VICKI WEISFELD – Shares Her Story

Vicki Weisfeld’s short stories have appeared in leading mystery magazines and various anthologies, winning awards from the Short Mystery Fiction Society and the Public Safety Writers Association. She’s a book reviewer for the UK website, crimefictionlover.com.

The crime/mystery/thriller genre is what I like to read, so that’s what I write. Puzzles, seeing justice meted out, preventing catastrophes. Some thirty of my short stories have been published, and this summer, my first novel, the murder mystery Architect of Courage, comes from Black Opal Books. I especially enjoy stories about ordinary people in difficult situations where they must use their wits and skills in new and unexpected ways. And I like a story with a bit of a lift at the end. Not necessarily a happy ending, but one trending toward better days.

My novel’s protagonist, successful Manhattan architect Archer Landis, is one of those ordinary people. Ordinary, that is because he doesn’t have any martial arts training or obscure weapons expertise. No experience tracking ne’er-do-wells. He is a Vietnam veteran, but his service was decades before this story takes place in the summer of 2011.

People often ask where I get my ideas. The short answer is: everywhere. Real-life events, interesting people, or amalgams of several of them, tricky situations born in my imagination can be an initial spark. Architect of Courage is a 350-page novel that started with a specific imagined situation. I envisioned a married man (Landis) entering his girlfriend’s apartment and finding her murdered. It’s all I had, and I covered it in the first two pages. 348 to go!

The threads that eventually worked their way into the story—his marriage, his troubled relationship with his son, how the police treat him, their suspicions about the dead woman, her faked identity, whom he relies on among his friends and colleagues, the succession of mysterious attacks—all that developed later.

If you know the terms “plotter” and “pantser,” you’ve probably already pegged me as a “pantser.” I could no more plot out all my scenes before I begin, as some excellent writers do than I could fly to the moon. I write by the seat of my pants, letting the story grow organically, and the relationships deepen as it moves forward. I throw in bits of information (potential clues) as they occur to me and keep those that ultimately fit. Yes, it’s a little messy at times, but I enjoy that thrill of discovery.

For example, early in the story, the police show Landis shocking photos of scars on his girlfriend’s wrists, evidence of a serious suicide attempt. He hadn’t known about that. The explanation of the scars isn’t revealed for 258 pages, when it emerges as a significant piece of evidence, totally unanticipated those many pages earlier. I credit my subconscious mind with figuring out that problem and giving me the answer when I could use it!

Truthfully, I do make some efforts to organize the chaos. When I get to a place where I can’t easily answer the question, “now what?” I take a big sheet of paper, write the main character’s name in the center, and array all the other characters around, maybe with a few notes about their conflicts or characteristics. Then I draw lines to show how they intersect. Opportunities for new and unexpected connections emerge and points of possible conflict. Perhaps a superfluous character is revealed—someone with few connections to anyone else. That person may best be edited out!

One strategy I’ve found helpful in moving from short story to novel is to keep a list of “story questions.” I can’t reveal everything upfront; it is a mystery! Unresolved issues may be, “Where did the gun come from?” or “How did he know she’s allergic to shellfish?” Making sure all those questions or clues have answers—artfully buried, I hope—means that when readers reach the end, they feel satisfied. Television programs too often do not do this. The credits roll, and it’s “What just happened?”

Nor can I withhold some key piece of information and plop it on the last page. Readers have to have reasons to at least suspect that two characters are brother and sister, for example. They need “Aha!” moments. As Aristotle pronounced a long time ago, the best endings are both surprising and inevitable.

I’m also asked what it was like to write a male protagonist. I’ve spent a lot of time around confident, assertive men. I know how they act. Landis is a busy, successful professional. He’s not rude, but he’s direct. It saves time. He’s also a mentor to the people working for him in a profession that requires creativity. He can’t squash their inventiveness, and he’s full of praise when it’s merited. Typically, he makes clear his expectations about end results and lets them figure out how to get there.

I did pick over his dialog to make sure it wasn’t laden with weak phrases like “I just want,” “If you don’t mind,” “May I suggest,” and qualifiers like “somewhat” or “kind of,” which I consider waffle-words. If Landis wants something, he says so. And I usually substitute “need” for “want.” There’s a website where you can paste in your manuscript—any length—and run it through an analyzer to find out whether it reads “masculine” or “feminine.” Architect of Courage is “weakly male,” but at least it’s male! I found that aspect of writing this book interesting. Fun, too.

A few words about the publishing journey. Long. Hard. Exhausting. Though I’ve internalized all the advice about crafting pitch letters, synopses, etc., my queries to agents rarely received a response. I gave up on that and turned to smaller publishers who take unagented queries and are open to genre literature, especially crime. Architect of Courage was professionally edited twice. While, on the one hand, I hoped this would suggest to prospective publishers they wouldn’t have to invest a lot of editorial time, on the other, I didn’t want to give the impression I considered the book perfect and would resist their ideas and suggestions.

The best advice I have for wading into the publishing waters is to develop a long—and growing—list of prospects and send queries (strictly adhering to their wildly varying requirements, of course) in batches of three to five. Two weeks later, send another batch. An Excel spreadsheet helps, and save a copy of each cover letter to be sure of what you sent. Having additional prospects in the wings keeps the job from being too disheartening. I handle my short stories the same way. Rejection? Fine. Next! At least it has worked for me thirty times!

Vicki blogs at www.vweisfeld.com.

7 Comments

  1. Valerie J Brooks

    Vicki, thanks for your honesty and tips. Best of luck on the novel!

    Reply
  2. Madeline Gornell

    Great meeting you, Vicki! excellent interview, and love that you’re a “panster” and your thoughts on “ordinary people!” Continued success!

    Reply
  3. Joseph Bryce HAGGERTY Sr

    Wow, what an interesting way to plot your story. I really like writing all the characters on a piece of paper and connecting the dots. Great interview, thoroughly enjoyed it.

    Reply
  4. Michael A. Black

    Having been a fan of Victoria’s short stories for years, I eagerly await her first novel. Congratulations, Vicki and thanks to you and George for providing another great interview.

    Reply
    • Vicki Weisfeld

      Answering interviewers questions make me think about a lot of stuff I just take for granted! Thank you for your kind words!

      Reply

Submit a Comment

Your email address will not be published.

Heidi Noroozy – Traveler, Translator, Writer

OLYMPUS DIGITAL CAMERA

I write multicultural fiction inspired by the places I have visited around the world.

As a student in Leipzig, East Germany, I sampled Hungarian wine at the Auerbachs Keller, the underground restaurant where Johann Wolfgang von Goethe set scenes from his tragic play, Faust. While living in Switzerland, I biked around my family’s Bürgerort (ancestral village), explored the Jura Mountains near Neuchậtel, and never passed up an opportunity to sample Swiss fondue. These days, I regularly travel to Iran, where I have pondered the ancient past amid the ruins of Persepolis, baked translucent bread with Kurdish women in the Zagros Mountains, dipped my toes into the azure waters of the Caspian Sea, and observed the dichotomy of a publicly religious yet privately modern culture. My work has appeared in World Literature Today, Nautilus Magazine, and several anthologies and has been translated into five languages.

What brought you to writing? When I was in college, I studied languages and world literature and wrote stories on the side. When graduation approached, and it became time to put some thought into a career, I decided to combine my two loves, language and writing, and become a translator. I had a vision of translating works by my favorite German novelists. But the reality is that we all have to make a living and, as any writer will tell you, literature doesn’t pay the bills. Not even literary translation. So I became a patent translator and continued to write stories on the side.

Do you write in more than one genre? I write short stories and novels, but the short form is my favorite. I’ve written murder mysteries, capers, thrillers, and political satire. More recently, I’ve begun to write literary fiction as well.

What kind of research do you do? My stories usually begin with a place. I never leave the house without a small Moleskin notebook in my pocket. Perhaps some detail or snippet of conversation will come my way, and I whip out that notebook to jot it down. I’ve written entire travelogues in my little notebook while on extended trips to faraway locations.

Research always gives me a good reason to travel. When writing my short story, “Trading Places,” which was published in the online magazine, Nautilus, I went back to Leipzig for the first time in thirty years to check out locations for my setting. Set in the city’s socialist past, the story is about a graffiti artist who paints satirical political slogans all over town in an attempt to inspire a workers’ uprising, similar to the Polish Solidarity movement. I discovered that the city had changed a lot since my student days, so I enlisted the help of a local friend to scout out places that still held the old socialist atmosphere. And I filled my Moleskin with personal stories I learned from the people I met along the way.

Where do you place your settings—real or fictional locations? I use both real and fictional places. In Trading Places, I set the story in real-life Leipzig, but some streets and businesses no longer exist or have been renamed since German reunification. I am currently working on a novel that takes place partly in New England and partly in Iran. The early chapters are set in a fictional town in Vermont because I wanted the flexibility to alter the setting to fit the needs of the story. The Iranian portion of the story unfolds in two real places (Tehran and Shiraz) and one fictional village on the Caspian Sea. I chose the real places for authenticity, but again I wanted more flexibility for the Caspian Sea setting, so I made up a town. However, it’s based on a real village situated on the shore of the inland sea. I simply added a few features that don’t exist in the real place and changed the name.

The photo is of an Iranian fish market near the Caspian Sea.

How do you come up with character names? I collect names all the time. I keep lists of them on my computer, and when I come across an interesting one, either through my reading or in real life, I jot it down and add it to my list. Websites of baby names are a great resource, especially for foreign names. Often they list the meaning of the name as well. This can be fun when picking Iranian names, which sometimes refer to mundane objects or abstract concepts: Mozhgan (eyelashes) or Arezou (wish). I named one hot-tempered character Atesh (fire) and gave the name Noor (light) to another, who helped the protagonist find what she was seeking.

Has an association membership helped you in your writing? I’ve been a member of Sisters in Crime for many years, and it is likely the reason I am published at all. It is a wonderful group for both support and learning craft. Also, I always run my work past several beta readers, both in a critique group that meets twice a month (on Zoom at the moment) and others with whom I exchange completed manuscripts by email. Many of these readers are people I met through Sisters in Crime.

The former Stasi headquarters in Leipzig, Germany, now a museum.

How can our readers contact you?

Website/blog: https://heidinoroozy.com/
Facebook: https://www.facebook.com/heidi.noroozy
Twitter: https://twitter.com/HeidiNoroozy

My Cold War short story can be read here: https://nautil.us/issue/6/secret-codes/trading-places

 

16 Comments

  1. Glenda Carroll

    This was a fascinating interview. I often use a real place and change it up just enough so readers are kept guessing where it is.

    Reply
  2. Jenny

    Hi, Heidi. So nice to read this interview and learn more about you and your writing process. (I didn’t know that you wrote short stories! Shame on me.)

    Jenny

    Reply
  3. Debra Bokur

    Hi Heidi! I too, collect names and bits of conversation while traveling. I’ve been accused of being a professional eavesdropper in train stations, airports and foreign cafes—but I think it’s part of being a writer. So glad to hear I’m not alone! And, for the record, I love Leipzig.

    Reply
    • Heidi Noroozy

      Hi Debra! Leipzig is a very different city today than it was when I lived there. Much for the better. I go back there on every trip to Germany to revisit old haunts and long-standing friends. I still think of it as my German home.

      Reply
  4. Madeline Gornell

    Glad to meet you, Heidi! So impressed by your traveling savvy, (I’m a poor traveler) and interesting how your traveling and writing intersect! Much success!

    Reply
    • Heidi Noroozy

      Thanks, Madeline! At least you can travel vicariously through books.

      Reply
  5. Alec Peche

    I agree with Heidi that Sisters in Crime is a great organization to further our writing careers. It’s interesting to use real cities in your books as there is so much information on Google Earth and so far I haven’t needed to re-organize a city for purposes of the story.

    Reply
    • Heidi Noroozy

      Yes, Alec, I use Google Earth too for settings. It’s a great resource.

      Reply
  6. Ana Manwaring

    What a fascinating life Heidi has led. I can’t wait to read her books (I’m ashamed to say I haven’t yet) . As alway, George, your blog interviews are interesting and illuminative. Keep ’em coming!

    Reply
    • Heidi Noroozy

      Ana, you will have to wait until I’ve actually published a novel! In the meantime, there are som short stories of mine here and there…

      Reply
  7. Vinnie

    So fun to learn more about you, Heidi. After high school, I was an exchange student in Switzerland. Your travels to Iran really fascinate me.

    Reply
    • Heidi Noroozy

      Vinnie, I love Switzerland! I’m Swiss on my dad’s side and still have some cousins there. A few years ago, I visited my family’s ancestral village. In the archives at the church there, I discovered that my family traces its roots back to the year 800. The Swiss are meticulous record-keepers.

      Reply
  8. Michelle Chouinard

    I also carry a little notebook when I travel, and I love that places tend to be the starting points for your stories! I always mean to jot down names I like, but never seem to do it, I need to get more disciplined about that…

    Reply
    • Heidi Noroozy

      Michelle, I’m afraid that name collecting has become a bit of an obsession for me. No discipline necessary. I’d be lost without my little black book.

      Reply
  9. Michael A. Black

    I envy your ability to read the works of foreign authors in their native languages. I’ve never cared much for translations, due to the fact that so much is dependent on the translator, but I’ll bet yours are first rate. Good luck

    Reply
    • Heidi Noroozy

      Thanks, Michael. For a long time, translation was not taken seriously as a profession, at least in the English-speaking world. That’s changing now and the translations have also improved. Some of the major writer’s organizations, like PEN and the Author’s Guild, support translators. The Man Booker International Prize now recognizes translators as well as authors, which helps raise the profile of the profession and promote good translations.

      Reply

Submit a Comment

Your email address will not be published.

Alec Peche – Author

Our guest today is Alec Peche author of Mystery and Thriller.

Who knows the most about how to get away with murder?

Jill, Nathan, and Angela head to New Zealand and Australia on a trip that is part work and part vacation. Jill is speaking at a forensic conference, while her friends are meeting with wineries to conduct business.

Dr. Jill Quint is a forensic pathologist by training. She left her crime lab to pursue her own winery but was called back by old colleagues to comment on cases. Those referrals expanded into a business where Jill offers second opinions on the cause of death. She also has her PI license and can be hired to investigate a suspicious death. Her friends assist her with cases by bringing their own skills like accounting, interviewing, and social media research. Nathan is her partner and is a world-renown wine label designer.

New Zealand has a reputation as a very safe country, so why are people dying in the cities she visited so far on her trip? They aren’t dying by gunshot or stabbing, rather these are unusual ‘accidents.’ In time, it becomes clear that these deaths are staged as ‘how to get away with murder’ events by a professional.

As Jill and friends transition to Australia, will the killer follow them? Is Jill the final target?

Read Forensic Murder for a crime story set down under.

When did you realize you wanted to write novels? Probably sometime in my 40s after reading a bad book. Throughout my high school and college classes, I was at best an average student, and I hated creative writing. I could rarely think of something to write about when I had to do it for a class.

How long did it take you to realize your dream of publication? In July 2012, I made my first attempt at writing a mystery. I fumbled around looking for a format on what to do. I hit a wall early in that I didn’t know who my characters were or much beyond the story’s premise. I tried software and a few books, but my page was still empty. Then I decided I would just sit down and write a page, then the page became several pages and flowed into chapters and a story. I had no contacts in the writing world, and I felt like my style of writing was cheating as I had no list of characters or an outline. I was a pantser but didn’t know there was such a thing. I finished the book in the spring of 2013, and I had a friend who was my first reader, and she said she enjoyed it. She didn’t tell me it was the best book she’d ever read or that it would be a bestseller. She told me where the holes in my story were. I came out of the business world and had never written more than a three-page memo, so I hired an editor who taught me a little about grammar and style. I published that book in September of 2013. I’ve gone back and re-written it a few times. You don’t use contractions when writing in business, and so I didn’t do that in my first two books. That makes any dialogue stiff, so creating contractions and more casual dialogue was part of the book’s improvements since being first released. I read Stephen King’s memoir ON WRITING and heaved a sense of relief when I learned that many authors don’t outline.

Are you traditionally published, indie published, or a hybrid author? Indie for all 14 books.

Where do you write? Ninety-five percent of my writing is done in my office on a desktop computer in Word. I’ll occasionally write on my iPad, but I like the big screen and mechanical keyboard in my office.

Is silence golden, or do you need music to write by? Silence! My characters are talking to me in my head as I type, and that’s all the ‘noise’ I need to write.

How much of your plots and characters are drawn from real life? From your life in particular? A fair amount of my real life is in my books. My three best friends are the series recurring characters. I worked for over thirty years in hospitals. Not as a physician, but with a lot of physicians over the years. Generally, every book setting is a vacation I’ve taken. I visited Australia and New Zealand two years ago. In FORENSIC MURDER, there are cities in the two countries that I didn’t visit (Wellington, Christchurch, the island of Tasmania), so I used Google Earth to fill in the blanks.

Describe your process for naming your characters? I used to keep a telephone book’s white pages around and randomly pick names. Now, that I have many countries that I set my stories in, I’ll google ‘popular first names or surnames in Israel or Quebec’, and pick a name.

Real settings or fictional towns? A little of both. My protagonist in one series lives in a made-up city in the central valley of California, and my protagonist in my second series lives on Red Rock Island, an actual island in San Francisco Bay.

If you could have written any book (one that someone else has already written,) which one would it be? Why? Harry Potter, the popularity of that book series is quite the empire. Also, it’s a mystery and an adventure. Of course, if I had written it, probably the last two books in the series would have been less dark.

Everyone, at some point, wishes for a do-over. What’s yours? I wished I had picked a different pen name.

What’s your biggest pet peeve? There’s so much strife in the world at the moment, who has the mental energy for pet peeves?

You’re stranded on a deserted island. What are your three must-haves? Another person, a big dog, and shelter.

What was the worst job you’ve ever held? Hand cutting onions at Jack in the Box. I would have to go into the walk-in refrigerator to slow down the tears. To this day, I hate onions.

What’s the best book you’ve ever read? Hard to say. I’ve listened to On Writing 2-3 times, Harry Potter – first in series, Ron Chernov’s Bios of Washington and Grant, JD Robb’s In Death Series. They are all very immersive stories.

What’s on the horizon for you? I’m playing with proposals in my head of starting a new series in Urban Fantasy or Paranormal Mysteries. But first, I need to finish FORENSIC MURDER for its release date of November 2.

Anything else you’d like to tell us about yourself and/or your books? My writing process is evolving. I haven’t hit on the perfect path that works for every book.

Website: www.AlecPeche.com

9 Comments

  1. Susan Kuchinskas

    Interesting. I always enjoy hearing how other authors work.

    Reply
  2. Thonie Hevron

    Well done interview! Glad to get to know you, Alec. Thanks, George for introducing her! Her books look fascinating. Not sure which I choose first.

    Reply
    • Alec Peche

      While it is a series, I encourage readers to start with the most recent as my writing gets better with each book (at least I think it does, lol).

      Reply
  3. Madeline Gornell

    Great “meeting you” Alec. Excellent interview and looking forward to Forensic Murder. On my TBR list. Continued success…

    Reply
  4. Michael A. Black

    A very inspiring interview. It sounds like you’ve found a writing process that works very well for you. Good luck.

    Reply
    • Alec Peche

      Thanks Michael. I think like most writers, how I get to the end of a story is a work in progress.

      Reply
  5. Marilyn Meredith

    Great interview–enjoyed the answers to the questions.

    Reply
    • Alec Peche

      Marilyn,
      George developed the questions. He’s a great interviewer.

      Reply

Submit a Comment

Your email address will not be published.