If you are interested in blogging or want to promote your book, please contact E. B. Davis at writerswhokill@gmail.com.














October Interviews
10/2 Debra H. Goldstein, Two Bites To Many
10/10 Connie Berry, A Legacy of Murder
10/17 Lida Sideris, Double Murder or Nothing
10/23 Toni L. P. Kelner writing as Leigh Perry, The Skeleton Stuffs A Stocking
10/30 Jennifer David Hesse, Autumn Alibi

Saturday Guest Bloggers:
10/5 Ang Pompano
10/12 Eyes of Texas Anthology Writers
10/19 Neil Plakcy

WWK Bloggers: 10/26 Kait Carson

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Congratulations to our writers for the following publications:



Lyrical Press will publish Kaye George's Vintage Sweets mystery series. The first book, Revenge Is Sweet, will be released in March. Look for the interview here on 3/11.

Shari Randall will be writing again for St. Martin's, perhaps under a pseudonym. We look forward to reading Shari's Ice Cream Shop Mystery series debuting next year. Congratulations, Shari!

Susan Van Kirk's A Death At Tippett Pond was released on June 15th. Read E. B. Davis's interview with Susan.

KM Rockwood's "Frozen Daiquiris" appears in The Best Laid Plans: 21 Stories of Mystery & Suspense, edited by Judy Penz Sheluk. The anthology was released on June 18th.


Fishy Business anthology authors include KM Rockwood, Debra Goldstein, and James M. Jackson. This volume was edited by Linda Rodriguez.


Please read Margaret S. Hamilton and Debra Goldstein's short stories (don't ask about their modus operandi) in a new anthology, Cooked To Death Vol. IV: Cold Cut Files.


Warren Bull's Abraham Lincoln: Seldom Told Stories was released. It is available at: GoRead: https://www.goread.com/book/abraham-lincoln-seldom-told-stories or at Amazon: https://tinyurl.com/ydaklx8p

Grace Topping's mystery, Staging is Murder was released April 30. It is now also available in audio.

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Tuesday, October 22, 2019

Beware the Midnight Train



Every community has its local legend, and my small town in Middle Georgia is no exception. Cochran has always been a sleepy little farming community, dotted with cotton fields and catfish ponds. When I was growing up, the railroad used to cut through the swamp behind my house, and on summer nights I’d hear its keening wail and imagine it was some mysterious animal.

I wasn’t the only one to mythologize the midnight train. My friends and I made up stories about it — where was it going? where had it been? who rode those rails through the humid night, anonymous behind the glass and steel? — and imagined a life beyond the red clay ditches. Perhaps this was the reason for the legend that sprung up about the railroad tracks, our parents and grandparents sensing the lure of the outbound train. Perhaps it is they who first started the stories of Huggin’ Molly. Or perhaps her story really is true and has, having passed from mouth to mouth down the railroad line, become legend.

All I know is this: on moonless nights, when the train would come through, if you stood close to the tracks you could hear her crying for her lost lover. Her sobbing would mix with the train whistle. And then you’d better hide. You’d better move as far away from those tracks as you could get. Because even though Huggin’ Molly looked like any other woman, she always wore mourning clothes topped with a long black veil — and a sailor hat. And she had arms so long that she would snatch you right up off the side of the road, snatch you into her relentless embrace, snatch you onto the midnight train. And your scream would mingle with the banshee whistle and you’d be taken away down the tracks, never to be seen again.

I never saw Huggin’ Molly. But I cannot hear a train whistle without feeling a shiver race down my spine. Without taking a step backwards. Without imagining those long, long arms.


*     *     *

Tina Whittle writes the Tai Randolph/Trey Seaver mysteries. The sixth book in this Atlanta-based series—Necessary Ends—is available now. Tina is a proud member of Sisters in Crime and has served as both a chapter officer and national board member. Visit her website to follow her on social media, sign up for her newsletter, or read additional scenes and short stories: www.tinawhittle.com.

Monday, October 21, 2019

Social Media Drain by Debra H. Goldstein

Social Media Drain by Debra H. Goldstein

I’m worn out. Recently, the second book in my Sarah Blair mystery series, Two Bites Too Many, was published. The beautiful cover, binding, editing, and technical “stuff” was handled by my publisher, Kensington, but most PR fell to me. Consequently, for the past month I’ve blogged, liked, posted, tweeted, retweeted, pinned, pushed, and whatever else I could think to do.

I’m tired.

And, I don’t know if it’s done any good. Let’s be honest, I’m not a Janet Evanovich, Diane Mott Davidson, or Carolyn Hart. People who read the light mysteries I write know their names, but what
has my social media foray accomplished for Debra H. Goldstein?

If you Google me and leave out the “H,” you’ll find there are several Debra Goldsteins. One is a literary agent and author, two are physicians, one is known for her artwork, and a younger, blonder, thinner one has written several books on text flirting. Maybe I should work the latter one’s specialty into one of my future books in order to get her fans to check out my work–it’s something I haven’t tried, yet.

I’ve asked my friends who also are mid-listers or bottom-rungers what works for them, but the reality is we don’t know. Experts say it changes constantly or is different based upon the age of the target market. What do you think? Do the efforts we put into social media help you identify us or make you want to read our books? 

I’m interested in hearing your thoughts – but it may be tomorrow before I read them. I’m social media drained tonight.

Sunday, October 20, 2019

Cliffhangers

by Kaye George


Here’s where my last post for Writers Who Kill left off:
... I actually DID come up with an excellent solution, but I have to leave you with a teaser—can’t tell you yet what will happen. Tune in two Sundays from now!

Here it is, two Sundays from then. But…well…I can’t tell you the solution to having my publisher go out of business yet. I’ll have to leave you with a cliff hanger again this time. Sorry! 


Speaking of cliffhangers, they are a staple in genre fiction, at least in the kind I write. They are how we keep our readers turning pages, staying up late, and—we hope—enjoying our books. They belong at the ends of chapters and scenes. I’ve taken classes where it’s advocated to do them at the end of every chapter and scene. I’ve also been advised, by an editor I respect, not to put them at every single one. That gets too predictable—ho hum.


How do we create cliffhangers? We raise a question and don’t answer it. Yet. We start some action and don’t finish it. Yet. We create an expectation and don’t fill it. Yet. Sounds like we’re being mean, doesn’t it? It’s all for your own good. Trust me! 


Another way to produce tension with a cliffhanger is to change the point of view (POV). Just when one character is getting to the juicy part, end the scene and switch to the other character. No, that’s not cheating! It’s our way of making it more interesting.

So, hang on for two more Sundays! I hope you’ll be back.

Photos from morguefile.com

by teacake, impure_with_memory, MushyTaters

Saturday, October 19, 2019

Writers Who Punctuate by Neil Plakcy



Using the right words can help set your book in a real place. In my Mahu Investigations, which take place in Hawai’i, I often have the need to use words from the Hawaiian language, or olelo. I’m faced with a couple of difficulties when I do this.

The first of these concerns the oddball punctuation marks used in Hawaiian, the okina and the macron. I have agonized over these issues since the first publication of Mahu in 2005.

Hawaiian makes liberal use of the okina, a backwards apostrophe that indicates a glottal stop. For easier typesetting, I use a regular apostrophe in names like O’ahu and Hawai’i. This helps readers know that the state’s name should be Ha-wai-ee, with a brief pause after wai, not Ha-why-yee.

The macron over a vowel is harder to explain. The closest I can get is that it means a longer emphasis on the vowel. Mahu, a term in Hawaiian which various means gay or two-gendered, should be properly presented as Māhū, and should be read as “maaah-huuu.”

This presents two problems, though. First is that English readers are accustomed to thinking of a macron as a long vowel—May-hu. Second, the ASCII character for an ā is not the same as the one for a, so converting to different fonts or different uses (for example on a web page) can be a big mess. The result is that after trying for the first couple of books, I’ve given up on the macrons. My apologies to Hawaiian readers who miss them!

The second issue concerns defining and italicizing foreign words. According to Kris Jacen, the Executive Editor of MLR Press, who put out many of the books in the series, “Italics should be used the first time you use a foreign word. After that it should be presented in regular type.” This is the way I teach college students as well, so it’s the rule I stick to – in general! 

Because I often use Hawaiian pidgin in dialect, I don’t italicize those words unless they’re quite unfamiliar. A greeting like “Eh, brah, howzit?” needs no definition. The pidgin is close enough to English that readers will understand.

My character, Honolulu homicide detective Kimo Kanapa’aka, spends a lot of time on the road visiting crime scenes, interviewing witnesses, and so on. At least once in each book I have to provide the way that he references directions.

“On O’ahu, we don’t use north, east, south or west. Mauka means toward the mountains, while means toward the ocean – from wherever you are on the island. In lieu of east and west, we say Diamond Head, toward the extinct volcano of that name, or Ewa, toward a city on the opposite side of the island.”
makai

Sometimes I assume readers will figure out a word from the context. When Kimo’s mother announces, “I joined a hula halau three months ago, and I practice with them twice a week,” I hope readers will figure out that a halau is a hula school or club.

Sometimes I feel the need to define, while other times I hope readers will figure things out. Here’s an example of both:

“Then behind us, the kumu hula, a slim man with gray hair pulled back in a ponytail, pounded once on a pahu hula, a tall, narrow drum carved from a segment of coconut palm trunk. Dried sharkskin had been stretched across the top, and it made a deep, resonating sound.”

From the context, I hope readers will understand that the kumu hula is the leader of the group. But I need to define ‘pahu hula’ because without explaining that it’s a kind of drum, readers would be lost.

It’s all about the reader experience, to me. I want readers to feel immersed in Hawaiian culture without being confused or overwhelmed. I hope I’m successful!




 


NEIL S. PLAKCY is the author of over thirty mystery and romance novels, including the highly acclaimed Mahu series. The twelfth book in that series is Deadly Labors, which debuts October 1, 2019.

He can be found almost every morning at a Starbucks, drinking a café mocha and tapping away at his laptop. He is a professor of English at Broward College in South Florida, where he lives with his husband and their rambunctious golden retrievers.

His website is www.mahubooks.com.

Friday, October 18, 2019

Famous Writers Writing about Writer’s Block by Warren Bull


Famous Writers Writing about Writer’s Block by Warren Bull



Image by Susan Holt Simpson on Upsplash

Since these authors know a lot more than I do, I’m just going to quote them.

“Now, what I’m thinking of is, people always saying “Well, what do we do
about a sudden blockage in your writing? What if you have a blockage
and you don’t know what to do about it?” Well, it’s obvious you’re doing
the wrong thing, don’t you? In the middle of writing something you go
blank and your mind says: “No, that’s it.” Ok. You’re being warned, aren’t
you? Your subconscious is saying “I don’t like you anymore. You’re
writing about things I don’t give a damn for.” You’re being political, or
you’re being socially aware. You’re writing things that will benefit the
world. To hell with that! I don’t write things to benefit the world. If it
happens that they do, swell. I didn’t set out to do that. I set out to have a
hell of a lot of fun.
I’ve never worked a day in my life. I’ve never worked a day in my life.
The joy of writing has propelled me from day to day and year to year. I
want you to envy me, my joy. Get out of here tonight and say: ‘Am I
being joyful?’ And if you’ve got a writer’s block, you can cure it this
evening by stopping whatever you’re writing and doing something
else. You picked the wrong subject.” — Ray Bradbury

“What I try to do is write. I may write for two weeks ‘the cat sat on the
mat, that is that, not a rat.’ And it might be just the most boring and
awful stuff. But I try. When I’m writing, I write. And then it’s as if the
muse is convinced that I’m serious and says, ‘Okay. Okay. I’ll come.’” —
Maya Angelou

“The best way is always to stop when you are going good and when
you know what will happen next. If you do that every day … you will
never be stuck. Always stop while you are going good and don’t think
about it or worry about it until you start to write the next day. That
way your subconscious will work on it all the time. But if you think
about it consciously or worry about it you will kill it and your brain
will be tired before you start.” — Ernest Hemingway

“Suggestions? Put it aside for a few days, or longer, do other things, try
not to think about it. Then sit down and read it (printouts are best I
find, but that’s just me) as if you’ve never seen it before. Start at the
beginning. Scribble on the manuscript as you go if you see anything
you want to change. And often, when you get to the end you’ll be both
enthusiastic about it and know what the next few words are. And you
do it all one word at a time.” —  Neil Gaiman

“I encourage my students at times like these to get one page of
anything written, three hundred words of memories or dreams or
stream of consciousness on how much they hate writing — just for the
hell of it, just to keep their fingers from becoming too arthritic, just
because they have made a commitment to try to write three hundred
words every day. Then, on bad days and weeks, let things go at that…
Your unconscious can’t work when you are breathing down its neck.
You’ll sit there going, ‘Are you done in there yet, are you done in there
yet?’ But it is trying to tell you nicely, ‘Shut up and go away.” — Anne
Lamott, Bird by Bird

““Many years ago, I met John Steinbeck at a party in Sag Harbor, and told
him that I had writer’s block. And he said something which I’ve always
remembered, and which works. He said, “Pretend that you’re writing
not to your editor or to an audience or to a readership, but to someone
close, like your sister, or your mother, or someone that you like.” And at
the time I was enamored of Jean Seberg, the actress, and I had to write
an article about taking Marianne Moore to a baseball game, and I started
it off, “Dear Jean . . . ,” and wrote this piece with some ease, I must say.
And to my astonishment, that’s the way it appeared in Harper’s
Magazine. “Dear Jean . . .” Which surprised her, I think, and me, and very
likely Marianne Moore.” — John Steinbeck by way of George Plimpton

What works for you? 

Thursday, October 17, 2019

What Do You Write? by Marilyn Levinson

There are many ways of categorizing the various forms of writing. Writing can be divided into prose and poetry; fiction and nonfiction; into genres like mystery, sci-fi, and romance; into subgenres such as mystery's cozies and thrillers.

Like almost every other Writers Who Kill blogger, I write mysteries. These days, cozy mysteries with a touch of the paranormal. I also write novels for kids, the occasional romantic suspense, and if I go back far enough—short stories.

Many of us write more than one type of fiction. Best-seller Nora Roberts, probably the best known romance writer, also writes futuristic suspense as J. D. Robb. Closer to home, this is evident among my friends and fellow mystery writers. Daryl Gerber writes cozies and novels of suspense. Kaye George and Debra Goldstein are probably as well known for their short stories as their mysteries.

I think we write in various genres because we're creative beings and find that different types of stories require different genres. Though I've included ghosts and witches in some of my books, I must admit I was surprised when I found myself writing a YA horror—The Devil's Pawn. But a long time ago I learned to allow my thoughts to play themselves out so I could decide if they'd make a good story.

Though we're all fiction writers, we also do a good deal of so-called "non-fiction" writing. Think of how much, we as writers produce in the service of promoting our books and our "brand." (I think I'm beginning to hate that word.) We write blog posts (which are often essays), articles on writing, book reviews, interviews for fellow writers, answer interview questions, write blurbs, flap copy, bios, letters to editors and letters to agents to name a few. Some, like Nancy Cohen, write books on writing and cook books. And I'm not even mentioning all of the support we give one another on Facebook, Messaging, via email and other electronic devices.

Regardless of the type or genre, we sure spend a lot of time writing!

Wednesday, October 16, 2019

An Interview With Lida Sideris

by Grace Topping

This past year has been an exciting one for Lida Sideris. She released a third book in her Southern California Mystery series, Murder Double or Nothing, and published a children’s book, The Cookie Eating Fire Dog. It’s a pleasure to welcome Lida back to WWK to tell us about her latest books.

Murder Double or Nothing
Corrie Locke, newbie lawyer, and daughter of a late, great PI, is learning the ropes at the Hollywood movie studio where she works—and where things are never what they seem. Life imitates art when a fictional murder attempt turns real—right before her very eyes. With more than a little help from friends and a crazy movie legend, Corrie trips down a trail littered with wisecracks, mysterious messages, and marginally legal maneuvers to track down the killer. Meanwhile, clues keep disappearing and Corrie makes an enemy whose deadly tactics keep escalating. Will her impromptu sleuthing skills be enough to catch the mysterious assailant before he takes her down?


Welcome to Writers Who Kill, Lida. 

Thank you so much for hosting me.

This has been a busy year for you with two books published. How does it feel to have launched a children’s book and the third book in your Southern California Mystery series?

Lida Sideris
Wonderful! It’s been action-packed. I really enjoy having a wider audience to connect with. The children are lovely and such rapt listeners, and the mystery fans are fantastic as well. I usually throw in a plug for each book, no matter what the event.

What’s it been like promoting books with two completely different audiences?

Having books in different genres and age groups is kind of like juggling balls, knives, and crayons at the same time. What’s most interesting is that people seem to get excited when they learn that you’ve written different genres. That was an unexpected, pleasant surprise.

Corrie Locke has had a number of adventures over the course of your series. How has she grown or changed since you first created her?

She’s more aware of her flaws and trying to curb her tendency to lie, break laws, and fall for the wrong guy. Case-cracking has become her priority. She's become more confident at taking down the bad guys/girls, which means she’s taking more risks. She's also maturing, I hope. As her sidekick, Veera says to her, "You're growing up right before my eyes."

Murder Double or Nothing is set on a major movie lot. How did you make the setting sound so authentic?

I once worked at a suspiciously similar movie studio and, rather than visit the revamped version, which is now Sony Studios, I relied on my memory. Corrie's office is in the Producers' Building, where my own office was located. I used to visit the studio commissary, backlot, and sound stages, just like Corrie. Only my visits were without incident. It's all from memory, and then some. That’s the fun of writing fiction.

Your series has a lot of laugh-out-loud moments. Did you set out to write a humorous mystery?

I sure did. I really appreciate books that at least make me smile - they're my favorites. Like your book, Staging is Murder. I want readers to have fun, and humor helps take the edge off potentially dangerous situations. I don’t want anyone to feel down after reading my books. Happy endings are a must. 

The mystery of Corrie Locke’s father’s death haunts her. Why won’t she, like her mother, accept that he is dead?

Corrie is suffering from a bit of guilt because she wasn’t able to solve his murder. If he were alive, that would explain the lack of viable clues, and her inability to figure out who killed him. It’s the only case she’s not been able to crack.

Lacy Halloway, an old-time actress, works at the studio as the voice of a moth in an animated series. How is it that she wields such power on the lot and is able to coerce Corrie into trying to solve the murder of a young actor?

Think Shirley Maclaine or Jane Fonda or any other Oscar-winning actresses in that age group. They've still got some power or at least they can make people think that they do. Corrie may not be intimidated by criminals, cops, or weapons, but she is intimidated by studio brass and big wigs.  

Corrie seems to have conflicting feelings about the two men in her life—friends Michael Parris and James Zachary. Although they’ve called a truce, what accounts for the mutual dislike (or secret attraction) Corrie and James have for each other?

Corrie and James have a lot in common: both are lawyers, fearless, and find it thrilling to get bad guys/girls off the street. And both are besties with Michael, which makes the somewhat secret attraction less than optimal. Since Corrie is trying to curb her former weaknesses, she’s going for the one she believes is the better man for her. 


Veera Bankhead, Corrie’s friend and assistant, seems to have her back. Veera is an interesting character. Please tell us a bit about Veera.

Veera is good-natured, steady, and ready to lend a hand, all qualities Corrie needs. Veera also harbors a not so secret ambition for the two of them to open their own PI agency. In Book #1, Murder & Other Unnatural Disasters, Corrie wanted nothing to do with Veera when they first met, but Veera's convinced they'll be good friends. Turned out, she was right. Corrie's come to appreciate Veera and count her as a good friend.

In the midst of writing your mystery series, you wrote a children’s picture book, The Cookie Eating Fire Dog. Where did the idea for this book come?

Twenty years ago, my four-year-old had a toy Dalmatian named Dan. Dan had all sorts of troubles. He was either in the hospital, digging up the neighbor's yard or involved in some other mischief, according to my son. One day my son told me that Dan wouldn't help the firefighters. He said all Dan wanted to do was eat cookies. The Cookie Eating Fire Dog was born. Interest was almost immediate from a big publisher, but that waned. I put the book aside until recently, and that's when I finally found a publisher.

What’s next for Corrie?

In Book Four, Slightly Murderous Intent, Corrie's at a dinner with Michael, James and a few others at a Santa Monica restaurant to celebrate James’ big win in court. As Corrie’s hunting down the manager to lodge a complaint, a man walks in, fires a gun, and takes off, with Corrie at his heels. She ultimately loses him and returns to the restaurant only to discover the shooter was aiming for someone at her table. Who was the target and why?


Thank you, Lida.

To learn more about Lida Sideris and her books, visit https://www.lidasideris.com or follow her on Facebook.

Tuesday, October 15, 2019

Delving into the Minds of Writers

This post is a repeat, having run in October of last year. Please enjoy the reflections and, if you haven't already, check out these authors!


by Paula Gail Benson
I’m so pleased to have been asked to participate as a panel moderator for the Atlanta Chapter of Sisters in Crime’s workshop on The Psychology of Writing. (Hurray to Debra H. Goldstein, the event coordinator!) The event also was sponsored by the Southeast Chapter of Mystery Writers of America.




I learned a great deal from the keynote speakers, Toni L.P. Kelner (who has written the Laura Fleming and Where Are They Now? series, numerous short stories, and as Leigh Perry writes the Family Skeleton series) and her husband Dr. Stephen P. Kelner, Jr. (author of Motivate Your Writing!: Using Motivational Psychology to Energize Your Writing Life). For more about their presentations, please see my post on yesterday’s The Stiletto Gang blog.


Banner designed by Karen McCullough

Writers' Minds and Killer Characters
All the panels had wonderful writers who provided excellent information. Debra H. Goldstein moderated “Pros by Day, Deadly Scribes by Night” with Dr. Shirley Garrett, Rick Helms, Holly Sullivan McClure, Sasscer Hill, Lynn Hesse, and Dr. Stephen Kelner, all of whom balanced specialized professions with their writing lives. “Writers’ Minds and Killer Characters” was moderated by Lisa Malice and featured Maggie Toussaint, Linda Sands, Fran Stewart, Susan Crawford, and Jane Suen, who talked about how they developed the characters in their books. Every one of these authors was articulate and delightful. Please check out their work.


I had the opportunity to meet some amazing authors on the panel I moderated. All of them are now on my to-be-read list. Our topic was “Real Life Bleeding Onto the Page.”


Real Life Bleeding Onto the Page Panel

Each panelist had an amazing life story that had become a part of her work, either as fiction or nonfiction. Following is some information about them:


Sid, Paula, and Toni/Leigh
Toni L.P. Kelner had already participated in a session about motivation with her husband and a presentation about habits to make a successful writing career before joining our panel. Her own life is reflected in her Laura Fleming series, where the protagonist from the South has been transplanted to the Northeast, and in her paranormal short stories and Family Skeleton mysteries which include fantasy and scenes about cosplay (where people attending science fiction or fantasy conferences create their own costumes and dress as favorite characters). Toni brought her skeletal protagonist, Sid (who travels extensively with her), and introduced him to me!


Claire Count, the current President of Atlanta Chapter, writes mystery, fantasy, and poetry. Her theatre background (she has an MFA) is an obvious advantage in her work. Recently, her British manor house mystery short story “Fleeting Victory” was included in Georgia’s Emerging Writers: An Anthology of Fiction. During the panel, she pointed out a theme that was picked up and resonated throughout our discussion: only from deeply felt emotions and experiences can a writer accurately portray the human condition and, in doing so, make it meaningful to others.


Kathleen Delaney, while being a caretaker, a real estate agent, and extensive traveler, not to mention dealing with her own physical difficulties, made an amazing writing career. Currently, she has five Ellen McKenzie mysteries and three Mary McGill Canine mysteries published. Blood Red White and Blue was a finalist for best canine book of the year in the Dog Writers of America annual writing contest. Her work-in-progress is Boo, You're Dead. She spoke about translating her daughter’s experience with domestic violence into fiction.


Angela K. Durden has written nonfiction, memoir, children’s books, and songs. Once, in an interview, she gave G. Gordon Liddy advice about sprucing up his resume, particularly concerning his prison sentence. Her style is direct, compelling, and immediately involving. She spoke about her choices in not identifying family members in her personal account about abuse she had experienced as a child. She writes fiction (featuring a male protagonist) under the name Durden Kell and brings the same immediacy to it as she conveys in her nonfiction.


Sharon Marchisello has an amazing amount of life experience to draw upon, having written travel articles, short stories, book reviews, and an e-book about personal finance, not to mention being retired after a 27-year career with Delta Air Lines and doing volunteer work for the Fayette Humane Society and the Fayette County Master Gardener Extension Office. Her murder mystery, Going Home, was inspired by her mother’s battle with Alzheimer’s disease. Sharon’s novel examines not only the difficulty in resolve a mystery when you cannot rely upon a witness’ memory, but also deals with themes of role reversal, when adult children must make changes in their lives to care for elderly parents.


Julia McDermott is the author of domestic psychological suspense novels Daddy’s Girl and Underwater; a French travel/young adult romance Make That Deux; and the creative nonfiction book, All the Above: My Son’s Battle with Brain Cancer. In an article written for The Atlanta Journal Constitution, she said, “Fear is no longer my daily companion; it’s been replaced by gratitude.” The story of how her family and son faced the unexpected challenges is truly inspirational.


If you haven’t already had the pleasure of reading these authors, I hope you’ll take the opportunity to learn more about their work. Many thanks to everyone involved in this wonderful workshop!


What have you been reading lately and what events from real life have found a way into your own writing?