Guest Blogger Donna Andrews On: "If You're not Using That"

I love hanging around with fellow writers. Nothing more fun than comparing working methods or swapping industry gossip. But I try to make sure I also spend a fair amount of time with non-writers. (I almost said "real people," and then changed it to "normal people" before settling on "non-writers.") If I’m with a bunch of writers and something interesting happens, we all look at each other, and sooner or later one of us will ask the inevitable question: "Are you going to use that? Because if you’re not . . . " Much easier with non-writers, who aren't going to fight with you over a choice bit of book fodder.

We writers all mine our own lives and the lives of those around us for material. Sometimes we play the "what if" game. What if that noise in the night wasn't merely the cat? What if the skeleton we found wasn't a cow’s bones but the remains of a murder victim? What if that horrible person at work turned up dead one day—shortly after one of our noisiest clashes?

Other times we use an event just because it just works for a character. I did something like this in Six Geese a-Slaying—the tenth book in my Meg Langslow series, in which Meg finds herself in charge of her county’s annual holiday parade. In one scene, Meg’s nephew, Eric, not quite thirteen, confesses to Meg something he’s done that he’s feeling guilty about. When I began writing the scene between Meg and Eric, I realized I could put one of my most vivid Christmas memories to fictional use.

I don’t know how old I was. And I can no longer remember what toy I wanted so badly that when I woke up on Christmas morning, well before dawn, I didn’t think I could stand the wait to go downstairs. And that was the longstanding rule-- we kids had to wait upstairs in our rooms until our parents woke up, so we could all walk into the living room together to see what Santa had brought.

I couldn’t wait. I crept furtively downstairs and into the living room to see if Santa had gotten it right.

Horrors! Not only was the object of my desire missing from under the tree—so were all the other presents. No toys, no books, not even any clothes. The stockings hung by the chimney in limp, mute testimony to how bad my brother and I had been. Because clearly we must have done something pretty awful to get absolutely nothing for Christmas. Mom and Dad hadn’t noticed, apparently. And I was a little puzzled myself—my conscience was no heavier than usual. I could think of a few minor transgressions, but nothing big enough to warrant this. But Santa knew all—and no doubt once our parents got a look at the emptiness under the tree, they’d start an interrogation that would bring all our sins to light.

I slunk upstairs and crawled back into bed. No doubt my parents were greatly puzzled a few hours later when I proved so hard to rouse. And when I finally saw the bounty around the tree, they probably mistook my intense relief for the usual excitement.

I figured out later that I must have gotten up so early that Santa hadn’t yet finished his rounds. I was lucky I hadn’t interrupted him in the act of putting the tangerines and Hershey’s kisses in my stocking. And apparently he’d forgiven my minor trespass of sneaking down early. Perhaps he knew that I would never, ever do it again.

Strange to say, that has always been a favorite Christmas memory. And while I was writing Six Geese a-Slaying, I realized it was also the perfect memory for Eric to have, one that he can share with Meg before confessing that this Christmas he—but that would be a spoiler!

Now if I can just find a plot in which I can use the story about Dad and the beehive . . .

Donna's latest, Six Geese A-Slaying, was just released October 28th. Run out a buy a copy!

Writer's Notebooks

Recently I've been teaching adults. One is a creative writing course at the local community college and the other is teachers in an online course in teaching writing. Both address keeping a writer's notebook. Now me, I am totally right brained and random abstract. I could never, and would never want the ghastly job of being an accountant. I need something to keep the right brain revved up, and accounting just wouldn't do it. Besides math is a four letter word. Anyway, forever I kept notes on scraps of paper whenever I noticed something I didn't want to forget and thought I might one day work a small portion into my writing somehow. Sometimes it was just the way another writer skewered something, other times it might be a memory that was jogged, and observation, a thread that lead me somewhere in thought, a new idea. But those golden nuggets were spread between the bottom of my purse, a desk drawer, a pocket, the kitchen counter--in other words they were pretty useless because I didn't keep track of them. And then I was at a writing seminar and this writer displayed her writer's notebook. I can remember the slap I gave to my forehead thinking, wow, what a concept! How lame is that? I'd never thought of it. Immediately I purchased a big ole spiral notebook that I tried to drag around with me everywhere, but found that didn't work in the middle of the grocery store. So next, I purchased a smaller steno pad. After two entries in that and trying to cram it in my purse I realized that was futile as well. Then I saw this beautiful journal in Barnes & Noble and just knew that if I had that, I would collect all kinds of wonderful notes and artifacts that would spark my writing and hurtle me toward bestsellerdom. I have pages of notes, taped-in magazine and newspaper articles, pictures, wonderful stuff that may someday trickle into a story. Trouble is, I do a lot of my best thinking while driving. I'd try to scribble something down on the seat beside me while doing 60 mph, and some of you are thinking right now, oh my god, I was on the road with her! After enough near misses, I bought a little bitty personal recorder and that has worked out better. Once I'm home I can transcribe whatever I said into it into my lovely Barnes & Noble journal. I have to be careful not to abuse my tiny personal recorder and fill it up with reminders to pick up my prescription, don't forget to stop and get bread, take the clothes to the cleaner, send the tax collector a check, etc. Otherwise I don't have room for my writerly notes. And of course I can't forget to transcribe my verbal recordings of writing wisdom or record over them. But sometimes, right brain takes control and I do just that. In the long run, my notebook is indespensible. It is where I collect my life and return to repeadedtly to fuel my right brain. Anybody else keep a writer's notebook?

Party Animal!

By Deborah Sharp

I am SO grateful for good friends, who've been helping me celebrate the launch of my mystery series deubt, ''Mama Does Time.'' The last week-and-a-half has been a whirl of signings and parties ... which feels pretty strange for a homebody like me. My husband barely recognizes this new social animal. When we met at a party, way back when, I was reading a book in a corner.

These days, I'm front and center. Which still makes me cringe a little. But, ever the observer, I have had the chance to chronicle some things that never happened at a party before I became a mystery writer. For example:

* * * Guests always used to bring wine. This weekend, someone brought me a severed hand. Nicely wrapped in turquoise gift paper with gaily colored ribbons. Uhm, thanks?

* * * As one of Florida's famously violent thunderstorms threatened, I fretted the party would be ruined. Said a friend: ''Don't worry. You can use if for the opening of a story: It was a dark and stormy night . . . ''

* * * Someone gave me a big bill to buy a book, forcing me to do math. It wasn't pretty. Good thing we're still wearing sandals this time of year in Florida, which allowed for enumeration on toes in addition to fingers.

And, when the counting got really complicated, the severed hand came in handy.

Groan! A party animal and a punster? Who is this person?

One Love

What a difference a year makes.  Last year at this time, this was where I found myself.  At a beach bar with the welcoming name of One Love, plopped on the white sandy beaches on the island of Jost Van Dyke in the British Virgin Islands.  It's a ramshackle joint made of flotsam and good vibes and it looks surprisingly like my home office, what with all the carefree attention to detail.  I don't have a blender in my office, but now that I think about it....

Anyway, as the temps start to dip up here in the great white north, increasingly I find myself hitting the slideshow button on my newly acquired Mac and smiling at the images that float by. I've said it before, but I'll say it again.  The Caribbean is in my soul.  It gives me life.  Just knowing the islands are down there waiting patiently for my next arrival allows me to get up to face another frosty morning.  In my heart I know that someday those frosty mornings will be replaced  by bright blue skies and warm smiles from Raquel and Seddy and their beautiful children.  It's their spirit, a spirit of the Caribbean, that I carry with me and that spirit is a fire warm enough to keep me going.

Okay then, tell me your "One Love".....

Tess Gerritsen on Writing, Archaeology and Donkeys

by Felicia Donovan

I'll never forget meeting best selling author, Tess Gerritsen, for the first time. She was on tour for THE BONE GARDEN. I watched with fascination as this petite and delicate former physician proceeded to describe Early American and mostly barbaric, methods of amputating limbs in all it's goriest detail to the assembled crowd. My kind of gal...

Tess (and if you're a real fan, you'll know that's not her real first name), graciously agreed to an interview for InkSpot amidst a whirlwind tour for her latest bestseller, THE KEEPSAKE.

FD: You began your writing career in the romance thriller genre. What made you switch and do you ever miss writing them?

TG: I wrote HARVEST simply because I had a great idea for a book that didn't fit into the romance genre, and I wanted to write it. I certainly never expected to make such a successful career as a thriller writer. But then, I've never planned out my career -- I just followed my instincts and wrote the books I wanted to write. After the success of HARVEST, I realized that I could carve out a much better living as a thriller writer than I ever could as a romance writer. Yes, I do sometimes miss writing romance, but also manage to work some romantic themes into the stories. So I haven't veered that far from the genre.

FD: Can you tell us about your latest, THE KEEPSAKE and what kind of research you did for it?

TG: It was inspired by my long interest in archaeology. I was an anthropology major in college, and have always had a special fascination with Egyptology -- in particular, with the science of mummies. As part of my research, I was able to watch the CT scan of a mummy, and I thought: what if a museum discovers a shocking surprise when it scans a mummy in the collection -- a bullet in its leg? Suddenly, it's not an ancient artifact but a modern murder victim. And the killer is someone who has obscure archaeological knowledge, which he uses to preserve his victims.

FD: What's the most memorable moment you've had on book tour?

TG: It happened when I was on book tour for THE SURGEON, about a killer who slices open his victims and removes their organs while they're alive and conscious. An ordinary-looking man came up to get his book signed, and he whispered into my ear: "Thank you for writing this book. You allowed me to enjoy my fantasies." And then he simply walked out of the store. I always wondered what happened to him .. . and what his fantasies may have led to.

FD: At times, you've ventured away from Maura Isles and Jane Rizzoli. Do you ever feel pressured to write for your fans rather than write for yourself?

TG: Yes, that's certainly a pressure that weighs on me. Whenever I veer away from what my fans expect, I find that many of them don't necessarily appreciate my efforts. However, I also pick up quite a few new fans when I write something completely new and unexpected. GRAVITY (my book about the space program) pulled in many male fans who are still reading me. And THE BONE GARDEN (a stand-alone historical) also brought me many new readers.

FD: You recently acquired an Amazon Kindle. Can you share your thoughts on e-books? Where do you see them in the future of publishing?

TG: I think they'll be a growing segment of book sales, in particular sales of novels. I've found the Kindle easy to read and convenient for travel. But I must admit that when I'm home and have the choice, I'll always reach for a real book.

FD: How are the donkeys?

I have four of them (Spock, Scotty, Cassiopeia and Perseus). And they're doing very well, thank you. Donkeys are sweet, congenial animals, and they get along very well with everyone.

Many thanks to Tess for being so accommodating despite her very hectic schedule!

November is NaNo Month!

Nine days from today an estimated 100,000 participants will start out on the novel writing journey of a lifetime. Yes, it's NaNoWriMo time again: http://www.nanowrimo.org/

By November 30th last year, more than 15,000 participants had crossed the finish line and completed a 50,000 word rough draft of a novel (of sorts) in thirty days. The remaining eighty-some thousand walked away with a kernel of an idea, a partial draft, a great experience, new friends, or like me, simply used the collective energy to further their own writing goals in their own way.
I like the excitement and camaraderie (or maybe just the misery with company) of all those intrepid fiction kamikazes barreling into the great unknown.
NaNo tends not to be for the published writer, it's more of an exploration, although, several published authors I know participate in some form or another and some participants have worked their NaNo drafts into their first commercially viable published novel--Lani Diane Rich comes to mind.

As if NaNoWrimo wasn't cool enough, self-described as "a global, uproariously fun endeavor, where participants exchange advice and writing tips on the NaNoWriMo website and in real life, with group write-ins held in coffeeshops, living rooms, and libraries all around the world, there's this:
The NaNoWriMo Young Writers Program also takes place in November, offering a similarly exhilarating prose adventure for 12-and-under authors and those taking part in NaNoWriMo as part of a K-12 classroom. In addition to motivation-raising goodies for the young writers, NaNoWriMo provides teachers, youth librarians, and homeschooling parents with resources and curriculum to help get kids and teens excited about writing. In 2007, over 18,000 students took part in National Novel Writing Month's Young Writers Program.
www.nanowrimo.org
Script Frenzy brings the hands-on, inclusive approach of NaNoWriMo to the world of screenplays, stage plays, and TV scripts. Either individually or as part of a writing team, Script Frenzy participants first learn the basics of scriptwriting, including structure and formatting, before rolling up their sleeves and writing their own 100-page blockbuster (or art-house masterpiece) in the month of April. Script Frenzy launched in 2007 and had over 7,000 participants its first year.
In Script Frenzy's Young Writers Program, kids and teens spend March taking part in a fun, four-week online boot camp to help get them up to speed on plot, characters, and scriptwriting conventions. After a month of learning and practicing, they'll try their hand at writing their own movie, play, TV show, or comic book script.

Guest authors are always welcomed. Check out the programs. Maybe offer yourself up to blog or speak. Maybe just participate or lurk.

The enthusiasm and joy of these fledgling writers may be just what you need on a dark and stormy November night.

NaNoNaNo!
Susan Goodwill

Susan Goodwill writes the Kate London Mystery Series published by Midnight Ink

Brigadoom in March 2007

Little Shop of Murders 2008

Was your working title etched in stone?

By Joe Moore

Book titles are critical. It’s that first impression when a potential reader glances down at the new fiction table in the local bookstore. And even if you’ve got a great title, you hope the publisher’s art department doesn’t somehow screw it up with the cover art. I’ve seen books with good titles that were almost impossible to read from a distance. And others where the design was so busy, it gave me a headache.

When Lynn Sholes and I decided to collaborate on our first book, we used CORPUS CHRISTI for the working title during the three years it took to write. Since it was a thriller about cloning Christ, we thought using the Latin for Body of Christ was cleaver. But when we sent it off to our agent, she pointed out the error of our ways. Could be a travel guide to a city in Texas. Could be a novelization of a Broadway play running at the same time. So we changed it to THE ENOCHIAN PROPHECY, a brilliant title that no one could pronounce or spell. Our publisher wisely changed it to THE GRAIL CONSPIRACY which has stuck in all the foreign translations except German.

Book 2 had the working title of THE THIRD SECRET. Steve Berry released a thriller by the same name so our agent changed the title to THE LAST SECRET. So far, it has worked for the foreign publishers that have translated it, although we haven’t seen the German version yet.

Book 3 had a working title of INDIGO RUBY for the year it took to write. The title had a great deal of meaning for at least two people: Lynn and myself. Again, the publisher stepped in and wisely renamed it THE HADES PROJECT which is exactly what the book is about. Clever.

BLACK NEEDLES was what we called number 4 which was the name we gave the deadly retrovirus that formed the threat of the book. Cool title, but it really didn’t tell the reader anything about the story. Could be a book about a knitting club for witches. So the publisher finally settled on THE 731 LEGACY. The book involves the Japanese WWII biological warfare division called Unit 731 and how its legacy propels the story. OK, we agree that was a wise decision and makes sense.

The working title to our next one is THE PHOENIX APOSTLES. We'll see if that makes it to print.

Sometimes it’s better to leave the titles to the marketing and sales department and just stick to writing the story.

So why are titles important? Paul McCartney’s working title of the Beatles classic “Yesterday” was “Scrambled Eggs.”

Have all your working titles made it to the cover of your book? If not, were you happy with the final version?