Mar Preston is the indie multiple award-winning author of seven police procedurals, six writing craft books, and many short stories.
Her whodunit mysteries celebrate the mean streets of Santa Monica and a fictional California mountain village. She is a writing teacher and editor, a very amateur actress, and a comedy skit writer. She now lives in Ottawa, Ontario, Canada’s national capital.
By Accident is the 5th in a series about a Santa Monica Police Department cop working homicide. The Santa Monica Police Department is composed of 233 sworn police officers and 250 civilian staff members. The 8-square mile city on the Pacific Ocean edge of the Los Angeles sprawl generates a lot of heat and excitement.
By Accident may be the last in the series about my Santa Monica cop that I’ve come to know so well. I’m just too far away now for the scents and sounds of the city to reach me. I moved back home to Canada after a 50-year hiatus in California just in time for Covid-19. I’ll always be tempted to write another because interesting things happen in Santa Monica that give me ideas.
Santa Monica’s beaches and luxury hotels are tourist destinations for millions of international travelers, and they are the targets of crime. The city is also called “The Home of the Homeless.” Homeless people like sunshine and beaches as much as anyone else, and a felon on the run can’t flee from trouble any further west.
It’s also the home of about 100,000 residents, most of them ordinary dog-petting citizens. But Santa Monica is more known for celebrity sightings and drunken starlet wrecks in Lamborghinis on the Pacific Ocean Highway. I had my nose down some nasty rat holes in previous books researching international crime, genocide, and female mutilation. By Accident? I did my research while waiting for the hairstylist reading People magazine, Us, supermarket tabloids, and watching Entertainment TV. For a time, I knew who was doing whom and how.
I’ve been fascinated for a long time watching smirking celebrities stroll out of the courtroom … if the case even gets that far. In By Accident, the celebrity couple gets it, and they get it good. I’m grateful to Sgt. Bill Lewis (Ret.) of the Oxnard Police Department for a chase and capture ending I never could have dreamed up myself.
Here’s a link to the Santa Monica Police Department series and a very different series featuring a homicide detective in the Kern County Sheriff’s Office.
Mar shooting the ARB-15 at the Writers Police Academy.
You can contact Mar at: email@example.com
Fiction writer Deven Greene lives in the San Francisco Bay area. Ever since childhood, Deven has been interested in science. After working as a biochemist, she went back to school and became a pathologist. When writing fiction, she usually incorporates elements of medicine or science. Deven has penned several short stories. Unnatural, Erica Rosen MD Trilogy Book 1 is the first novel the author has published. Her recently completed novel, Unwitting, is the second novel in the trilogy.
After a suicide bomber explodes at a baseball game, Erica takes in a young autistic man who has been trained to be a suicide bomber, hoping to find the perpetrator behind the operation and prevent further bombings.
Any comments about any other of your books: Unwitting is the second novel in the Erica Rosen MD Trilogy. It can be read as a stand-alone, although I think the reader might enjoy knowing the protagonist’s background and others in her sphere, which would be learned in the first book of the trilogy, Unnatural.
Tell us about your writing process. My writing is generally plot-driven. I start with a concept or idea I find interesting, often something in popular culture or the news. After I research the topic, I come up with a suspenseful plot centered around that idea. Then it’s time to conjure up characters who can pull it off. Lastly, after spending a fair amount of time thinking about it, I come face to face with my computer screen and type.
What is the most challenging part of your writing process? I find that every time I re-read something I’ve written, I notice things to change. I suspect I often toggle the wording back and forth in some passages each time I see them. It is also difficult for me to decide when I’m done. Maybe I could improve the wording here or there, but at some point, I need to move on.
What are you currently working on? I am, of course, working on the last and final installment of my Erica Rosen MD Trilogy. The working title is Unforeseen. Again, Erica and those close to her will be involved.
Do you base any of your characters on real people? I absolutely do base my characters on real people. This is most true in Unwitting, where Erica becomes the caretaker for a young man inspired by one of my children. Other characters often have smaller similarities to people I have known. Some people may see themselves in particular individuals living in my books, but that is purely coincidental. Or is it?
Do you outline, or are you a pantser? I’m in between. I learned early on that if I have a detailed blueprint, it’s bound to run into insurmountable obstacles as I write. I definitely have a plan, who the good guys are and who the bad guys are, some things that happen along the way, and how it will end. But as I am writing, ideas, details, and even inconsistencies pop up unexpectedly, so I need to be flexible and allow myself to make changes as I go along.
What kind of research do you do? I do enough research to feel comfortable with what I’m writing about if I don’t already know the subject sufficiently. I read books, do internet searches, and talk to experts that I know. I’m not writing fantasy, so I try to be accurate.
Where do you place your settings—real or fictional locations? For the most part, I use real locations. In the trilogy I’m writing, my protagonist, Erica Rosen, lives in San Francisco. I describe real places, such as Oracle Park baseball stadium. However, I often fabricate places such as homes, small stores, and towns.
Advice for new writers. Edit like crazy, and seek the opinion of others. It may be painful to hear criticism of your work, but it will help you in the end. There’s nothing worse than a rejection of your work without an explanation. Learn to appreciate whatever input others are willing to give you. You may not agree with it, and you don’t have to act on it, but you should at least listen with an open mind. One person may think your writing sucks, but if five out of five think it sucks, it probably does. Never fear, though. You can improve. It takes time to hone your writing skills.
Vera Chan, Murderers’ Feast in Midnight Hour: A Chilling Anthology of Crime Fiction by 20 Authors of Color, edited by Abby L. Vandiver
Vera Chan has likely published a million words — most of them true. The former reporter and editor marks her fiction debut with Murderers’ Feast in the Midnight Hour anthology edited by Abby Vandiver. A UC Berkeley Graduate School of Journalism alum, she has worked at daily newspapers and the world’s biggest online destinations covering everything from lifestyle and entertainment to news features and search trends. Her mystery-in-progress Following won her the Sisters in Crime’s Eleanor Taylor Bland award. Her unpublished humor novel The Mounted Position garnered second place for fiction at the inaugural Effie Lee Morris Women’s National Book Association Literary Awards, San Francisco Chapter. Both manuscripts are out on submission through the Jennifer De Chiara Literary Agency. Her day job is as senior manager, worldwide journalism relations at Microsoft.
“Men had been murdered for less. And yet John Manley still lived. Five days, surrounded by false friends and his truest enemies. Every last one of them, cowards.”
My short story Murderers’ Feast is what I call corporate noir. It’s dark yet tongue-in-cheek, about an insufferable gazillionaire throwing a five-day retreat with people he has screwed over. The story even includes kombucha (which runs freely in some corporate cafeterias) as a deadly weapon.
Like many journalists, I’ve always wanted to write fiction. As a kid, I devoured books, gravitating to British classics like Martin Pippin in the Apple Orchard, Jane Eyre, Wuthering Heights, Pride and Prejudice, Rebecca. Mystery has always been a favorite genre, and there too, British authors dominated childhood favorites (e.g., Agatha Christie, G.K. Chesterton, Dorothy Sayers, Sir Arthur Conan Doyle). That said, nothing tops Rex Stout’s Nero Wolfe & Archie Goodwin canon. I’ve even sought out radio plays and various screen interpretations. Sadly, nothing has captured the series’ trenchant charm (imagine a young Robert Downey Jr. as Goodwin). I’ll refrain from ranting about how Hollywood grievously lags behind the Brits in honoring its mystery classics with a cinematic treatment and charismatic casting.
Having my fiction debut alongside the works by established authors is miraculous. I joined Crime Writers of Color (CWOC), an association founded by award-winning authors Kellye Garrett, Gigi Pandian, and the legendary Walter Mosley. What’s brilliant is how the group embraces not just published authors but also emerging writers, which makes a huge difference in trying to navigate an already challenging field. Abby Vandiver proposed an anthology in a Groups.IO thread, and Midnight Hour came together in stunning speed — during a pandemic. The miracle is how nobody questioned having a newbie in the mix: I keep waiting for someone to say, “How the hell did this one sneak in?” So far, I haven’t been found out.
I must confess, while I’m giddy about being part of a groundbreaking anthology, the kicker for me is that Midnight Hour will be at Target! I shop locally when I can and boycott chains that don’t compensate employees fairly. I’ve revered Target for many reasons, among them as a place that made high design accessible to plebes, even with something as prosaic as a broom.
Getting into publishing hasn’t been easy: I often joke, grimly, that I’m trying to break into an industry even more challenging than journalism. (I use a more colorful term than “challenging.”) Finding my spectacular agent took years; now, she suffers on my behalf in the excruciating pace of submissions, made worse by the pandemic. My decision to go “traditional” rather than self-publish lies partly in my “traditional” journalism route and because of my parents. My father was trained as a chemist and my mother an English teacher: When they escaped the Cultural Revolution to the United States, they ran their own mercantile and restaurant businesses. Witnessing their sacrifices made me leery to pursue an entrepreneurial route. Plus, reasonable or not, I feel writing is a wonderful indulgence and a privilege that I can justify by making it part of a larger business.
As for those stories on submission: The Mounted Position is about shy hapless tech writer Abba Welles-Lee who, despite being practiced in the arts of evading intimacy, finds herself dragooned into the bruising yet comical world of martial arts. (The title refers to a mat wrestling maneuver.) Finding an agent took so long, I wrote Following, which centers around amateur private eye Brenna Hom, tasked with spying on the wayward children of moneyed Asian parents during the most accelerated pace of digital communication innovation in the history of the world.
I’ve been so restless about those books making the rounds that I’m writing a third — a mystery satire about a series of deaths accompanied by messages written in excruciating business jargon.
As you might guess, work is the pattern, which may explain why I also like police procedurals. Indeed, this draft could be pitched as Janet Evanovich meets Ed McBain.
The other commonality is martial arts: Watching (too) many kung fu movies with stellar fighting women has made me impatient with stories featuring insipid females. And yes, those Hong Kong action films inspired me to take martial arts, where I met my husband. I’m not great, but I’m still at it after 35 years and volunteer-teach at Cal.
Because whether it’s work, play, or getting published, it’s about putting up the good fight. Thanks, George, for letting me get a couple of rounds in your marvelous blog.
This link will take you to my website: http://verahcchan.com/
This link will take you to all the outlets where you will find Midnight Hour: https://www.penguinrandomhouse.com/books/673674/midnight-hour-by-abby-l-vandiver/
FOUR CUTS TOO MANY – Sarah Blair, who finds kitchens more frightening than murder, gets an education in slicing and dicing when someone in the culinary school where her friend teaches serves up a main corpse. Sarah soon discovers that there’s no time to mince words when it comes to finding the real killer.
Judge Debra H. Goldstein writes Kensington’s Sarah Blair mystery series (Four Cuts Too Many, Three Treats Too Many, Two Bites Too Many, and One Taste Too Many). Her short stories, which have been named Agatha, Anthony, and Derringer finalists, have appeared in numerous periodicals and anthologies, including Alfred Hitchcock Mystery Magazine, Black Cat Mystery Magazine, Mystery Weekly, Malice Domestic Murder Most Edible, Masthead, and Jukes & Tonks. Debra is on the national board of Mystery Writers of America and president of SEMWA. She previously served on Sisters in Crime’s national board and was the Guppy Chapter president.
Do you write in more than one genre? Although my six novels are all traditional or cozy mysteries, my published short stories range from non-mystery literary works to different mystery genres. During my time as a judge and a litigator, almost all of my writings were non-fiction legal articles and book chapters.
What is your writing process, and what is most challenging about it? My true nature is to be a pantser who listens to the voices of my characters but only writes when the muse strikes me. I repeatedly tell myself I need to get up and write every day, but I constantly fail to do so. This was the exact style I used when I wrote the first Sarah Blair book, One Taste Too Many; however, after Kensington contracted the first three books, I faced several challenges. First, each book now had a deadline for submission, which meant I had to produce on time. That was a challenge I could easily meet. What was more difficult was that for each book, my New York editor wanted a detailed synopsis. It was emphasized to me that it needed to be detailed. Consequently, I spent weeks working out the plot of Two Bites Too Many and finally submitted an eighteen-page synopsis. My editor had only one comment: “Next time, double space.”
Although I wouldn’t say I like thinking the books out in advance, and I often must send my editor an email with a little change – like I discovered there needed to be a new character added to the cast in Three Treats Too Many. I have learned to write and appreciate having shorter, double-spaced treatments for each book.
Has any association membership helped you or your writing? When I announced that I was going to write mysteries, I was told to join Sisters in Crime and Mystery Writers of America. These two organizations provided classes and mentoring guidance that helped me develop my skills and understanding of the craft and business aspects of writing. They also have proven invaluable in helping me make friends at all levels of writing and who generously share their expertise and encouragement.
Do you have subplots? If so, how do you weave them into the novel’s arc? The basic premise of the Sarah Blair books is that Sarah, who was married at eighteen, divorced at twenty-eight, with the only thing she got out of the marriage being RahRah, her Siamese cat, is starting over with no skills and a lack of confidence. As the series proceeds, Sarah evolves. She acquires new skills, including those needed to solve murders, and she grows in terms of her confidence level. Sarah’s interaction with the people around her set up several personal interaction sub-plots in each book. Whether the sub-plot revolves around family, friends, community groups, or her pets varies based upon the main plotline. I also work in social issue subplots, including economic development, mental abuse, ageism, and animal rescue. The key to these subplots is to make my point without banging the reader over the head with it. My goal is to have readers enjoy a carefully crafted whodunit but walk away with subconscious thoughts raised by the subplots.
What kind of research do you do? When Maze in Blue and Should Have Played Poker were orphaned, I knew I had to write something new and that I wanted it to be a cozy mystery. Having spent a great deal of time in small southern towns when I was litigating for the Department of Labor, I knew I could capture their essence in any book I wrote. I also had no problem making my sleuth an amateur. A problem arose when I thought about the fact that most cozy mysteries include crafts or cooking, and I hate both. Once I decided there had to be readers out there who hate the kitchen as much as I do, I had a hook for my series – a woman more frightened of the kitchen than murder. Despite Sarah’s unfamiliarity with the kitchen, I had to learn about it in order to write the kitchen scenes realistically.
Consequently, I approached several restaurant owners, chefs, and waiters in Birmingham, Alabama, which has become a foodie town. They graciously told me their stories and took me through their kitchens. From each person I interviewed, I learned something new that appears in the various books. For Three Treats Too Many, I wanted to write about a community motorcycle group and a veterinarian’s office. To get these things right, I interviewed a few individuals who collect motorcycles, and I shadowed a veterinarian for a day. I believe the more hands-on research I do, the more realistic and enjoyable my books are.
Website – www.DebraHGoldstein.com
Facebook – https://www.facebook.com/DebraHGoldsteinAuthor/
Twitter – @DebraHGoldstein
Instagram – debrahgoldstein
Bookbub – https://www.bookbub.com/profile/debra-h-goldstein
Four Cuts Too Many and the other Sarah Blair books are available from indie and big-box bookstores but can also be purchased online.
Four Cuts Too Many by Debra H. Goldstein, Paperback | Barnes & Noble® (barnesandnoble.com)
Helping other writers is my passion
Why? I didn’t have a lot of help in the early part of my writing journey, and so I feel driven to use what I’ve haphazardly learned to help other writers cultivate a better beginning to their journey – by showing them how to get help, feel supported, and stay inspired. One of the ways I do that is by writing and speaking about Writer Self Care.
Obviously, writing is what you love. Now it’s time to get serious about loving what you do.
How? Minimize what you don’t like to do as a means of building more JOY into your daily process. I’m specifically talking about writing, but this idea works in many contexts. So how do you do that? Start with self-reflection.
For this part, we need to get off the treadmill, so to speak, long enough to gain a perspective on what we’re doing. Take an afternoon off from writing or a day or two to rest your hands, rest your brain, and create some space to assess and recalibrate.
Which parts of your writing life and process bring you the most happiness and satisfaction? Research?
And which parts do you dread because they drain your life force? Editing? Marketing? Promotion and outreach?
Let’s dig into this a bit because I have good news: there’s a way around the pain. I know what you’re thinking, though. You’re a writer, so that means you’re gritty, and you’re accustomed to pushing through obstacles. That’s a good thing. But you might also be wasting a lot of time and creative energy agonizing about what you don’t want to do, finding ways to procrastinate, and ultimately not meeting your writing goals.
Here’s a solution: Outsourcing.
Outsourcing is an old concept primarily based on supply chain engineering and the economics of leveraging available resources. The aim is efficiency and cost-savings (and there are many definitions of “costs”). The vast benefits include reducing the size of your to-do list, leveraging specialists who have expertise in the areas you need, and saving you time.
Another benefit I’ve discovered is that the feeling of having people on my writing/publishing “team” helps me feel more supported, more empowered, and less alone.
I hired a graphic designer to design a book cover for me, and now she’s designed a few social media ads that are sized correctly for each platform (Facebook, Instagram, etc.).
In preparation for my forthcoming book release, I’d been searching for someone to help me with social media – not so much posting, but more like ad placement, targeting, and trafficking. So through a marketing friend, I found a social media manager who’s been helping me with Facebook and Instagram ads and advising me on hashtag strategies, audience targeting, and timing. It feels so wonderful to have a grownup sitting at the table with me to help coordinate and manage the parts of the process I’m not good at, and I’ve learned so much from her.
Where to get help:
For the parts of the writing and publishing process that you dread, maybe there’s someone who finds joy in those specific tasks. And maybe the work they do for you will help bring refinement and visibility to their skills. And by getting support for these things, you’ll be freeing up more of your time and mental energy for the things you love doing most (more joy).
If you’re traditionally published, your publisher or agent might have resources available for you to consult with or a list of trusted vendors you can hire to perform the work for you.
How do you decide whether to outsource or not? You might want to create a mailing list and start publishing monthly email newsletters. Consider why you need this resource, whether this feels like the right time for it, how hard it would be to learn it yourself, and how much you’re willing to pay a freelancer to do it for you. The upcoming Sisters in Crime NorCal workshop on October 16th will include an author panel on developing author newsletters featuring bestselling authors MM Chouinard and Gigi Pandian. Click here to register.
Most people think of the writer’s journey as being very solitary. But as I’ve grown as a writer, I’m realizing that writing is a team sport, and the process works better that way – for you and for the team that’s supporting your success.
One of the most important symbols of self-care is saying no. And outsourcing some of your most unpleasant tasks is a compassionate way to maintain boundaries, prioritize your mental wellness, and keep yourself pumped up for what you want to do most – create!
To learn more about Writer Self Care, check out this blog post: https://digitalraconteur.wordpress.com/2021/08/01/self-care-for-writers/
And to stay updated on my book and writing news, you can subscribe to my email newsletter here: http://eepurl.com/hFmk8P.
Till next time,
Lisa Towles is the author of the award-winning crime novels Choke and The Unseen. Her 7th novel, Ninety-Five, will be released in November of 2021. Learn more about Ninety-Five and read a sample here: https://www.indiesunited.net/ninety-five.