references), and I can cross-check the dates on those with the information in the study text.)

I also checked to see how the person’s head was “x-rayed” and found that CAT scans were around in 1999 – in fact they started being used widely in 1980. So my character had a CAT scan.

It never hurts to double-check your research. And remember, you may think you have done all your research before you write, but you probably haven’t. As you develop your story, “things” come up that you have to check on.

Now, I have to go back and research something in my novel’s climax for what one character does. What would she be charged with or would she be charged with anything? And in 1999, not 2016.

Back to my police consultant and to the Canadian Criminal Code in 1999. That might mean a copy of the CCC for a year or two before that, unless amendments were made and published in 1999.

But whatever the correct answer is, I should be able to change that part of my plot as needed.

Cheers.

Sharon A. Crawford

 

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