Former Metropolitan Opera violinist Erica Miner is an award-winning author, screenwriter, arts journalist, and lecturer. Her debut novel, Travels with My Lovers, won the Fiction Prize in the Direct from the Author Book Awards, and her screenplays have won awards in the WinFemme, Santa Fe, and Writers Digest competitions.
Based in the Pacific Northwest, Erica continues to balance her reviews and interviews of real-world musical artists with her fanciful plot fabrications that reveal the dark side of the fascinating world of opera. Aria for Murder, set at the Metropolitan Opera, published by Level Best Books in October 2022, is the first in her Julia Kogan Opera Mystery series. The sequel, Prelude to Murder, which takes place at the Santa Fe Opera, is due for release in September 2023. The third book in the series, set at San Francisco Opera, will follow in 2024.
PRELUDE TO MURDER follows the further adventures of young violinist Julia Kogan, who leaves her home base, the Metropolitan Opera, for a guest appearance with the Santa Fe Opera. Teaming with a Shakespeare-quoting detective, Julia finds enough ambition, intrigue, and jealous wrangling behind the scenes to ensure plenty of suspects when murder takes center stage.
A Note From the Author: In my 21 years as a violinist at the Metropolitan Opera in New York, I witnessed deadly accidents, suicides, onstage fatalities, and other nefarious goings-on behind the scenes that far surpassed what took place onstage. What occurs behind that “Golden Curtain” can be as startlingly dramatic as any opera plot. The potential for murder and mayhem at an opera house is virtually limitless.
I was convinced both opera lovers and mystery novel aficionados would be fascinated by an insider’s view of the egos, rivalries and jealousies that make an opera house tick. With the help of my wicked writer’s imagination, I tossed my unsuspecting violinist protagonist into the fray: my “Opera Mystery” series was born.
I was convinced both opera lovers and mystery novel aficionados would be fascinated by an insider’s view of the egos, rivalries, and astonishing behavior of individuals who made the opera house tick. I discovered that the potential for murder and mayhem at an opera house is virtually limitless: it’s always “dark and stormy” at the Metropolitan Opera. Thus, with the help of my wicked writer’s imagination, I tossed my unsuspecting young violinist protagonist into the fray, and voilà: my Julia Kogan “Opera Mystery” series was born.
What brought you to writing? I actually started writing before I started playing the violin. In grade school, I was placed in an after-school program for Creative Writing. I loved the whole process, creating characters and plots and weaving them together to tell stories. My love of writing began at that time and has kept going throughout my adult life. Even when I was performing at the Met Opera, I took writing classes whenever I could fit them into my schedule. After I left the Met, I went back to my lifelong love of writing as my creative outlet. I still love telling stories!
Where do you write? What, if any, distractions do you allow? I feel most comfortable and productive writing on my desktop Mac in my office. I have everything I need within reach and within sight. In front of me are shelves holding my favorite screenplays, musical scores, books on writing, copies of my own books, photos of beloved family members, and even stuffies—a minion and a Brünnhilde Teddy bear—to keep me company and inspire me to make up great stories. When I’m stuck or need to contemplate for a moment, I look around at my familiar accoutrements, and I’m motivated to keep going. What I can’t abide in the way of distractions is noise: music, outdoor landscaping, and such. That is the worst distraction for me.
What are you currently working on? The third book in my Opera Mystery series is due for release in September 2024. Meanwhile, I will keep my musical writing muse active by reviewing performances in my local Seattle concert halls and opera houses.
How do you come up with character names? Creating character names is one of my favorite parts of writing a novel. Often I am inspired to use names of close relatives and friends who have made a deep impression on me, some of them since childhood, who have similar traits to those of my characters.
Do you base any of your characters on real people? In my Opera Mystery novels, I’m always tempted to base my characters on people I’ve worked with at the Met Opera, whether in the orchestra, onstage, or backstage. I like to combine the characteristics of different colleagues into one character, though sometimes I have based a character wholly on a real person.
What kind of research do you do? I have had extensive training in musicological research, so I do exhaustive studies to ensure I have a historical basis, both for the operas I include in my plots, the opera houses where they are performed, and the cities in which they are located. The history of opera, its composers, and its performances are absolutely fascinating. I delve into the composers’ lives, how and why they wrote a particular opera, the singers who have performed those works since the beginning, and all kinds of other fascinating facts. Then I weave it all into my stories.
Where do you place your settings—real or fictional locations? So far, I’ve used real locations. The first in the series took place at my home base, the Metropolitan Opera in New York. After being there for 21 years, I knew the place inside out, and it seemed the logical and perfect place to set my first Opera Mystery. When one reader suggested I set a sequel at Santa Fe Opera, I jumped on it. No other major opera company performs in the middle of the desert of New Mexico. After that, various opera companies asked if I would consider writing mysteries taking place at their opera houses. There are so many amazing opera venues and so many wonderful theatres from which to choose, all of them having their own unique characteristics. So, for the time being, I’m more than happy to place my stories in real locations. It would be fun at some point, however, to fabricate my own opera house in a made-up location, too.
“Erica Miner has created a world few people know or have access to. A mystery with music beyond the words on the page. If all music aspires to the human voice, this author has found hers from the start.” Gabriel Valjan, Agatha & Anthony nominated author of the Shane Cleary Mystery series
“Erica Miner is the Agatha Christie of the opera world.” – Richard Stilwell, international opera star
“Prelude to Murder is a tantalizing peek behind the curtain of the world-renowned Santa Fe Opera. There’s plenty of mayhem on the bill, sumptuous history, and metaphysical frights set against bloody arias and deadly recitativo.”
-James W. Ziskin, Anthony, Barry, and Macavity Award-winning author
How do our readers contact you?
Web site: https://www.ericaminer.com
Email ‘ firstname.lastname@example.org
SOCIAL MEDIA HANDLES:
[These are for currently available Aria for Murder. Will send links for Prelude to Murder when available]
Amazon – https://www.amazon.com/Aria-Murder-Julia-Kogan-Mystery/dp/1685121985/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=
Barnes & Nobel – https://www.barnesandnoble.com/w/aria-for-murder-erica-miner/1142495216?ean=9781685121983
Third Place Books – https://www.thirdplacebooks.com/book/9781685121983
GROUPS I BELONG TO:
Sisters in Crime
Pacific Northwest Writers Association
International Thriller Writers
EPIC Group Writers
Thomas Burchfield was born in Peekskill, New York. After many years as a legal clerk and library assistant in the Bay Area, he now lives in semi-retirement in Grass Valley, California. His latest short story, “McCain, the Stranger,” recently appeared in the online version of The Mystery Tribune. A freelance editor, he’s also the author of the short story “Lucky Day” in Berkeley Noir’s anthology (Akashic Press 2020). He’s also the author of Butchertown (Ambler House 2017), a ripping 1920s gangster thriller, and the award-winning contemporary vampire novel Dragon’s Ark (Ambler House 2012). His original screenplays Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night are available in e-book editions only. His reviews and essays have appeared in Swing Time Magazine, Posthoc.com, Bright Lights Film Journal, The Strand Magazine, and Filmfax. He also posts essays on Medium and his own webpage, A Curious Man.
What brought you to writing? I’ve been writing pretty much since I first picked up a crayon. I started out like all writers by copying my favorites. In my case, I started by retyping A. A. Milne’s Winnie the Pooh stories. That, of course, became boring. I then started writing up the Universal horror movies I loved as a kid (which I still do). Eventually, I started writing my own stories, and I found people liked what I did, so I kept going.
Where do you write? What, if any, distractions do you allow? I write in my home office. I always play music: classical, jazz, and film music, especially the scores of Ennio Morricone. Music is sometimes inspiring. At other times, it provides solace and keeps me in my chair when things are not going well.
What is the most challenging part of your writing process? The first draft. My first drafts are awful, like finger-paintings by a three-year-old. Second drafts and upward are where the fun begins.
What are you currently working on? I have several pots bubbling on my stove. As for fiction, I’m currently working on what I call “The McCain Stories,” a series about a big city cop who’s assigned to police a Sierra Foothill community as it recovers from a devastating wildfire. They’re inspired by Georges Simenon’s “Maigret” novels and Midsomer Murders.
How long did it take you to write your first book? I tried writing my first novel in the 1980s but failed miserably. I then spent about fifteen years trying to break into Hollywood screenwriting (during which I wrote some pretty good scripts) until I aged out of their interest in 2001. (Screenwriting can be an excellent way to learn about plot and structure, though you’re unlikely to sell any of them). Around 2002, I finally started my Dracula novel, Dragon’s Ark. It took me about seven years.
How long to get it published? I spent about a year looking for an agent for Dragon’s Ark, and while I received plenty of praise, no one bit. I then published it myself under my Ambler House imprint. That took a year.
Do you have subplots? If so, how do you weave them into the novel’s arc? I don’t see how a novel can do without them. Any action on a character’s part will have consequences beyond the story’s main plot. Different characters will have different goals and will take different actions. Entanglement of other stories with your main one is inevitable unless it’s a single-character novel, like Lovecraft’s At the Mountains of Madness, which I found very boring.
How do you raise the stakes for your protagonist—for the antagonist? I get him into as much trouble as I can. To paraphrase Vladimir Nabokov, I chase a man up a tree and throw rocks at him. The great silent comic Harold Lloyd described comedy as “a man in trouble.” I work from those principles.
Do you base any of your characters on real people? My characters contain streaks of real people, including myself, those I’ve known, and, occasionally, indelible movie characters (but not too close, lest the book or story become too meta). Eventually, a character should be able to breathe on his own regardless of his origins in real life, literature, or cinema.
One exception: A best friend of forty years has made numerous appearances in my work under variations of his name but always described as looking exactly like him. I always kill him off, much to our mutual delight.
Do you outline, or are you a pantser? I was a pantser until I got stuck in too many swamps. A while back, I met Jeffery Deaver at a MWA workshop, and he described how he “outlined” his novels in bits and pieces, sometimes starting with the ending, sometimes in the middle, sometimes with just a scene, and then weave it all over time. I now work from that template. I generally like having a good idea of my ending from wherever I start.
What obstacles do you face when writing about historical figures? My love and respect for history and historians is boundless, so I keep real historical figures mostly at the edge when it comes to fiction. I want to avoid debates about whether I got this or that factual detail about Calvin Coolidge right. I’m going to disappoint someone somewhere, but on the other hand, I don’t want to distract from my purpose, which is to change the reality we know into one that feels almost as real.
Do you have any advice for new writers? Learn to be your own best, most sharp-eyed critic. Writing groups are helpful when you’re starting out, but while you learn about craft, structure, and character development, they tend toward conformism, so you eventually want to get away and write from your own soul. But to do that, you have to learn to recognize when you’re not good. No one’s a good writer every time: not Shakespeare, not me, not you. Learn to recognize it. By no means hate on yourself—because that just makes you quit–but seek a level of Zen: a calm, almost scientific, detachment from your materials where you sit calmly back and say, “Hmmm . . . that’s not working.” And then work at it until it does. Writing badly is not a crime. Not fixing it is.
Second, don’t show your first drafts to anyone, not even to torture your worst enemy.
Third, don’t bother chasing the marketplace. You may be knocked out by the sales figures for I Was a Twelve-Year-Old Serial Killer but by the time you finish I Was a Ten-Year-Old Serial Killer, the marketplace will have moved on to novels about man-eating talking plants. Be the self that God gave you, for good and bad, above all.
How do our readers contact you?
I can be reached at email@example.com.
My author’s page is http://amblerhouse.blogspot.com;
My essays and reviews can be found at https://thomburchfield.medium.com and http://tbdeluxe.blogspot.com.
You can also find me on Facebook. Finally, if you’re looking for an editor for your non-fiction, check out Thomas Burchfield Writing and Editing.
David Haldane, a former Los Angeles Times staff writer, has published three books: an award-winning memoir entitled Nazis & Nudists, a short-story collection called Jenny on the Street, and, his latest, an Amazon bestselling compilation of essays exploring life on a tropical island. He has also written and produced radio features, for which he was awarded a Golden Mike by the Radio & Television News Association of Southern California.
Haldane, along with his wife and two young children, currently divides his time between homes in Joshua Tree, California, and Northern Mindanao, Philippines, where he writes a weekly column for the Mindanao Gold Star Daily called “Expat Eye.” A compendium of those pieces was published earlier this year under the title A Tooth in My Popsicle and Other Ebullient Essays on Becoming Filipino, a book expressing the joys, triumphs, tribulations, exigencies, and hilarities of expatriate life. You can get it on Amazon.
What brought you to writing? Many years ago, living in a barren unheated apartment in Berlin, Germany, during the coldest winter months, I hit rock bottom. Specifically, I felt lonely, hopeless, abandoned, and extremely depressed at having to wear my fur coat inside and constantly seeing my breath as white wisps of steam. In utter desperation, I started writing letters to friends back home, especially an old girlfriend who’d given me the boot. It became a daily ritual that saved my life. I’ve been writing ever since.
Do you write in more than one genre? Having spent most of my life working as a journalist, I am naturally drawn to nonfiction. After getting laid off in what came to be known as the Mother of All Recessions, however, I later expanded my notion of nonfiction to include, well, things that weren’t entirely true. As in short stories. Mostly, though, I work somewhere between those two extremes in the realms of narrative nonfiction—i.e., stuff that reads like fiction but isn’t—and personal (often also narrative) essay, which pretty much describes my columns. These days, that’s where I really live.
Where do you write? I write wherever I have to, which can range from hotel rooms on my laptop to in bed on my cell phone. Where I prefer to write, though, is in the spacious office on the top floor of the dream house my wife and I built overlooking Surigao Strait at the northernmost tip of Mindanao Island in the Philippines. It has a 180-degree view of the ocean dotted with distant islands and, frankly, is the place wherein I was born to contemplate the blank page. The only distraction I allow is my two-year-daughter and her three-year-old cousin coming in to visit bearing cookies. They are especially fond of jumping on the couch to see whether they can reach the ceiling, a habit I find quite annoying but also hopelessly enchanting. And definitely uninterruptible.
Do you outline, or are you a pantser? Because most of my writing happens in short bursts, I am, by instinct, a pantser. The idea of plotting something long and complicated is terribly intimidating to me and, frankly, something I can’t even imagine ever doing. What has become an inevitable part of my process, however, is sometimes jotting quick notes after getting an idea, probably in case I forget what it is. Which, I must admit, has happened more than once. After more years of doing this, than I care to admit, I am finally beginning to feel confident in knowing the difference between a mere idea and a genuine story. Still, I don’t always know exactly where it’s going until I sit down to write, which is why the notes help.
Looking to the future, what’s in store for you? I plan to give up writing and become a dog catcher. Just kidding. Actually, I’m planning a sequel, another essay collection starting where this one left off on the theme of surviving a major typhoon that blows the roof of your house and empties all its contents. I’m thinking of calling it Aching Testicles. Also, I just had one of the most amazing experiences of my life; discovering a whole new family in Germany I never knew I had. My mother was a Holocaust survivor who always told us that most of her family got wiped out. It turns out that her brother survived and, not only that, became a prominent journalist, politician, and the father of two children. Not to mention, several other of my grandfather’s descendants of whom we were completely unaware. So now, 90 years later and long after the principles are dead, we’ve all reconnected in a reunion that’s been incredibly emotional for everyone. I think there’s definitely a future book in that: the story of a family tragically torn asunder and then miraculously reunited almost a century later. I’m open to any suggestions for a title.
Do you have any advice for new writers? Sure. First, don’t do it for the money because you probably won’t make much. Pray that writing by actual living human beings rather than AI bots will continue to be a thing, at least until you die. And hope that the next generation retains the ability to read. Finally, don’t become a writer unless you absolutely have to. If it’s not an obsession, don’t even bother.
BUY THE BOOK:
Barnes & Noble: https://www.barnesandnoble.com/w/a-tooth-in-my-popsicle-david-haldane/1142712082
Syrl, a retired teacher, lives in upstate New York with her husband and two lively dachshunds. She writes the Samantha Davies Mystery series featuring Samantha Davies and her loveable dachshund, Porkchop. When not writing, she is busy hooking, rug hooking, and enjoying her family. Her newest book, number four in the series, Pups, Pumpkins, and Murder, will be released on September 19th.
What brought you to writing? While I’ve always been an avid reader, I’m not one of those writers who was born with a pen in their hands. I was an editor for my high school’s newspaper and enjoyed writing for it, but I wasn’t into becoming an author yet. That would come many years down the road.
Where do you write? What, if any, distractions do you allow? I write in a small bedroom on my laptop at a small desk. The operative word here is small. I try not to stop until I have accomplished my self-imposed daily word limit, which I’ve set at 1,000 words. My only distraction is my dachshund when he barks to be fed. There’s no ignoring that. Oh, yes, and the Spam calls that inevitably come when I’m writing.
What are you currently working on? Right now, I’m working on Chilled to the Dog Bone, book 5, in my Samantha Davies Mystery series. It involves a Fireman’s Ball, a skillet toss, outhouse races, and of course, a corpse. All set during the winter in beautiful upstate New York.
How do you come up with your characters’ names? Many of the names are from people I know in real life. I have a friend who wanted to be the murderer in one of my books; hence I named the perp after her. I now have to keep a running list of all the names I’ve used in order not to repeat any.
We hear of strong-willed characters. Do yours behave or run wild? I’d like to think mine are well-behaved, but my main character, Samantha’s side-kick, her Southern Belle cousin, Candie, is known to be a wild card. Candie has been engaged eleven times and tells it like it is. Then there’s Sam’s octogenarian neighbor, Gladys, who dyes her gray curls to suit the occasion, red for Valentine’s Day, green for Saint Pat’s. She is a force to behold.
Do you base your characters on real people? Absolutely! Beware, or you might wind up in one of my books. People love that they are an inspiration for a character. Candie is modeled after a good friend from a writer’s group. Hank was inspired by my husband, who also was a police officer. I love dachshunds, and Porkchop, Sam’s dog, was named after my Porkchop.
Do you outline, or are you a pantser? Oh, my. I had a sketchy outline for the first 4 books in the series, but with Chilled to the Dog Bone, that has gone completely by the wayside. I’ve pansted the whole thing. I don’t know why, but it just flowed that way.
Where do you place your settings—real or fictional locations? I live in a beautiful area of upstate New York near the Adirondacks and Lake George. My settings are a conglomeration of this area, small towns, and lovely people with lots to do and places to go. These are close-knit communities where almost everyone knows you, which is the same in my books.
Mavens of Mayhem – Sisters In Crime: www.upperhudsonsinc.com
Originally from London, James T. Bartlett is the author of Anthony Award-nominated The Alaskan Blonde: Sex, Secrets, and the Hollywood Story that Shocked America, a true crime book reexamining a scandalous 1953 murder that began in Alaska and ended with a suicide in Hollywood.
As a travel and lifestyle journalist and historian, he has written for the Los Angeles Times, BBC, Los Angeles Magazine, ALTA California, High Life, Hemispheres, Westways, Frommers, Crime Reads, American Way, Atlas Obscura, The Guardian, Daily Mirror, Real Crime, Variety, Whitechapel Journal, Sunday Life, History Ireland, and Bizarre, among others.
He also wrote the Gourmet Ghosts alternative guides to Los Angeles and has appeared on Ghost Adventures and The UnXplained, while his short story “Death Under the Stars” features in the recent Sisters in Crime Los Angeles anthology Entertainment To Die For.
The Alaskan Blonde: In October 1953, Alaskan businessman Cecil Wells was shot dead in what his badly-beaten wife Diane said was a home invasion turned deadly, but then the police got a tip she was having an affair with Black musician Johnny Warren, and the murder became a national sensation. Seventy years later, The Alaskan Blonde reexamines this unsolved cold case.
My main job is as a journalist covering travel and lifestyle, but I have managed to carve out a small niche in true crime, as it was initially a big part of the two alternative Gourmet Ghosts guides I wrote about Los Angeles in 2012 and 2016.
I have only written one mystery short story, but I get to live vicariously in that world through my wife, Wendall Thomas. She has just finished Cheap Trills, her fourth book in the Cyd Redondo Mysteries series, and I am in awe of people like her who can create fictional stories out of their imagination.
Working in true crime means there is usually no need to create a killing, a suspect, evidence, or the complex machinations of how it gets solved by the end of the book. Life is not that simple, but history is bursting with real examples of murder and mayhem, lots of them unsolved or unresolved.
Also, as I am sure many PSWA members know, things happen in actual criminal cases that you could never write as fiction because people would not believe it. I came across a number of those with my recent book The Alaskan Blonde: Sex, Secrets, and the Hollywood Story that Shocked America, so buy me a beer one day, and I will tell you about them!
What brought you to writing? My paternal grandfather Jim – who died before I was born – was a respected daily newspaperman in England, where I come from, and that may be where the seed of my being a journalist/writer began.
Otherwise, it comes from being naturally curious. I like to meet people and want to know how things work – the stranger or more obscure, the better. To that end, I always try to write like I talk, with enthusiasm, and I try to write about things I am interested in and would want to read about.
That curiosity certainly led me to The Alaskan Blonde, which reexamines a sensational murder case that happened in Fairbanks in 1953 and ended with a suicide in Hollywood six months later.
What kind of research do you do? For The Alaskan Blonde, I came across a brief article about the murder in the Los Angeles Times archives while I was writing Gourmet Ghosts 2, and had thought: “Well, what happened next?”.
When I couldn’t find anything more substantial about the investigation on Google, I was hooked, so I initially requested police/FBI/archive files as a jumping-off point and then tried to track down living family members to ask them what they remembered about the case.
Being a complete outsider – not family, not from Alaska, not from America, not even born when the murder happened –helped, believe it or not. My English accent did too, but after meeting initial skepticism about why I cared about something that happened so long ago, I was astonished to find out that no one I talked to really knew what happened in 1953. It was simply not talked about and had even been brushed aside as Alaska fought for statehood.
Assembling as many pieces of evidence as I could, I went down many rabbit holes on the internet and, as is necessary, became somewhat obsessed with it all, but by the final chapter of the book, I felt that I could write what I think happened on the night of the murder.
What is the most challenging part of your writing process? For The Alaskan Blonde, the hardest thing was interviewing family members and friends and then deciding what was necessary to go in the book, which, after much structural re-arranging, I felt needed a chronological narrative.
Most of the interviewees had been children in the 1940s and 1950s, and almost without exception, the shock waves from the murder still affected them today and had affected their entire lives – and that of their children, too. As such, I often felt uncomfortable and wondered why I was bringing up something so many of them still found it difficult to talk about who I was.
How long did it take to get it published? It took five years of work before the book was ready for people to read. After publication, I was relieved and pleased to get several supportive emails from those family members, thanking me for what I had done: they felt they could finally talk about something that had been a black hole in their history.
Where do you write? What, if any, distractions do you allow? The everyday life of a journalist is about finding and researching ideas, then pitching them in a way that intrigues an editor. The research and writing are the fun part; getting a paying gig is a challenge!
I tend to write at home, as I don’t like to be too far from teabags, milk, and a kettle, but just as often, you’ll find me at the library. Sometimes I’ll listen to music, as it can give me an energy boost and make me write like a demon, but just as often, I’ll wear noise-canceling headphones so I can have silence. I don’t have a set schedule, but I like to work late when the mood takes me. My wife prefers to write in the early morning, and we often pass each other like ships at night.
What are you currently working on? Most recently, I published a Gourmet Ghosts (Pocket Guide) featuring some wild Los Angeles true crime stories about a Catalina Island pirate, a 1930s “Bonnie & Clyde,” and the rumor that Jack the Ripper was in the City of Angels before he bought death to London.
As for my next book project, it may be another Fairbanks story (a suspicious suicide from the 1970s), but that depends on whether my friend at Fairbanks PD finds anything on microfiche that was in cold storage – literally.
You can find out more at www.thealaskanblonde.com and www.gourmetghosts.com and email him at firstname.lastname@example.org
This last week was the Eighteenth Annual Public Safety Writers Association’s Conference. Among the many accomplished authors there, I spent time with three friends from afar. It is always great to put real-life faces on our Zoom contacts. All three have been generous with their friendship, not to mention being awesome guests on my blog.
Peg Roche – Vicki Weisfeld – George Cramer – Sally Handley
SALLY HANDLEY – South Carolina
My introduction to PSWA came about when George Cramer contacted me to learn how his book, Robbers and Cops, could be considered for our Upstate SC Sisters in Crime Mystery Book Club. I invited George to be our moderator for the second quarter of 2023. In addition to his book, he chose books by two other PSWA members, Donnell Bell, and Michael Black. As a result, many PSWA members attended our monthly book club that quarter. When I learned about their conference, I joined PSWA and registered to participate. I’m so glad I did. The panel discussions have been terrific, and I’ve met so many wonderful writers and public safety professionals. The conference was a great experience. – Sally Handley
Where to find Sally:
M.E. (Peg) ROCHE – Florida
I really enjoy and learn from George Cramer’s blog, and it wasn’t until I read his glowing report of the last PSWA conference that I learned of the Public Safety Writers Association. I immediately applied to join and registered for this year’s conference. Because my novels involve law enforcement characters, and my own experience is somewhat limited, I was thrilled to learn of this untapped resource. In addition, Mike Black wrote a wonderful welcome email to PSWA and encouraged my participation in the upcoming conference; I felt I’d possibly found my niche. This year’s conference has been a great experience, providing me with a wealth of information and the enjoyable opportunity to meet writers who share my goals. – M. E. Roche
Where to find Peg: www.meroche.com
VICKI WEISFELD – New Jersey
Vicki was a member of the conference panel about The Art of Revision. Here she shares some of the panel’s conclusions.
The discussion, moderated by Frank Zafiro, began with a discussion of “pantser” versus “plotter.” While this often comes across as a divide between two groups of authors, in truth, most of those on the panel seemed to adopt a more hybrid approach. The pantsers, who love the thrill of discovery and the spontaneity of their process, sometimes have to take stock of where they are in a story and proceed with a bit more of a plan. The plotters, no matter how detailed their outline or how many post-its and 3X5′ cards they have created, often are open to ideas and directions they could not initially anticipate. Suffice it to say, whatever the chosen approach, the author must work out a way forward through the thicket of fictional possibilities that best suits them.
Much the same goes for editing and revision. Reading the manuscript multiple times, on the screen or aloud, focusing on different aspects (dialog, flow, language), using a critique group or beta reader—whatever it takes to give a manuscript the attention it needs. My novel, Architect of Courage, had numerous readers of all or a portion, plus a review of the policing aspects by a New York City detective whose specialty was terrorism. All this input is essential to shaping the final product like any other research.
Vicki did not mention that her novel, Architect of Courage, was awarded second place in the stiff competition for the best-published novel.
Where to find Vicki: www.vweisfeld.com
The PSWA is an association of writers existing to support people involved in creating content about public safety:
People with public safety careers who write stories, poetry, or non-fiction about their incredible experiences.
Mystery, thriller, and other writers who write about public safety characters and situations.
Publishers, editors, and other professionals
If you wish to learn more about the Public Safety Writers Association, follow this link https://policewriter.com/