Thank you, George, for having me on today. I’ve been writing now for twelve years and have to admit it; I enjoy writing. I guess it’s the storyteller in me. My background has helped me come up with ideas, as I spent nearly thirty years in the Air Force in a career field with a mission very similar to the FBI. I spent another eight years as a financial advisor before becoming a full-time writer. Both jobs gave me a lot of insight into people’s behavior.
In all, I’ve had sixteen books published, two more that I’ve self-published, and one that I co-authored with three other writers. I’ve also had a few short stories published in anthologies. Most of my work has been in the mystery or thriller genres. However, I have four fantasy, adventure books published in the juvenile fiction series.
I have never found writing in different genres difficult. It might be because for years, I wrote short stories for my three daughters as they were learning to read and then for my grandchildren.
In the Air Force, I wrote or reviewed hundreds if not thousands of criminal and counterintelligence investigative reports. While none of my books are based on true crime or actual intelligence reports, my experience gave me thousands of ideas and plots.
I have a fairly strict writing process that includes leaving home before eight each morning, finding a spot inside or outside a coffee house, and writing for about an hour and a half. If I can keep this pace, I find that I can produce a 70,000-word book in around nine months. My first book took longer as I lacked discipline and confidence. My advice to any beginning author is to stay with it, despite any initial disappointments. My first book is admittedly my worst edited. I’ve learned since.
Writing at home has always been difficult for me as I find myself too easily distracted by the refrigerator, the television, or some other project that comes to mind. The noise around me at a Starbucks, for example, I can ignore. In fact, I sometimes describe a character after a customer that catches my eye. I sometimes wonder if a lot of authors aren’t people watchers, too.
I never start with an outline, although I often find myself reading what I’ve written after about sixty or seventy pages and taking notes to ensure I haven’t changed names or descriptions of characters or gone too astray in my plot. After that, I try to remember to add to my character list as I go, but I still find myself mixing up who did what or names. When I finish the entire manuscript, I read the entire story and make a number of changes. About the third or fourth time, I feel the story is good enough to have other people read it to identify mistakes or recommend improvements.
My protagonist in my Jim West mystery series, my first series, is a retired Special Agent from the Air Force Office of Special Investigations. While I am too, that is where the similarities between Jim and me (or any other person) ends. Giving Jim a background I could relate to, and have him living in a state where I also lived for years, made the stories easier to write. After writing five books about Jim, I started my second series: the Clint Smith thriller series. I alternate now between the two series.
The Treasure, my newest book, is the fourth book in the Clint Smith series and is set to be released in April. Clint is a “hunter,” the nice word given to him as a job description that more accurately should be government assassin. The small office to which he belongs is so buried under layers of classified cover mission descriptions that only a few in the government know what they really do.
In The Treasure, Clint heads to Las Vegas on vacation after a successful mission in South America to dig up a stagecoach strongbox he had found in the desert earlier but had left unopened. Upon inspection, he finds several well-preserved old documents. He gives the contents of the strongbox to a lawyer to find buyers. One of the documents, unfortunately, creates a maelstrom of violence and murder, and puts Clint squarely in the crosshairs of some Chinese assassins. Clint leaves Las Vegas to keep out of the spotlight, only to find himself going to Alaska in an attempt to rescue a female police officer assigned to protect him in Las Vegas.
I have always been a big reader and have really enjoyed the works of many authors. Some like Ian Fleming, Rex Stout, John D. MacDonald, Robert Ludlum, I grew up reading. Their work still influences me, while I have since moved on to more contemporary authors.
I will continue to write until my eyes, or my fingers go. I do enjoy it, and if your followers choose to read one of my books, I’d love to receive any feedback or comments they may have. My website is www.bobdoerr.com, and I have an author page on Facebook (20+) Bob Doerr – Author | Facebook
Thank again – Bob Doerr
At the age of 25, I stepped off a plane in Bolivia to begin two years of service as a Peace Corps Volunteer. I assumed that connections with the people of South America’s most indigenous country would be easy because I’m Native. The truth was much more complicated. This is my debut book.
Deborah Miranda (Ohlone /Costanoan-Esselen) author of Bad Indians: A Tribal Memoir, said this about the book, “The Indigenous peoples Pike lived and worked with speak loudly from these pages, challenging many of us to check privileges we didn’t know we had, demanding the right to be complex, strong, and human. This book is all heart, all vulnerability, as a young California Indian woman makes family far from home.”
Do you write in more than one genre? Creative Nonfiction is my favorite genre to write in, and by that, I mean memoir and essays. However, I have a few short stories I’ve written. I have a story about a Native Elvis impersonator who dances in powwows in his Elvis regalia.
What brought you to writing? Writing has always been my strategy for dealing with life. Writing in a journal is a mindfulness exercise. I never knew that when I started, but that’s exactly what it is. Writing requires me to focus on the moment I’m in. All the brutally honest writing I filled my journals with helped me develop a clear voice on the page. I learned to write for myself and never thought I’d show my writing to anyone else. An online writing class at Austin Community College helped me have the courage to share my writing with others.
Where do you write? What, if any, distractions do you allow? A library is the absolute best place to write. During the pandemic, I’ve really missed libraries. Not only are they usually bright and quiet with comfortable chairs, but I am also surrounded by books. There is nothing as inspiring as looking up from my writing to see a book that looks terrible and think, “If that book was published, maybe mine has a chance.”
Tell us about your writing process: There are times when I feel inspired to write, or an essay idea pops into my head, but, honestly, deadlines are the thing that makes me actually sit down and write. In Austin, I used to read at a monthly open mike event, and the pressure to produce something good to read terrified me. I was always motivated to get a good five-minute piece ready by the deadline.
What is the most challenging part of your writing process? The very first revision is incredibly challenging. I am comfortable with churning out the crappy first draft. But turning that imperfect lump into a chapter or essay that I might want to show someone else is daunting. My computer is littered with first drafts that I never went back to because I wasn’t sure what to do with them.
Who’s currently your favorite author? Right now I’m reading Toni Jensen’s Carry: A Memoir of Survival on Stolen Land and loving it. It is beautiful, honest, and humorous in a sly way that makes me want to read it slowly to enjoy the stories.
Do you travel and visit the settings used in your work? My book is set in Bolivia during the two years I lived there in the late 1990s. But I did travel back to Bolivia in 2018 while I was writing the book. Bolivia is a stunningly beautiful country, and the trip helped me beef up the descriptions of the landscape and the people. During my return, I also paid attention to how Bolivians speak and revised some of the dialogue in an attempt to more accurately reflect conversations.
How long to get it published? I queried agents for over a year with no luck. Then Heyday Books, a small publisher in Berkeley, California, began accepting submissions after being closed for a while. They liked the book outline I sent and asked for the full manuscript. A few months later, they made an offer to publish the book. In total, I spent about 18 months trying to get the book published before finding Heyday. Then I spent another year and a half working closely with two editors revising the book.
How do you come up with character names? Naming the people in my book was a difficult issue for me because it is a true story. But I didn’t want anyone else who is part of the story to be easily identifiable. For this reason, I changed everyone’s name except my own. I even changed the name of the town. Bolivian newspapers were a great resource for finding realistic names because they are full of quotes by people listing their names.
Do you have subplots? The revision process helped me with the subplots. The editors I worked with pointed out ways that I could strengthen the subplots. For example, there’s a subplot about an important friendship I had with a volunteer from El Paso. In earlier drafts, the description of the friendship was primarily in one or two later chapters. My editors suggested I add scenes earlier in the book to develop those subplots more. They also helped me discover a few subplots that needed to be cut out entirely.
What kind of research do you do? People might think that writing memoirs doesn’t require any research because the author is writing about their life. And it is true that the eight blank journals I filled with my recollections while a Peace Corps Volunteer in Bolivia were the first source of information for the book. But, in my case and that of most memoir writers I know, research was a critical part of the writing process. I read books and academic articles about Bolivia, the Peace Corps, and even about my own tribe, the Karuk. Not all of this research ended up in the book. Still, it helped me better understand the historical context I was writing about.
Looking in the future, what’s in store for you? An Indian among los Indígenas: A Native Travel Memoir came out on April 6th, and I’ll be promoting that during the spring and summer. After that I will be finishing my next book, which details the years after the Peace Corps when I lived in Eastern Mississippi, broke and pregnant, teaching English at a chicken processing plant. The working title for that book is House, Mississippi, although my teenage daughter thinks I should call it Radioactive Chicken Baby.
Order Book: An Indian among los Indígenas: A Native Travel Memoir
How do readers contact you?https://ursulapike.com/
I am a poet.
I began seriously writing when I was seven years old. I remember making my first few lines in the diary. I convinced my paternal grandmother to buy it when we went uptown one day. This was during summer break when we, my sister and I, would stay with her for our annual visit. Beans and tortillas were all we ate, running in and out of the kitchen all day long and back outside, gulping a spoonful each time we passed the stove.
Wanting to write was a conscious choice for me at a young age. The book, Frederick the Mouse by Leo Leonni, was my early inspiration. I learned the power of words to make one whole, feel well-fed, and warm through that acclaimed children’s book. Frederick being a mouse poet, helped his family get through the coldest part of winter with his poems when their stores ran out.
Today I am the City of Madison Poet Laureate and the first Latina in this role. I served one-year as of January 2021. I have published three of my own collections of poetry and have a new one coming out soon. I have edited and co-edited books, journals, and zines, including the Spring 2019 edition of the Yellow Medicine Review. I went back in 2015, in my late forties, to get my MFA in poetry from the Institute of American Indian Arts in Santa Fe, New Mexico. I graduated in May 2017.
I also serve as the vice-chair on the Wisconsin Poet Laureate Commission and help pick the state’s poet laureate biennially. I consider myself a literary ambassador in my role as poet laureate. Balancing my volunteerism, writing, appearances, and readings with my full-time job takes some organizing. It helps to have a partner who is an artist as well. We recently made Sundays full art days in our house.
Do you write in more than one genre? I do write in other genres, earning two Pushcart nominations, one for an essay and another for a poem. I write short stories, sci-fi and am working on a memoir right now. I took a class with IAIA alum David Tromblay in Fall 2019 and got a good start on my memoir. Poems are my favorite, though.
Tell us about your writing process: Everything for me starts in longhand. I edit on my computer. When I get stuck, I move it back to the page and write it out in longhand to figure out what went wrong in the editing process. I write in my body: hand to wrist to arm to core to heart to brain and back. I write fast on the page and have long practiced automatic writing. My pen always ahead of my brain, my conscious self. I am often surprised by what comes out on the page. The pen admits what I have been avoiding. That’s when writing gets exciting when you are a conduit of sorts and along for the ride. Sometimes lines come to me at night when I am dreaming. I do edit my poems voraciously and enjoy the rigorous process. I think this is where the real writing is now, in the editing. I find inspiration easy, but then I need to work with what I have created and sculpt it on the page until I am satisfied with form, white space, and sound. Poems take you where they want to go and are not done until you have read them in public. I read my poems aloud as I edit, but they sound different in my study than they do at a venue with actual people present. I do not consider a poem done until it has been shared orally with others. When I was a younger poet, I tried out poems at open mics to test them. Now I can record them and listen back, but it is still worthwhile to share them with others for final edits, in my opinion. Poems sound different when you read them to a live audience that one word makes a difference.I also think it is important to read other poets’ work, old and new. I like the idea of poets in conversation with each other across time and space and genre. Some of my poems are in direct response to another poet’s poem I heard them perform or something I read in print or online. I learned in graduate school that I love theory and continue to study. Listening to poets and writers read their work is a real pleasure for me. How you hear the words in your head versus when it is a public performance is enlightening. I listen to poetry readings, lectures, or conversations with writers when I cook these days or travel to visit my family in Chicago or Milwaukee.
What are you currently working on? I just received my contract from Finishing Line Press for my newest collection, My People Redux. This is the 2nd half of my master’s thesis. In Light, Always Light, also published by FLP in May 2019, was the first half. I graduated in May 2017 and spent a long year re-working my poems. In Light, Always Light, accepted in August 2018, was a finalist for their New Women’s Voices Award.
Concurrently, I am working on another collection of poetry that focuses on the history of us humans. This involves research. I am enjoying the process and taking my time. Some of these poems are published, and some are still being edited. I need to continue to push them out into the world. I was also working on my memoir in fits and starts.
In my role as the poet laureate for the City of Madison, I will be judging the annual Bus Line Poetry contest soon. I have many upcoming scheduled readings for a book I just published under my small press Art Night Books in November 2019 called, Through This Door – Wisconsin in Poems. This is a collaboration with the most recent state poet laureate, Margaret Rozga. The book took us over a year to put out and is the second time we have published a collection together. I served as co-editor for this collection in addition to being the publisher, and we have had a good response. Twice we have been on the radio, NPR stations, and I have logged many hours at the post office mailing books out across the state and country. We had to go back to the printer three times now.
I consider myself a literary ambassador as a poet laureate and this has opened up many doors for me. I want to continue to do that for other writers. We need community and support. I would not be where I am today without the networks I found all along the way. Nor, without people sharing opportunities with me and freely offering up what they know, and being generous. I believe in the power of art to heal, connect and create community. It is a record of our lives and our history. I am so happy to be on this journey at this moment in time.
Here are comments about my work by two poets I admire:
The poems of In Light, Always Light afford space for the lyric to clarify and delineate the self “… through the ravine to the seam / the V peak of the hills / where dappled light spills / between rocks and discarded beer cans.” Here Angela Vasquez presents poems that struggle to contend with family history, a history of diaspora and relation, of assertion and insistence that the reader and the poet must bring to bear the imperative of “yes, yes fight back.” The poems travel, as we do, to observe the poet in the eternal dimension where one must write, and read — “Let me sit in sadness for a spell. / I need to write this out.”
–Joan Naviyuk Kane, 2018 Guggenheim Fellow
The poems in Angie Trudell Vasquez’s In Light, Always Light honor the illuminating power of poetry, but they also speak eloquently of racial injustice and the dark “inherited grief” that is its offspring. These are poems of history, endurance, and remembrance. They vividly story the strength and survival of migrant ancestors “who built railroads / with broken backs” or shared “mole recipes on parchment.” In those relatives “passed. . .to vases of bone and ash,” Vasquez recognizes the fleeting quality of human reality. Like our forebears, we are mere “half blinks of history,” “we are magic dying.” But in this volume, Vasquez offers her ancestors colorful and enduring literary lives. “Poets,” she writes, “resist the death of a people” and “beyond death, art speaks.”
Kimberly Blaeser, author of Apprenticed to Justice, Wisconsin Poet Laureate 2015-2016
If people want to connect with me, the best way is email: email@example.com
My website is www.angietrudellvasquez.com, and my small press website is http://www.artnightbooks.com
I’m a graduate of the Institute of American Indian Arts, Santa Fe, New Mexico, where I’m taking a continuing education course entitled Indigenous Literature. In our last assignment, I read Linda Legarde Grover’s poem “Everything You Need to Know in Life You’ll Learn in Boarding school.” It hit me like a sledgehammer driving a spike into a railroad tie. After my comments, I’ve included Ms. Grover’s work in its original format and full length.
For most of my life, I knew little of my heritage other than there was German on my mother and father’s sides of the family. The little I knew of my indigenous heritage came from my father. He was born and raised in Siskiyou County before his father died. Twelve years old, he had to quit school and get a job. Dad was Indian on his mother’s side—he looked it—a member of the Karuk Tribe of California.
Applying for a job, the supervisor said, “Kid, you look like an Indian. Are you one? I don’t hire no Indians.” He responded that he was white. He got the job. He remained white and assimilated for several decades. If you think that’s bad, sad, whatever, his story was nothing compared to the U.S. and Canadian governments’ programs that forcibly removed indigenous children from their families and placed them in boarding schools.
The children’s hair was cut to white-man standards. They were beaten if they spoke their native language; English was the only language allowed. The boys were taught farming and the girls how to be domestic helpers. These schools were in existence from the 1880s through the 1930s—some vestige remained until 1978. An 1893 court ruling kept Indian children in boarding schools until 1978. With the passing of the Indian Child Welfare Act, parents gained the right to deny their children’s placement in off-reservation schools. The photos are of three indigenous boys before and after arrival at a boarding school.
These boarding schools—reeducation camps—were worse than the internment camps of World War II in the treatment of the confined.
Here’s what Army officer Richard Pratt, founder of the first federal Indian boarding school, Carlisle Indian Industrial School, said in a speech in 1892 when he summarized the government’s philosophy as “kill the Indian…save the man.”
The United States’ official policy was to eradicate Indigenous culture by forcibly separating Native children from their parents and making them white on the inside and easier to eliminate.
Everything You Need to Know in Life You’ll Learn at Boarding School
Speak English. Forget the language of your grandparents. It is
dead. Forget their teachings. They are ignorant and unGodly.
Cleanliness is next to Godliness. Indians are not clean. We will
teach you to be clean. You will never amount to anything. Stand in
line. You will practice proper hygiene. This is a toothbrush.
Hang it on the hook next to the others. Do not allow the bristles
to touch. This spreads the disease that you bring to school
from your families. Make your bed with mitered corners. A
bed not properly made will be torn apart. Start over. The boarding
school feeds and clothes you. Remember and be grateful.
Say grace before meals. In English. Don’t cry. Crying never
solved anything. Write home once every month. In English.
Tell your mother that you are doing very well. You’ll never
amount to anything. Answer when the teacher addresses you.
In English. We do not recommend visits to your family. If you
visit your family in the summer, report to the matron’s office
immediately upon your return. You will be allowed into the
dormitory after you have been sanitized and de-loused. Busy
hands are happy hands. Keep yourself occupied. You’ll never
amount to anything. Books are our friends. Reading is your key
to the world. In English. Forget the language of your grandparents.
It is dead. We forbid you to speak it. If you are heard
speaking it you will kneel on a navy bean for one hour. Don’t
cry. Crying never solved anything. We will ask if you have
learned your lesson. You will answer. In English. Spare the
rod and spoil the child. We will not spare the rod. We will
cut your hair. We will shame you. We will lock you in the
basement. Learn from that. Remember and be grateful.
Speak English. You’ll never amount to anything.
Linda LeGarde Grover is an Anishinaabe novelist and short story writer. An enrolled member of the Bois Forte Band of the Minnesota Chippewa Tribe, she is a professor of American Indian Studies at the University of Minnesota Duluth.
For more information on the government death of a race by forced assimilation visit these URLs and watch the film Where the Spirit Lives
We have Beatrice Szymkowiak here to tell us about poetry.
Beatrice and I are alumni of the Institue of America Arts. We graduated with MFAs in 2017. Hers in poetry, mine in fiction writing.
My research includes environmental literature, Indigenous contemporary poetry, and translingual literature. I am also particularly interested in Caribbean literature.
I am currently working on my creative dissertation, entitled B/RDS, a poetry collection that questions the Western heuristic approach to nature, and that has for a starting point, the iconic Birds of America by John James Audubon.
Book title and blurb and any comments about any other of your books:
Red Zone (Finishing Line Press, 2018) explores the WWI environmentally ravaged landscapes of my childhood.
Praise for Red Zone;
“Before the shrapnel, before the night in hell on the way to hell, and after that night, too, we were: ‘naming the woods.’ RED ZONE does a lot of things, but it also draws our eyes to the risk of our own departure. Description, sure. Timing, of course. But cognition and argument also? Szymkowiak makes me want to read more.” Joan Naviyuk Kane
Joan Naviyuk Kane is the author of several poetry collections: Milk Black Carbon, The Straits, The Cormorant Hunter’s Wife, Hyperboreal, Milk Black Carbon, and forthcoming Dark Traffic. She is the recipient of multiple awards, fellowships, and prizes, including a Whiting Writer’s Award, the Donald Hall Prize in Poetry, a Guggenheim Foundation Fellowship, and an American Book Award.
“In a complex meditation on the destructiveness of war and the persistence of nature, poet Beatrice Szymkowiak explores France’s Zone Rouge, the area so devastated by war that people are still forbidden to enter, where things still blossom and explode. Where “crows burst” above the land of “unexploded explosives.” Where “slow soil & / shrapnel” yield to “a murmuration of starlings.” In the long poem “Fleury-Devant-Douaumont,” the page itself becomes the zone, mined & grenaded & shrapnelled by words, words that begin to merge, becoming neologisms of compost—”betweenroots,” “shrapnelspades,” “inboots.” In the end, despite human interventions, “yellow-bellied toads frogs salamanders / crested newts thrive” and “corpses tuber / into russets.” Szymkowiak has written a crucial book, especially critical as the entire globe quickly becomes a Red Zone.” Jon Davis
Jon Davis is the author of several poetry collections, including Improbable Creatures, Preliminary Report, Scrimmage of Appetite, and Dangerous Amusements. He is the recipient of a Lannan Literary Award in Poetry and the Peter I.B. Lavan Prize from the Academy of American Poets.
Do you write in more than one genre? I do write poetry and non-fiction
Tell us about your writing process: My writing process varies following the projects. However, I often start a poem with a list of words, images, and an idea or a conceptual arch. Once I have a first draft, I revise until I feel that the poem does or evokes what I wanted it to do. Then I let it aside for a while and go back to it for additional revisions. This pause between two revision processes is necessary, as it creates a new perspective on the poem.
What is the most challenging part of your writing process? The very first word of a poem!
What kind of research do you do? As my poetry work often incorporates non-fiction, I do extensive research: reading essays, articles, historical documents, watching documentary films, etc.
Looking to the future, what’s in store for you? I am interested in writing more non-fiction, and I have recently developed an interest in epic poems. But you never know what might come up!
How do our readers contact you?
My website: https://szymkow9.wixsite.com/bszymkowiak
Twitter account: @OhOldOcean
Buy your book?
I read to discover, to learn, and to be astonished.
Ed Miracle writes sociological science fiction. He lives with his wife in an adobe house they built together in Northern California. Ed is a university graduate who served six years in the U.S. Navy Submarine Service. Now retired from his computer systems career at Lawrence Livermore National Laboratory, Ed continues to support his community as a volunteer firefighter and emergency medical responder.
My novel, Maker Messiah, begins when a fierce young man unveils a Trojan horse technology that empowers ordinary citizens to subvert the world’s power elites. All of them. Overnight. Are his 55 million Maker machines destroying civilization, or is he a secular messiah bent on lifting humankind out of our existential ruts? More than a tale of survival, Maker Messiah explores the motives, possibilities, and intensely personal outcomes that arise from one man’s quest for his perfect revenge.
It has come to my attention that many novels are not really – at least not very – novel. Even science fiction has turned dark and fearful, too often derivative or predictable. Where did our visions for a better world go? Maker Messiah is one answer that over 3,000 readers are now pondering. Check it out and add your reviews at http://www.amazon.com/dp/b07wzgnlbv (This story is not religious.)
Years ago, I joined Tri-Valley Writers Club, a local affiliate of California Writers Club, to find a critique group. Forming a sci-fi gang-of-two that expanded to four improved everything about my writing and added three good friends to my life. Not all critique groups are as happy as ours. Still, I recommend every writer regularly swap chapters or stories with other active scribblers. Unless you’re in a bar, then don’t.
I believe writing, as an unnatural act, should be indulged behind closed doors. If only to avoid getting caught with that cute little adverb on your lap. I can’t imagine delivering an unwritten, unpracticed speech, so I plan what I write. Not to limit the possibilities so much as to corral my impulses. If I need to get somewhere, it helps to see a destination with guideposts along the way, especially when detours pop up.
I re-wrote Maker Messiah from scratch five times, not counting multiple edits. I was so relieved to complete the first version, I hoped the product of my long labors would . . . work. Beta readers said it didn’t. I was disappointed, angry, determined to do better, so I got serious. I bought and read Everything About Writing. Basically, through draft after draft, I taught myself what worked and what worked better. A publisher read my third draft and suggested re-writing from a different character’s viewpoint, which I did in six months. “Sorry,” my crit group said, “It’s not that person’s story. It’s this other guy’s.” Back to square four. Moral: it ain’t good enough until it’s way better than good enough. Then push some more. If it’s not everything you’ve got, you’ll only cheat yourself.
Here are my essential writing guides:
- The 10% Solution, Self-editing for the Modern Writer by Ken Rand (My editing bible)
- Story Genius, How to Use Brain Science to Write a Riveting Novel by Lisa Cron
- Damn Fine Story, Mastering the Tools of a Powerful Narrative by Chuck Wendig
- Fire in Fiction by Donald Maas
- Characters & Viewpoint by Orson Scott Card
- Writing Tools, 55 Essential Strategies for Every Writer by Roy Peter Clark
- Deep Point of View by Marcy Kennedy
- Internal Dialog by Marcy Kennedy
Since publishing Maker Messiah, I’ve gathered a fistful of my smaller yarns, a mix of fiction and true events, between the covers of Short Stories with Long Tails. These include “Submarine Dreams,” my award-winning reply to the question, “What’s it like out there on a nuclear submarine?” http://www.amazon.com/dp/b0859r88ys
Finally, readers of this blog may contact me directly by email at firstname.lastname@example.org Flattery and supplication indicate good taste; insults are accepted only if they make me laugh.
This week, I revisited a few posts from bygone years. The oldest post was February 28, 2013. Here is what I wrote way back then:
Yesterday I glanced at the cover of a recent issue of AARP’s magazine. There on the cover was the “Hook.” Find the Work You Love!
Today is an anniversary of sorts. One year ago today, I was laid off from a great job. I have found work I love, writing, however so far sans pay. It would be nice to find a paying job.
I had to look at the article. Maybe this can help me find something that pays?
The article presents several senior citizens’ stories but is primarily about two women, Maz Rauber and Amy Reingold. The two write “juicy novels for young adults” under the pseudonym Ella Monroe.
They have an exciting and inspiring tale about the job they love. If you visit this URL, you can read the article and watch a video interview of the duo.
In the eight ensuing years, a lot of water has passed under the bridge (cliché alert). I accepted the reality of age discrimination and gave up looking for a new job, earned an MFA, and published my debut novel, The Mona Lisa Sisters.
The URL for the article no longer works. I did find a URL (https://us.macmillan.com/author/ellamonroe/) for Ella Monroe but did not locate the interview.
There were two comments left, one by my best friend Jim Kennemore, who passed away last year. I miss him every day.
The other by my youngest daughter, Katie Cramer Rosevear, who has been an inspiration to me. She is a successful businesswoman, give her a visit at http://www.lolaandivy.com
Watched the video…Interesting. So you want to collaborate on a book? Just kidding. You know I think if you are serious (and I believe you are), I think you ought to write and submit some short stories to different publications. The pay might be small, maybe nonexistent, but if you can get published, you begin a resume. I thought about submitting that D.C. story of mine to HOG magazine a few years ago, but it was way too long…anyway, good luck with it all…JAK
Katie Cramer Rosevear:
Happy one year of writing, Dad! Thank you for inspiring me every day! Xo
Her new romantic comedy mystery, Temporarily out of Luck is the third in the Hattie Cooks mysteries and follows Temporarily Employed and Temporarily Insane.
Here’s a bit from TOOL: Great job. What man? And murder. Newly employed at Wedding Wonderland, Hattie Cooks is learning the industry from a woman she greatly admires. When her former brother-in-law is found dead in his luxury SUV, all fingers point to Hattie’s sister, who is planning her own I Dos.
Detective Allan Wellborn is caught between a rock and a hard place—Hattie’s family and investigating the murder of a well-connected Sommerville resident, the same loser who was once married to Hattie’s sister. Determining who’s the bad guy—or gal—isn’t going to be easy and sure to piss off someone. Can Hattie beat the clock to find out who murdered Tracey’s ex before she is charged with the crime and her wedding is ruined?
Where do you write? What, if any, distractions do you allow? I start my day with an early workout, eat breakfast, shower, and am usually working at my desk by 9-ish. I get all the nuts and bolts out of the way, then move to writing. I like music in the background, like classical guitar, Simply Frank, 70’s. My two malt-poos plop on the couch but sit up when I move about in case they might miss something.
Who’s currently your favorite author? In my early mom years, I discovered Dick Francis and have followed on to Felix Francis, who I met last year at Bouchercon—a fun thrill for me. I like Sophie Kinsella, Marian Keyes, Jill Mansell, Carl Hiassen. And revisit Emilie Loring, Mary Stewart.
How long did it take you to write your first book? I tackled my mystery head-on and had a good draft in less than a year. I subbed to some contests and did well. I met my critique partner in my local RWA chapter, and we traded work. She changed my life with her six 800-word short stories for Woman’s World magazine. I got the rhythm and wrote my own shorts. Soon I was subbing stories and sold lots. I still like writing them and have indie pubbed several collections. After a while, I tackled my mystery with new eyes and was offered a contract.
Do you base any of your characters on real people? Lordy, the things people say, what they wear, what they look like! These details make characters really come alive and not be paper dolls. My sons live in fear they might do something and end up in my book (and yes, they have. LOL.).
What is the best book you ever read? I’ve only read two books and then instantly reread them—A Knight in Shining Armor by Jude Devereaux and Come to Grief by Dick Francis. Rebecca by Daphne du Maurier is up there. In eighth grade, my English teacher assigned our class to read a book and give an oral book report. I was terrified! However, I managed, and afterward, the teacher told me I could have read a more challenging book. I asked my friend what she read. She said, “Rebecca.” That book pushed me into reading more adult books, specifically Agatha Christie.
A little bit about Vicki: Funny, sweet, and quirky, Vicki Batman’s stories are full of her hallmark humor, romance and will delight all readers. She has sold many award-winning, and bestselling romantic comedy works to magazines and, most recently, three humorous romantic mysteries. An avid Jazzerciser. Handbag lover. Mahjong player. Yoga practitioner. Movie fan. Book devourer. Cat fancier. Best Mom Ever. And adores Handsome Hubby.
Find Vicki Batman at:
Author Central: https://www.amazon.com/author/vickibatman/
Sheldon Siegel is the New York Times, USA Today, and Amazon best-selling author of the critically acclaimed legal thriller series featuring San Francisco criminal defense attorneys Mike Daley and Rosie Fernandez.
Sheldon is the author of the thriller novel The Terrorist Next Door featuring Chicago homicide detectives David Gold and A.C. Battle. Sheldon’s books have been translated into a dozen languages and sold millions of copies worldwide. A native of Chicago, Sheldon earned his undergraduate degree from the University of Illinois in Champaign in 1980 and his law degree from the University of California-Berkeley in 1983. He specializes in corporate and securities law with the San Francisco office of the international law firm of Sheppard, Mullin, Richter & Hampton LLP. Sheldon began writing his first book, SPECIAL CIRCUMSTANCES, on a laptop computer during his daily commute on the ferry from Marin County to San Francisco. A frequent speaker and sought-after teacher, Sheldon is a San Francisco Library Literary Laureate. He is a former member of the National Board of Directors and the Past President of the Northern California chapter of the Mystery Writers of America, and an active member of the International Thriller Writers and Sisters in Crime. His work has been displayed at the Bancroft Library at the University of California at Berkeley. He has been recognized as a Distinguished Alumnus of the University of Illinois and a Northern California Super Lawyer. Sheldon lives in Marin County with his wife, Linda, and a 17-year-old tabby cat named Betty. They also have twin sons named Alan and Stephen. He is a lifelong fan of the Chicago Bears, White Sox, Bulls, and Blackhawks. His twelfth Mike Daley/Rosie Fernandez story, FINAL OUT, was released on January 26, 2021. He is currently working on his next novel.
What brought you to writing? I always wanted to be a writer, but I don’t know why. I’ve discussed this with other writers, most of whom have said that it seems that there is something hot-wired into our system to try to tell stories. It’s a bit presumptuous for us to think that we have something interesting to say. I have no formal training. I studied accounting in college at the University of Illinois, and I’ve been a corporate lawyer with a big law firm in San Francisco for more than 35 years. I have never handled a criminal case (not even a parking ticket), but I’ve written twelve best-selling novels about murder trials. I like to tell people that I’m a fraud on multiple levels.
Where do you write? What, if any, distractions do you allow? When I was practicing law full time, I used to write on a laptop computer on the ferry between Marin County and my firm’s office in San Francisco. I no longer work full-time, so I do most of my writing at home in the spare bedroom in our house. It’s a great luxury to be able to write almost full-time.
Tell us about your writing process: I start with a light outline. It helps me to know the beginning and the ending. I write a series, so I know that the books will feature Mike Daley and Rosie Fernandez and will be set in San Francisco. I outline in greater detail about 50 pages ahead of wherever I am in the story. I try to write to the end of the outline, and then I outline another 50 pages. I generally try to write straight through from beginning to end, but I sometimes skip ahead and write the ending. I spend about 50 percent of my time on the first 100 pages because if I make a mistake in the early part of the book, I’ll pay for it later. Once I get to the midway point in the book, I don’t stop until I get to the end. I tend to write long and cut. I usually do at least six full drafts. The first draft takes about eight months, the second about two months. The remaining drafts take a couple of weeks.
What is the most challenging part of your writing process? I’m self-taught, so I find plotting to be challenging. First drafts are more difficult than second and third drafts. There’s nothing scarier than looking at a blank sheet of paper. Once I have something in the computer, I know that I can go back and fix it.
Has an association membership helped you or your writing? I have been a member of MWA, Sisters in Crime, and International Thriller Writers for years. I served on the national board of MWA and as the president of the Northern California Chapter years. These organizations provide a supportive environment for writers since we spend so much of our time in front of our computers.
How long did it take you to write your first book? It took three years. I had the idea for my first book, Special Circumstances, for about ten years before I started writing it. I took one creative writing class at Book Passage in Corte Madera, which was very helpful. Then I worked on the book in short increments on my commute to work and late at night.
How long to get it published? I got very lucky. When I finished the manuscript for my first book, I was introduced to an agent who was friends with one of the attorneys at our law firm. She agreed to read the manuscript as a favor to my colleague. The agent liked the manuscript and agreed to represent me. She submitted it to multiple houses in New York, and they liked it. Two weeks later, I had a two-book deal with Bantam for a six-figure advance. The chances that this would happen again are one in a million, so I am very grateful.
We hear of strong-willed characters. Do yours behave, or do they run the show? My characters have minds of their own. At times, I feel like I’m just a stenographer. That’s why my outlines are so light—my characters tend to misbehave, and they rarely follow the plotline that I’ve started.
Do you try to make the antagonist into a more human character? Yes. Good guys are interesting when they have flaws, and bad guys are interesting if they have some positive elements. Characters who are all good or all bad are one-dimensional.
Do you have any advice for new writers? Read a lot and write a lot. Work on your craft so that you can make your story as good as it can be. It’s fine to read a few books about writing, but it’s better to spend your time writing than reading books about writing. I would recommend Bird by Bird by Anne Lamott and On Writing by Stephen King.
How do our readers contact you?
“The Felony Murder Rule is a real winner.” Michael A. Black
Thonie Hevron is a retired 911 dispatcher who makes her home in Petaluma in the Sonoma Wine Country, California with her husband, Danny. When not writing, Thonie rides horses and enjoys traveling. Her work has appeared in Beyond Borders: 2014 Redwood Writers Anthology and Felons, Flames and Ambulance Rides: Public Safety Writers 2013 Anthology. She is the author of four award-winning mystery/thriller novels, By Force or Fear, Intent to Hold, and With Malice Aforethought, are currently available on Amazon but will be re-published by Aakenbaaken & Kent (A&K) in the future. A&K has published the fourth mystery, Felon with a Firearm.
Please tell us about Felony Murder Rule and any comments about any other of your books: All the titles are elements of the main crime. My newest book is titled, Felony Murder Rule, which mandated a sentencing enhancement for felonies committed in which a homicide results. In 2018, this rule was abolished in California with one exception. The book takes place in 2018 before the court ruling. Meredith and Nick are tossed into a decades old crime involving her father. The clock is ticking as rival criminal factions jockey to use her to find a cache of stolen money.
At home one night, sheriff’s detective Meredith Ryan surprises an intruder leaning over her baby’s crib. Unable to catch him, she launches a dangerous journey to protect her family. The death of her father the next day steers her onto a path of deceit and mystery where the two incidents are connected by the mysterious man in her nursery. With Nick, her husband, they unravel her father’s involvement in a robbery/homicide years ago. To find the hidden loot, competing crime rivals plot to use her family as bargaining chips. Meredith and Nick must find the truth in the next 24 hours before the criminals close in on her family.
My series is called the Nick and Meredith Mysteries, but they’re really more thrillers than classic mysteries. They are stand-alones but follow Sonoma County Sheriff’s detectives on different cases. In By Force or Fear (an element of stalking), Meredith is stalked by a judge while she tracks a killer. Intent to Hold (an element of kidnapping) follows Nick and Meredith as they go to Mexico to rescue a relative being held hostage by a cartel. With Malice Aforethought is a necessary component of murder and a homicide is what the detective partners are investigating when they stumble upon a militia with violent plans.
What are you currently working on? I’m currently re-editing my first book, By Force or Fear. My current publisher, Aakenbaaken & Kent, has committed to re-publishing the three previous Nick and Meredith Mysteries. I want it ready when he hollers for it. They are currently on Amazon and self-published.
Has an association membership helped you or your writing? Yes, as a matter of fact. I belong to two such organizations. First, I joined the Police Writer Association back in 1997 or so when I first began to write seriously. It’s morphed into the Public Safety Writers Association. The thought of a bunch of police/fire/medical emergency personnel writing was captivating. Writing is a solitary enterprise—or at least, it used to be. The bottom line is you get what you give: I’ve gotten so much from these members. Expertise and experience sharing, networking, and building relationships with professionals from across the continent (including Canada). Sometimes, it’s just a shoulder (Marilyn, did you hear that?), but I found a terrific mentor and some darn good friends in this group. The second, Redwood Writers is my local writers club. Through membership and volunteering, I found out about goal setting, marketing strategies, immense help with the writing craft, and again, building relationships.
We hear of strong-willed characters. Do yours behave, or do they run the show? My first novel took me almost a decade to write, so I was pretty clear on who was going to do what. By the time I was underway with the second manuscript, I had a plan, but these darn main characters decided to hijack the story. Originally, Nick and Meredith were partners and not supposed to fall in love. But things being what they are, in Intent to Hold, their feelings for each other emerged. By the third story, With Malice Aforethought, they both knew a relationship was unavoidable. So yeah, they tend to run the show.
Do you base any of your characters on real people? Funny, people ask me that all the time. Most of my characters are a mash-up of people I’ve known throughout my career in law enforcement. The criminal types are complete fiction, but the cop and civilians are part ‘so-and-so’ with a dash of ‘that guy.’ The only exception was a peripheral character in Malice. One of my readers recognized him (we had both worked with him), and we got a good laugh. He’d passed away at that point.
Do you outline, or are you a pantser? I’m an inveterate outliner. I like structure, and in mysteries/thrillers, the author has to intersperse clues and red herrings in appropriate places. I don’t like to go back and do it, so I plan them out. But, as I said above, sometimes the characters have their own agendas and take over the story. Thank God for computers. I’d hate to have to do all that on a typewriter.
What is the best book you ever read? Hands down, Larry McMurtry’s Lonesome Dove. It has everything: drama, history, humor, romance, physicality, and horses.
Looking to the future, what’s in store for you? I’ve got another book percolating while I do my edits. It will be a new set of characters that I hope readers will be equally fascinated with. For now, it’s set in Ireland. I’ve never been there, but once Covid 19 is under control, I plan on traveling there and anywhere else where I can persuade my husband to go. He’s ready, too.
Comment by Michael A. Black: Thonie Hevron’s latest novel, The Felony Murder Rule, is a real winner. The engaging characters had me rooting for Meredith and Nick all the way through this complex case that involves a crime from the past that comes to roost in the present. Ms. Hevron’s smooth and elegant writing style, combined with the intricate plot and excellent characterization, makes it a very pleasant reading experience. ~ Michael A. Black, author of Legends of the West, Dying Art and Cold Fury in the Executioner series (as Don Pendleton), and Gunslinger: Killer’s Brand (as A.W. Hart).
Where can our visitors contact you or buy your books?
With Malice Aforethought,
Intent to Hold
By Force or Fear
Felony Murder Rule
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