What I Do When I Get Stuck by Marilyn Levinson

These days I'm writing more and more as a pantser. It's not something I decided to do, but how my writing method has evolved. I hold to the premise that, as writers, we train our brains to help us come up with creative solutions. Despite this, my brain often needs a bit of help. Here are a few of the "tricks" that work for me.

To begin with, it's always good to sit down to write when you know where you're heading. Even if it's only the next step your character's about to take, if it furthers the plot, it may also lead to the next plot point in your WIP, perhaps one you never considered before. With this in mind, it might be a good idea to stop writing for the day when you know what your characters will be doing next.

When I don't know where I'm going next plot-wise, I often reread the last few pages of my manuscript. This not only brings me directly into the story stream and can act as an impetus for me to continue writing--kinda like when a little kid gets a push on a swing, and then she can start swinging on her own. Rereading the last few pages I've written can help me see if I've headed off on a tangent that's taken me away from the heart of my story. If I can't find where I began to wander off the path of my main plot, now is a good time to look at my outline. My outline will remind me what needs to be covered in my WIP or changed.

What if I'm really stymied and I don't know how to move on? Then it's time to step back and stop focusing on my plot problem. Ideas often come to me in the shower, while walking, and just before I'm going to sleep.

And there's nothing shameful about asking for help. I'm part of a group of mystery writers who help each other out--with title suggestions, plot problems, and tips about pet care. Sometimes, a friend's suggestion will fit right in with my plotline. Other times the group's suggestions will trigger one of my own. Once in a while, I've no sooner written out my problem in an email and the answer comes to me before I can hit "send." Simply asking for help nudges my mind and provides me with the solution.

What do you do when you get stuck?

Edits and Errors by Marilyn Levinson

The other day I received an email from a reader. I was pleased to learn that she'd started reading my Haunted Library series and was enjoying it. However, she also informed me that in one of the books she noticed three instances of a name change. Not good! I wrote back and said I was happy she was enjoying the series, and I apologized for the errors in the text.

How did these errors slip by and appear on the printed page? My books are carefully edited. I go over a manuscript three times before sending it to my editor. She goes over it, makes her comments and observations. I review the manuscript and make the necessary edits and additions. Then a copy editor combs through the manuscript, now in book format, editing and questioning. Once again, I go over the manuscript--sometimes twice--addressing these issues. These are put into the text,  and the manuscript is once again sent to me to read and make any final changes.

 Yes, my books are carefully edited. That said, the occasional error still may appear on the printed page despite the many eyes and read-throughs. There are a few reasons why this may occur. For one thing, our brains have a way of filling in a word that might have been omitted. Also, it is the unusual author or editor who can read through a manuscript of over 80,000 words in one sitting. Which is why he or she might not notice when a detail mentioned early on in the story is somewhat different when it's mentioned later on.

 Having just finished going through my copy editor's edits of Death on Dickens Island, I am grateful that she's caught some  name changes and has pointed out contradicting statements. But I also know that despite our very best efforts, there will be a few errors that will slip by. For these, I apologize in advance, and I promise to be even more vigilant as I write and eventually edit the next book in my new series.

 

Getting Edited, An Inside View by Marilyn Levinson

Sending a completed manuscript to my editor is always a joyful occasion. Finally, my novel is finished and after going over it three times, I know it's in pretty good shape. After writing twenty-three books, I'm attuned to the pacing, my characters' development, the complexities of the mystery, and other aspects of the plot. Still, I'm handing over the novel I've been working on for nearly a year. This action renders me completely vulnerable as, with open arms, I tell my editor "Have at it. Edit me, criticize and correct me so this book will appear before readers in its best possible form.

A month ago, I sent my editor Death On Dickens Island, the first book in my new series. Creating all new characters in a setting I'd invented required a good deal of work, much more than writing a second or any follow up novel in a series where everything is already established. I was used to being edited "lightly"-- asked to add a line or two to explain a character's action or to delete lines where I repeated myself -- but this book, which my editor and both wanted to get just right, required more.

She asked me to elaborate a bit regarding the impact my sleuth's short marriage had on her and why she'd left her son in her parents' care for twelve years. I was going to bring in my sleuth's best friend from high school in the next book, but my editor thought it best to bring her in earlier, and so I did. There was an issue regarding a legal matter I agreed it best to change, and to make a character a suspect, at least for a short time.

The problem that took the most time to correct was fixing the sequence of days. For some reason, while writing I lose track of the days of the week and I'd managed to skip a few. To resolve this problem, I ended up extending the time frame another week. But that was fine, and it gave me the opportunity to include my sleuth's outing with her old friend. I'm ashamed to admit that this is the second book I've written where I lost track of the days and had to rework them. My editor assured me that I'm not the only author to do this. At least I didn't change any character's name midbook as I've done once or twice in the past.

I addressed all the points my editor had questioned and felt needed attention, and they passed with flying colors. Now I await the Copy Editor's corrections, which center around comma usage and words I'm never certain if they're a compound word, two words, or hyphenated words. But that's some weeks off. Getting edited is a vital step in the process. It helps to assure that readers will receive my novel in its best possible form.

Our Stories Have Wings by Marilyn Levinson

The other day I received an email from an English teacher in Brazil who loves cozy mysteries. She'd read some of the books in my Haunted Library series and asked if she could read a chapter of one of my books aloud on her podcast to encourage readers to read stories in English. I was thrilled with the idea, and after running it past my publisher for legal reasons, wrote back to tell her to go ahead. 

I was at a library event for authors the other evening and stopped in the main reading area. They were featuring mystery series that take place in libraries. How nice it was to see one of my books was part of the display.

Hearing from a reader in South America, seeing my book as part of a library display have made me realize how far and wide our stories travel. Once a novel or a short story we've written is published it takes on a life of its own. We have no idea who is reading our work. I'm always delighted when readers let me how much they enjoy my books. Usually, readers contact me via email, my website, or social media. Once I was on the phone getting help with a problem I had with an appliance and happened to mention that I write novels. The woman told me she'd read one of my books years ago.

We write stories and send them out into the world. Though we get figures of how many copies are sold, this cannot tell the tale of how many hearts we have touched. 

What interchange with a reader has made you realize that you've made a special human connection?

So You Call Yourself a Fiction Writer by Marilyn Levinson

I write mystery novels and novels for kids. However, in the service of writing my books I find I write more non-fiction than fiction. I will enumerate the ways and share some of my thoughts.

1. My group blog: I write a short essay once a month, usually something that has to do with writing. Or it might be a thought piece. I never fail to come up with a topic, probably because I'm in the midst of friendly, like-minded authors.

2. Guest blogs. These are most difficult for me to write. Though their purpose is to draw attention to my latest book, I need to write about a subject that appears in my book like art forgery or weddings.

3. Interviews: I like interviews because once I have to answer a question, I'm off and running. However, there are always one or two questions I have trouble responding to. Such as, I don't know which author, dead or alive, I'd like to have dinner with.

4. Articles for mystery magazines: These are even longer and more researched essays that deal with subjects or situations that I've written about in my most recent mystery. Or they deal with some aspect of writing mysteries.

5. Newsletters: I must admit I enjoy writing my monthly newsletter, which includes aspects of my personal life and a good deal about my writing life.

6 . Blurbs I've been requested to write:  I do my best to come up with a one-liner that captivates the essence of the book I've just read in a fresh and complimentary way. I sometimes feel I've stepped into the advertising world and wonder how I would have done working there.

7. Blurbs for my own books: I need to incorporate the most appealing aspects of my novel without giving away too much of the plot. I admit to often copying what's on my Amazon page.

8. Book Reviews: I often post reviews of books that I've enjoyed reading on Goodreads, BookBub and Amazon. These always take more time than I expect. Most of the time they aren't mysteries.

9. Query letters: Thankfully, I haven't needed to write any official query letters in some time. But I do query podcasters and other hosts to ask if they'd be interested in having me as their guest.

10. Author Takeovers (When a cozy author "takes over" a cozy Facebook group and chats with cozy readers for an hour or two ): I love them because I get to interact with readers. I try to ask thoughtful questions and I receive many responses, all of which I do my best to answer.

11. Emails: I write many daily exchanges with my small group of writers. These concern writerly topics as well as other subjects. We are a garrulous group.

12. Emails again: I exchange daily reports with two writer friends— about our writing output, how else we've spent the day, and what's on our minds. Food features largely, for some reason.

13. Outlines and synopses: As everyone knows, these require great organizational skill. I manage to write a partial outline at the start of a novel, knowing there will be many additions and changes.

14. Bios: Authors need bios of various lengths. They all need to be constantly updated.

15. A visual promoting a sale or an new book: Great images and design are a must, but there's still the need to use the right words to grab readers' attention. Again I'm feeling like an ad person, this time a foot in the art department.

 If you are an author, in what additional situations do you find yourself writing about your fictional projects?

 

An Interview with Author Allison Brook (Marilyn Levinson) By E. B. Davis

 

Carrie Singleton has a wedding to plan, a killer to catch, and a conspiracy to uncover in this charming seventh novel of Agatha Award-nominee Allison Brook’s Haunted Library mysteries.

Carrie Singleton has more than her fair share on her plate: her job at the Clover Ridge Library, preparing for her wedding to Dylan Avery, and hoping that the local art gallery doesn’t steal away one of her part-time employees. Her fiancé Dylan accompanies her to the beautiful home of Victor Zalinka—art collector and successful businessman—to select paintings for an art show at the library. While Carrie muses that Victor's home would be the perfect wedding venue, Dylan spots a forgery among the paintings in Victor's collection.

Then Martha Mallory is found murdered in her art gallery. With the assistance of Evelyn, the library ghost; the resident cat, Smoky Joe; and the office manager of Dylan’s private investigation company, Carrie comes up with a suspect list long enough to rival the size of an encyclopedia. During her investigation, Carrie stumbles across a terrible truth: Martha’s murder was part of something far bigger and more dangerous than she could have ever imagined. And it all leads back to the art gallery.

How far will Carrie go to find the killer and uncover the truth? If the killer finds her first—will Carrie finally be taken out of circulation?

Amazon.com

 

Overdue or Die is the seventh book in the Haunted Library mystery series by Allison Brook, or as we know her, WWK’s Marilyn Levinson. This book brings three murder cases to a close, as solved by main character Carrie Singleton, and leads readers up to Carrie and Dylan’s marriage, when Carrie won’t be a singleton anymore!

 

It is a complex mystery that reveals the horrors of a crime family. It’s always hard to believe how deranged psychopaths can be, and yet they are a reality—thankfully few and far between.

 

Thanks for answering my questions, Marilyn!      E. B. Davis

 

It’s a busy time for Carrie. The holidays are coming up, her uncle is being released from the hospital to recover from a heart attack, her cousin’s family wants to throw an engagement party for Dylan and her, which requires making decisions, and they must pick out a wedding venue. Does Carrie really have time to solve three murders?

Of course not, but when someone is murdered in Clover Ridge, it impacts everyone in the community. Besides, Carrie knows the first two victims and feels obliged to find out who murdered them.

 

Why did Carrie, who wants stability in her life, resist Dylan’s marriage proposal?

Carrie comes from a dysfunctional family. Her father was a thief and spent little time at home; her mother isn't maternal; her older brother, who was her source of security, died just about when she graduated from college. Before she moved to Clover Ridge, Carrie didn't feel she belonged in any one place. She didn't think she could handle marriage and raise children.

 

Carrie and Dylan have both had trying childhoods with difficult families. In a world of selfies and unique tats, they are trying to attain conventional lives, family, kids, house, etc. Are they different than today’s norm?

That's difficult to say. I know of so many young people who marry but have decided not to have kids. Carrie and Dylan are deeply vested in Clover Ridge, which is a main reason why they plan to have a family and continue to be active in their community. Also, family is important to them, especially Carrie's father and Carrie's great aunt and uncle, who were always very good to Dylan as he grew up with his emotionally neglectful parents.

 

Carrie has changed so much from the beginning of the series. Why did she used to dress in Goth?

Dressing that way was Carrie's way of telling everyone she wasn't part of the establishment. Part of the problem was Carrie was a qualified librarian but only given odd jobs to do around the library like shelve books. Once she became head of programs and events, she quickly started to dress professionally and live up to her responsibilities.

 

The new addition to the library has an auditorium that will be used for public programs. But it also has an art gallery for exhibitions, which surprised me. Do the librarians have the time and expertise to fill the space or the budget for hiring stagers, a security system, and insurance policies?

Libraries have art shows all the time. Victor Zalinka has expensive art that he occasionally loans out to museums. He brought in his own crew to hang the library show at his own expense. Otherwise, Carrie and other library employees would put up the art work. Regarding a security system, I imagine every library has one. I simply added extra security to the library's new art gallery.

 

Although Carrie worries that her assistant Susan, an emerging artist, will leave the library, isn’t the library’s new art gallery something that Carrie could have Susan help her with—something that might tempt Susan—so she’ll stay?

Susan is an amazing artist, something Carrie learned in Death Overdue, when Susan came up with terrific ideas for the library's Halloween Party. The Gallery on the Green has been featuring Susan's work and it's been selling very well. Carrie knows it's only a matter of time before she loses Susan, and while she doesn't want to hold her back, she's going to miss the wonderful artwork Susan does to celebrate special days and holidays in the library in so many ways. The library's art gallery can't offer Susan what the Gallery on the Green can.

 

During the addition’s commemorative ceremony, an older woman disrupts the speakers and claims that she, not the town, actually owns the building. Although it turns out that she is suffering from dementia, she isn’t totally wrong about being swindled. How so?

While Emily Pierce Fielding is wrong about owning the building the library had just added on as its new wing, she was swindled by the lawyer she and her family had employed for many years. When she moved to Florida, the lawyer simply "acquired" a home belonging to Emily as his own and unlawfully sold it taking to proceeds for himself.

 

Why did Carrie assume the new auditorium was exclusively hers to use?

Carrie invested a good deal of time and effort to make sure the library got a stadium-seated auditorium for the many future shows and events she's planning to present. Even when the architect miscalculated the costs, Carrie--with ghost Evelyn Havers' help--came up with an alternate plan to keep the auditorium stadium-seated. And so she has a sense that this is "her" auditorium, to be used for adult programs as has always been the case. But now Marion, the children's librarian, would like to offer some children's programs in the auditorium. Carrie soon sees the reasoning behind this. She realizes she's been a bit too possessive and quickly works out a solution that suits both her and Marion.

 

The first murder victim, Martha Mallory, was having an affair. But it turns out that the husband was also having an affair or at least was too interested in Carrie’s assistant, Susan. Will Carrie try to warn Susan that her basis in the relationship is all wrong?

After Martha is murdered, Carrie discovers that Susan and Ron have a budding romance going. Carrie is dying to tell Susan that Ron isn't great boyfriend material. The man is more than thirty years older than her. Evelyn reminds Carrie that Susan's romance isn't her business. Once again, Evelyn tells Carrie that not all romantic couples resemble her and Dylan.

 

Martha, as it turns out, was a blackmailer. Not so much in money; her method was coercion. Why, when Susan was ashamed, did she finally admit to Carrie that Martha forced her to make a copy of a famous artist’s painting?

Susan is horrified by what Martha has pulled, and she's afraid she'll be arrested if Martha tells the authorities, as she said she would, that Susan tried to sell her a copy of another artist's work. Though Martha has told Susan not to tell anyone about this‑—not Ron, not Carrie—Susan finally tells Carrie because she trusts Carrie. Besides, Martha is now dead and can't bully her any longer.

 

When Dylan has to go out of town a second time about his painting and for the Feds about forged art[CB1] , why does Carrie over-react?

When Dylan opened his office in New Haven, Carrie was relieved that he would no longer be going all over the country and abroad to track down stolen paintings and gems. But here he is again, flying out of town to help the Feds in a forged art case that is connected to the painting he's recently inherited. Also, Dylan was assaulted and ended up in the hospital when the thieves stole his painting. Carrie is afraid he'll be hurt again.

 

Are there really such things as deeds to houses anymore? We never got one when we paid off our house.

I'm sure those of us who are homeowners all have legal papers indicating that we own a particular property. Hence, a deed.  

 

Why does Carrie want to keep her own bank account after she is married?

It's part of her independence. She wants to have money to spend on whatever she likes without feeling obliged to discuss it with Dylan. I think it's something all married women should have.

 

Carrie eats lots of beet salad in this book. Do you have a favorite beet salad recipe to share? Is it a holiday thing because most beets are red ?

I don't, but I just finished making a beet dish—peeling and cutting up beets, coating the pieces with olive oil, garlic, salt and onion powder, then roasting them in the oven. When the beets are soft, coat them with a mixture of Balsamic vinegar and honey and roast 10 minutes more.

 

What is next in your writing future, Marilyn?

I've finished writing the eighth and final book in the Haunted Library series, and I've just completed a short story for an anthology. Soon I will be starting my new series.

 

Elaine,

Thank you for interviewing me.

Marilyn

Editing a Novel by Marilyn Levinson

I like editing. The way I see it, the hard work of creating my novel is done. Now my job is to make my manuscript read as smoothly as possible so that no error or inconsistency pulls my reader out of the story.

Before I send my manuscript to my editor, I go over it three times. The first read-through takes the longest because I'm constantly making corrections. While I both add and cut words in the process, I end up having more words than I started with, which is fine. The next go-throughs move more swiftly, but there are always sentences that require changes and edits. Here are my recommendations of what to keep in mind as you edit your manuscript.

1. Make sure that Tuesday follows Monday. When writing a novel, I sometimes forget to make note of which day a scene takes place and move on, losing track of the dates. This can present a problem when you discover it's Sunday in your novel when you need it to be a weekday. This is especially true when you have a big event at the end of the book and you've mentioned how many days away it is from your opening chapter.

2. Be sure you don't change a name mid-stream. Sounds silly, except I've done it, and I was lucky that my editor picked up on all the incidents of the "new" name. Once I even wrote Sammy, my cat's name, instead of Smoky Joe, a character in my series.

3. Speaking about names, make sure your characters' names aren't too similar. Some people say you shouldn't have names that start with the same letter, but I don't think that's a rule you must follow, especially if they have a different number of syllables. Also, using simple names like Bob and Don might confuse some readers as they are both one syllable and share a vowel. In one mystery I included a list of characters because I introduced many characters at the beginning of Chapter One.  

4. Make sure you're consistent. Novels, especially mysteries, have complicated plots and often an incident or piece of information is repeated in the text, perhaps referred to by another character. Make sure the information is the same throughout, unless you're deliberately changing it. The same goes for descriptions of your characters, their ages, and what they're wearing that day.

5. Remember when and where your scene is taking place. Some scenes are longer than others and require several pages. Always check back to the start of the scene to make sure you know the time of day and where your characters are when you began so you don't have your character leaving work when she's home.

6. We all have favorite words and phrases. Check to see that you're not overusing them. My favorite is "just." I think it often expresses just what I want a sentence to say.:)

7. When you make a change, for example, in your murder weapon, be sure to make this change throughout your manuscript. Be consistent.

8. When going farther back in time, past the past tense, remember to use the past perfect tense, at least in the first few sentences of the paragraph. e.g. She had seen him a few times before she returned to work.

9. Check your punctuation. For me, this usually means making sure I've closed quotation marks. This is also a good time to check your commas. Frankly, I find myself less certain than ever when to use commas. I know one is no longer needed before the word "too." Comma-wise, I usually defer to my editor and copy editor.

10. Is it a compound word, a hyphenated word, or two words? Again, I defer to my editor and copy editor.

11. Going through my manuscript a second time, I occasionally find a better word than one I've written. This is especially true when I'm trying to avoid using the same word in a paragraph. 

12.  I try to read my third go-through slow enough so that I'm reading every word I've written. Our mind is very helpful and fills in missing words, something that isn't helpful when it come to editing. Reading your manuscript aloud helps find any missing words. Also, beware of having written "their" when you meant to write "there," "it's" when you meant "its." This can happen if you mentally hear your words as you write them.

Do you have any other suggestions of what to look for when we're editing a novel?

Some Thoughts on Writing Fiction by Marilyn Levinson

My non-writing friends think I'm lucky to be a writer because writing gives me a purpose that occupies my days. They know I'm part of a world filled with fellow authors, readers and publishers.

Being a writer means I always have projects that require my attention, often with a deadline. First and foremost is writing my current WIP—work in progress. I'm often working on edits for the book scheduled to be published in a few months. That requires a great deal of marketing: guest blogs, and interviews, posting on Facebook, Instagram and Twitter, as well as writing my monthly newsletter, and seeing to other tasks that arise and need my attention.

As a fiction writer, I am constantly learning. There are the electronic ABCs of being a writer: knowing how to post photos and stories all over the web. These "devices" like stories and reels keep on changing and we writers better keep up with these changes if we want readers to find out about our books. I'm still learning how to make changes on my website, and one day I'll learn how to make a YouTube webinar. For now, I'm content to be interviewed or part of a panel and having my host or hostess take care of putting them up for others to see.

The great thing about writing fiction is you're always creating something new. Honestly, it's kinda scary as well. I write mysteries, which means each book needs a new set of issues or problems, suspects and victims that are presented in a fresh, appealing way. This involves doing research on whatever subject that book is about. A few topics I've read up on are: bank robberies, how to tell a diamond from a fake, the correct order in a wedding procession, witch hangings in Connecticut, and art forgery. The array of topics that lend themselves to murder and mayhem is endless.

Like many fiction writers, my first attempts at writing were short stories. From there I went on to write novels for kids and then on to writing mysteries for adults. Since one of my children's books will come out in a new edition next month and I'll be following it up with three more books in the series, I've been thinking that many fiction writers write in more than one genre or form. While I write mysteries and books for kids, many of my fellow mystery authors write mystery short stories as well as novel. I suppose I started writing books for kids because I was home with my two sons; I began to write mysteries because I love to read them.

What's the difference between writing a book for kids and a book for adults? The only answer I can offer is that regardless of the type of book I'm writing, I'm in the protagonist's head and seeing things from his or her perspective. So if I'm in ten-year-old Rufus's head, I'm thinking like a ten-year-old who suddenly discovers his magical powers. If I'm inside thirty-year-old Carrie Singleton's head, I'm aware of her responsibilities as head of programs and events at the Clover Ridge Library and her aptitude for solving murders. I suppose my language level varies depending on what kind of book I write, but that happens naturally. I've never over-simplified my language in a kids' book. Just thinking as a person of a certain age takes care of that.

I've no idea why so many of my books include a paranormal element. This has always come about in a most natural way, going back more than twenty years when I first wrote my mystery, Giving Up the Ghost. A ghost plays a role in my Haunted Library series as well as in my kids' novel Getting Back to Normal. Rufus is a witch like his mother, grandmother, aunt and evil uncle. Perhaps there's no need to come up with a reason why I often include a paranormal element in my books since "other creatures" appear in our fairy tales and literature. Think of Peter Pan, Pinocchio, Topper, and Aladdin, to name a few. All part of our heritage and as real to us as Sherlock Holmes and Robin Hood.

Writing fiction is a delight. It's hard work. It's a privilege to create characters in stories that people will read and remember and talk about.

An Interview with Allison Brook (Marilyn Levinson) by E. B. Davis

 

Librarian Carrie Singleton is back on the case, alongside library ghost Evelyn, in the sixth installment of Agatha Award nominee Allison Brook’s Haunted Library mysteries.

Carrie Singleton is just off a hot string of murder cases centered around the spooky local library in Clover Ridge, Connecticut. She could really use a break—but no such luck, as she; Smoky Joe, the resident cat; and Evelyn, the library’s ghost, are drawn into another tantalizing whodunit.

First, a dead body is found in the basement of the building attached to the library, and it turns out to be Carrie’s fiancé’s Uncle Alec, who Dylan hasn’t seen in years. But Alec has no intention of truly checking out, and his ghost makes itself at home in the library, greatly upsetting the patrons. Carrie and Evelyn work hard to keep Alec out of sight, but what was he doing in Clover Ridge to begin with? And why was he killed?
 
Meanwhile, the town council, of which Carrie is also a member, is embroiled in a hot-headed debate over the fate of the Seabrook Preserve, a lovely and valuable piece of property that runs along Long Island Sound. Turn it into an upscale park? Sell it to a condo developer? Or keep it as protected land?
 
As the dispute rages, there’s another murder, this time involving a council member. Could the two murders be connected? And could Carrie be next on the hit list? 

Amazon.com

What I like best about a series like this one is the level of detail that each book unfurls, revealing more about each character. Since Carrie and Dylan became engaged, and marriage is all about family, Carrie is curious about Dylan’s relations and how he was brought up. She knows some of his background since Dylan was good friends with Carrie’s late brother as kids, and her aunt and uncle provide a bit more to the story. Dylan seems hesitant to tell her. What he does say about his parent’s isn’t good. But meeting his Uncle Alec gives her a first-hand look, even if the man’s been dead for a good while.

Please ask Allison/Marilyn any questions I may have missed!                                E. B. Davis

Due to Aunt Harriet and Uncle Bosco living on the town green and her uncle’s position on the library board (and also his past on the town council), I thought they were financially well off. Now I realize that they lost the Singleton Farm. Was I mistaken or did they financially recover from that loss?

They aren't wealthy, but they're comfortable. They sold the farm to Dylan's parents, who didn't give them the best price, but they were lucky to buy the house on the Green at a good price.

Carrie categorizes Dylan’s upbringing as a case of benign neglect. Is there really such a thing as benign neglect? How can neglect ever be benign?

That is an expression to describe a way of rearing a child without really considering his or her needs. Those parents give their child or children the necessities of life, but not the attention and emotional support they require.

Are Dylan’s parent’s dead?

Yes, they are.

Although Carrie’s father was in and out of jail during most of her formative years, he now appears to be the better parent. Remind readers why Carrie isn’t close to her mother. Does her mother have Carrie’s ability to see ghosts?

Carrie always adored her father and was very hurt when he often stayed away from home, even when he wasn't in jail. But in Read and Gone, Jim Singleton comes back into her life and makes every effort to show Carrie that he loves her. What's more, he turns his life around and now works in the investigation agency that Dylan and his partner Mac own.

Carrie's mother was never maternal. She is self-absorbed and manipulative. In Checked Out for Murder, Carrie spends time with her mother when Linda comes to Clover Ridge because her husband is in a movie being filmed there. Carrie helps her mother get through some emotional upheavals when she's in town. While she and her mother will never be close, Carrie now understands her better.

No, Linda cannot see ghosts. The only relative of Carrie's who can is her little cousin Tacey.

Did Dylan inherit the estate they live on? Why does Carrie seem to have an aversion to the manor house, where Dylan lives?

Yes, Dylan owns the estate that once belonged to his parents. Carrie finds the manor house formal and stuffy and doesn't want to ever live there when she and Dylan are married.

 When the body of, as it turns out, Dylan’s Uncle Alec, is discovered in the building next door to the library, which is to be joined to the library for expansion, he’s in an agitated state. Evelyn was also murdered, but she wasn’t in an agitated state. Why is Uncle Alec? How does he create havoc in the library?

Evelyn used to work in the library and has gone to her rightful place years earlier. She reappears in the library to interact with Carrie because she's been charged with being a kind of guardian angel for people who live in and visit Clover Ridge. Alec's body was hidden away for years and is disturbed by the workers who are renovating the building. His ghost staggers into the library through an opening between the two buildings. Alec has no idea where he is or why. He doesn't even know his own name. While Evelyn is invisible to everyone but Carrie, Alec can be seen by people in his ghostly form. As he lurches through the library, his agitation helps to create a gust of wind that causes pages to flutter, books to fall, and patrons to wonder what just passed them by.

Evelyn Havers ghost haunts the library and has served as an investigator in past books. But in this one, she serves less as an investigator and more of a mediator. How so?

Though both Evelyn Havers and Alec Dunmore are ghosts, they are on different planes. Evelyn has a role to play when she returns to our plane. Alec has to go to his resting place, but can only do so after certain conditions are fulfilled. Evelyn has the responsibility of helping Alec move from one plane to another.

Carrie has fessed up to being able to see ghosts to Dylan. Why does Dylan have mixed feelings about meeting with Uncle Alec?

When Dylan was young, he adored his uncle Alec and thought he was the most fascinating person. But Alec proved to be as unreliable as Dylan's father said he was, often disappointing Dylan. What's more, Alec was involved in one shady business after another.

Does Uncle Alec have unfinished business that he must attend to before he can go onto the great beyond?

Alec's murderer must be discovered before Alec can go to his rest. And even after that happens, one more mystery must be resolved.

Is young investigative reporter Julie Theron’s aggressiveness short sighted or smart?

Julie is brilliant at what she does—unraveling secrets and gathering information—but her people skills are lacking. Sometimes she's downright offensive, as when she badmouths John Mathers for not solving Alec's recently discovered six-year-old murder in a matter of days.

Julie puts Carrie in an uncomfortable position by belittling John Mathers’s police investigation, who is a friend of Carrie’s. But she goes further, wanting to team with Carrie to solve the crime before John can. Why does Carrie finally agree?

Carrie is well aware that Julie has access to research and researchers that will be useful in solving the two murders. Since Carrie is investigating Alec's murder anyway, she decides she may as well team up with Julie.

 How did Julie find out that the corpse was Uncle Alec?

Julie has access to her newspaper's extensive resources. She also has people doing research for her.

What is Dylan going to do with the painting and the money?

Dylan is going to donate the painting to an art museum and keep the money he inherits from his uncle.

What’s next?

I just finished writing the seventh book in the series. I've been contracted to write the eighth and final book in the series, final because the story arc of the series will then be complete. After that, I'll begin a new series.

 

A Few Writerly Observations by Marilyn Levinson

Becoming a proficient fiction author develops through hard work and constant writing. Over the course of my writing career, I've written twenty-four novels. I'd like to share with you a few observations I've made regarding changes in my writing process and some writerly issues that puzzle me.

Plotting: When I first started out, I found plotting to be the hardest part of novel writing. I moved ahead like gangbusters the first five chapters, then stopped not certain how to proceed. I needed a good deal of help from my mentor. Eventually, I managed to write out synopses and followed my outline. These past few years I've been writing the Haunted Library series as Allison Brook. I think in many ways it's easier to write a series than a standalone because many of the characters as well as the setting and the tone are set in the first book.

Since I worked from a detailed outline, I considered myself a plotter. I knew who would be murdered, the major plot points, the array of clues and red herrings. But I discovered my process changed when writing the last four books in the series. As always, I knew the book's major theme and the two seemingly unrelated elements that come together at the end. But I was no longer working from an outline. I had the option to veer off in various directions into the great unknown. 

To my amazement, this didn't frighten me. I'd changed into a pantser—sort of. Somehow writing so many books had given me the confidence to have faith in my plotting. To know I would move ahead and write the right scenes to bring each book to its logical conclusion. This didn't mean I no longer needed the assistance of my dear fellow Plothatchers occasionally, but sometimes simply by being on the verge of asking for their input I found the answer to what I was seeking. Which leads me to believe that we authors know more about the book we're writing than we think.

Changing the murderer:  While I've never changed my murder victims, I have changed the identity of a few murderers from those I originally had in mind. I think this can only be possible if a writer isn't following an outline set in stone. I like to supply my readers with many possible murder suspects because part of the fun of reading a mystery is figuring out who dun it. Also, as I write each book, I get to know my characters better—their personalities, their value systems and their secrets. Sometimes this results in my casting a different character as the killer. In fact, I recently changed the murderer in my Work In Progress for a variety of reasons. 

Grammar and words: Grammar rules evolve just as language evolves, and we'd better keep up with the times. For example, I once thought I was pretty good when it came to using commas. These days I defer to others. I used to put in a comma to separate compound sentences. Now I find my editors often remove them. They also remove commas before such adverbs as "too" and "finally," words I always comma'd. Now I question whether an adverbial phrase requires a comma when once I was certain that it did. 

Compound word, hyphenated words or two words: Here we have three possibilities and I often choose the wrong one. I thought "homecooked" was a word, but my editor changed it to "home-cooked." "Semi-circular" seemed right to me, but no, "semicircular" won out. There are more of these word/words than one would imagine. I'm grateful that at this point in my career, I have an editor and a copy editor to sort them out.

Has your writing method evolved? Do you have any word usage or grammar issue that puzzles you? Please share if you do.

Some Thoughts Upon Starting a Novel by Marilyn Levinson

Here I am again, about to start a new novel in my Haunted Library mystery series. Death on the Shelf celebrated its book birthday this past week, and I'm in the midst of a virtual book tour and other methods of promotion as I continue to write guest blogs and interviews. My editor has gone over Dewey Decimated, the sixth book in the series, and I'm currently addressing her notes and edits. For a while now I've been thinking about book number seven.

My mysteries often have two plot lines that eventually converge, and the plot lines on which this book is based came to me immediately. That's all I know so far and it's not for lack of thinking. The criminal element in this book revolves around art. But in what capacity? I've considered storylines that involve art theft, art forgery and fake and illegal antiquities. All possibilities. Then I have to decide who's crooked, who ends up murdered, and how my sleuth will put two and two together and find the killer and the thieves.

Will I ever fashion an entire novel incorporating all these elements? How did I manage to write novels until now? A good friend and fellow author reminds me that I go through this with every book I write. It's somewhat comforting to know that many of my fellow authors go through the same morass of doubt and  concern.

The solution, I've discovered, is to turn to what I already know. Book number seven is part of a series, which means many of my characters, the tone, and the setting are well established.  One of my two plot lines comes directly from the previous book in the series. This always happens without any conscious effort on my part. It's as though my characters are pushing the story forward. While every book in the series stands alone, there are links to the continuous saga of my characters' private lives--their loves and friendships, experiences and adventures. These will help me figure out the mystery part of the story. And as soon as I've finished writing my final interview and have given away my last giveaway, I'll settle down and let the ideas I need come to me. And I'll start to write my next novel.

Some Thoughts on Blogging by Marilyn Levinson

I can't remember when I wrote my first blog, but it had to be more than ten years ago when my first mystery was published. Then blogging was all the rage. "You must blog," the Promotion Pundits declared. "It's one of the best ways to engage with your readers." Many of them drew up long lists of blogging topics for authors. Those documents are still on my computer, though I can't remember the last time I bothered to read any of them.

As mystery writers, we're well aware of our obligation to promote our books and stories. We do this in a variety of ways. While we never know for sure which methods bring us new readers , we know that new ways of promoting rise up and others fade away. Having a newsletter is a must. Social media is still hot. There's Facebook and Twitter, Instagram and Tiktok. And many more I'm not aware of. Which brings me to the question: Does it make sense to continue to blog?

I write a blog once a month here on Writers Who Kill and even less often on the Blackbirds Writers' Blog. Writing a blog is actually writing an essay—at least it is for me. I suppose my mind has been trained, because I always manage to come up with a topic to write about, usually something related to writing. Doing so takes up time, time away from writing. And the question is: what am I getting in return? I get comments, but these are mostly from my fellow group blogging authors and other author friends. 

Am I communicating with readers as I do when I do an author takeover for one of the cozy groups I belong to? Is blogging helping to create sales? I honestly don't know. But to be fair, I'm going to list a few of the reasons why I will continue to blog:

1. I like writing about writing or any other subject I'm thinking about and like sharing my thoughts with other people. After all, I am a writer and it's natural for me to express myself this way.

2. Blogs have longevity. One of my fellow Blackbirds Writers made a comment to a blog I'd written a year ago. 

3. Blogs are a way of communicating. I will leave a comment on someone's blog if the subject touched me.

4. Blogs can be reused. The topic, actually, since I always have new thoughts when I rework an old blog.

5. Blogs can be helpful to other authors. I can't count the number of times I've given out "Twelve Things to Include When Writing a Mystery Series," which was first written as a blog.

6. Guest blogs are a good way to have exposure to possible new readers.

7. Mystery writers are also mystery readers;  blogging is a way for them to learn about my books and me.

Though some say blogging isn't as important as it used to be, I think it's here to stay. What are your thoughts regarding blogging?

A Few Benefits of the Writing Life by Marilyn Levinson

Writing mystery novels requires time, dedication, and problem-solving. We authors spend a good deal of time alone as we work on a manuscript. But there's a sense of satisfaction when we finally reach The End. After a few bouts of editing we have a finished product in our hands . . . along with some other benefits.

1. I'm constantly learning about new topics. Sometimes I'm no further than half a sentence into a new chapter when I realize I need to research what I'm about to write. And so I turn to Google and read up on the topic. It could be what to serve at a wedding breakfast; what's involved when a building undergoes renovations; what are the laws of adoption in a particular state; or a slow-working poison that's accessible to the public. (Remember, this is for a mystery.)

2. My non-writing friends think I'm a computer whiz though I'm not. All I do is sorta keep up-to-date on social media. I have to, in order to promote my books. I'm on Facebook, Twitter, LinkedIn and Pinterest. Not so much on Instagram and not at all on TikTok. But I send out newsletters, do Author Takeovers, participate on conference panels, take part in listservs, speak at book clubs. I blog, have virtual tours, am interviewed on web-radio and webcasts. I'm always learning what's new out there when it comes to communicating with readers. And there's always something new to master, be it a new version of Facebook or some new venue.

3. My mind is constantly challenged. That includes being savvy about new venues of selling my books. Two of my books are with a new company called Scream that sells e-versions of the books, chapter by chapter via coins. Coins? There's quite a learning curve, but I'm sure I'll master it.

4. Friendship and camaraderie. A strong sense of camaraderie exists among mystery writers. Writers are generous people and we help our fellow wordsmiths. It's reassuring to know I'm only an email away from having any writing-related question answered. I've met some of my writing friends at conferences; some I've met online and may never meet in person. Regardless, the bond is forged. 

One of my greatest joys is hearing from readers. When they let me know they love my books and can't wait to read the next one, I'm spurred on to write the next one because bringing pleasure to one's readers is what we writers do.

5. Writing keeps me occupied. During COVID, so many of my non-writing friends would tell me they were bored. And say how lucky I was to have a new book to write and be involved online with all the people in my writing life. Though writing is a solitary occupation, these days we're also writing emails, Facebook comments, and blogs--all forms of communication. I suppose it's a form of socialization, which mental health experts say is important. And all that plotting and editing and promoting help keep our minds alert.

Not Every Day's a Writing Day by Marilyn Levinson

While new writers are encouraged to set up a work schedule and stick to it if they intend to finish a writing project, those of us who write under contract often work under the opposite conditions. We've a manuscript to hand in by a certain date, which often means we hold ourselves obliged to write seven days a week.

Like all good intentions, writing every day sounds noble but proves to be unrealistic. We are people before we are writers, and our lives involve other people and obligations that require time and attention. Life offers up problems and snags, some of them unforeseen.

As I grow older, I find that my daily chores and errands require more time than they used to. As does wading through my email every morning. Add to that the occasional doctor visit or the occasional visit with friends and family members, and before I  know it the day has turned into evening and I'm in no shape to concentrate on my work in progress.

Working daily on one's manuscript (or manuscripts, as the case may be) helps set a routine that moves the process along more smoothly. But while I set out each day, knowing the scene or scenes I'm about to turn into text, I often find myself stopping to research a topic. It might be as minor as checking out lunch menus of a certain type of restaurant, or as complicated as how a town council functions. These can always be incorporated in my writing day.

However, writing a manuscript is not always a linear experience. There have been times when I've found myself having to take my storyline in a somewhat different direction. This requires me to stop writing immediately and return to page one to start making the essential changes that move the new plot along. Only then can I return to writing new pages and completing my manuscript.

We aren't writing robots but human beings with many needs and wants. Sometimes we require a break from work, simply to do something pleasurable like taking a stroll through an arboretum or having a lunch date with a friend. I find this type of mini vacation refreshes my soul and helps put my creative energy back in gear so I'm eager to return to writing.

Some Thoughts About Writing A Cozy Series by Marilyn Levinson

 Writing a series, I've discovered, requires focusing on more than one book at a time. Last month Checked Out for Murder, the fourth book in my Haunted Library series came out. This required months of promotion: Facebook parties, guest blogs, a virtual book tour, etc. At the same time I've been writing and editing Death On the Shelf, the fifth book in the series. And following my agent's instructions, I've started to outline Book Number Six. Then there are the price reductions and unexpected activity involving earlier books that demand my immediate attention. Is it any wonder I occasionally mismatch titles and murder suspects in my head?  

The nice thing about writing a series is that your main characters and setting are already established. I'm very fond of my sleuth Carrie Singleton, Evelyn the ghost, and the others who populate my books. I enjoy writing about their experiences and relationships, and, of course, the mysteries they solve as the series progresses. Carrie works in the Clover Ridge Library. Her life is filled with colleagues, friends and relatives. As head of programs and events, she also has the opportunity to meet new people—very important to a series as each book in a series requires new situations, events, and themes. Personal issues arise as well as problems facing the community—all fodder for a murder mystery. 

 

A cozy series provides readers with well-loved characters, a familiar sense of place, and the knowledge that all will be resolved in the end. At the same time, each book must offer new mysteries and new directions—a challenge to the author and not for the faint of heart. 

 

 

Sudoku—My Go-To Relaxer by Marilyn Levinson

Whenever I feel the need to take a breather between activities or a respite from the Coronavirus news, I plop down in my recliner and reach for a Sudoku puzzle. I am not a math person by any means, but doing Sudoku soothes me and probably lowers my blood pressure as well. A Sudoku puzzle consists of nine squares set in one large square. Eighty-one possibilities, though some numbers are filled in throughout the puzzle as clues. Your job is to fill in the blank spaces to that every small square, every horizontal and every vertical line includes the numbers 1 to 9. Only one answer is possible for any one spot.

I can't explain why this activity is both a challenge as well as a calming experience, only that it is so. In fact, in the many years that I've been doing Sudoku, I have often wondered if it's an addiction. Sometimes I even choose it over reading, my favorite activity. After writing fiction, of course. Somehow, putting the right number in its allotted spot gives me the sense there's order in the world.

As a multi-tasker, I often do Sukoku while watching television or talking on the phone.
I love the ripple effect of filling in one square, which often leads to finding other numbers for other squares. Kind of like when you solve a plotting problem that enables you to move on with the book you're writing.

Sometimes I wish life fell into place in an orderly manner like a Sudoku puzzle. Other times, when I've screwed up a puzzle or can't finish it, I wonder why I've been wasting my time on filling in a series of numbers when I could have been reading or even — writing. But then I remind myself that I can't be productive every waking minute of the day. And admit the benefits I get from doing Sudoku are worth the time and effort as I reach for another puzzle.

Why Ghosts Often Appear in My Novels by Marilyn Levinson

Though I’ve never met a ghost, I’ve read enough about ghost sightings and hauntings to believe they exist. Experts in the field say some spirits remain earthbound because they’ve experienced a brutal or sudden death and don’t realize they’re dead. Others remain here because they have unfinished business or issues they need to resolve before passing on. Ghosts, whether you believe in them or not, have a permanent place in our literary lore. Readers find their manifestations unnerving, thrilling and intriguing. George and Marion Kirby in Topper and the sea captain in The Ghost And Mrs. Muir are three of my favorite literary spirits.

There's a ghost in my Haunted Library series, my mystery Giving Up the Ghost, and in my YA Getting Back to Normal. They are fully-developed characters who have remained on the Earthly plane to settle accounts. In the Haunted Library series, Evelyn Havers is the sixty-something ghost that haunts the Clover Ridge Library where she used to work. In Death Overdue, she urges my sleuth Carrie Singleton not to turn down the position of Head of Programs and Events she is being offered. Carrie takes Evelyn’s advice, and when her first program presenter dies before her eyes and those of a roomful of library patrons, Carrie goes on to investigate his murder and that of the cold case he claimed to have finally solved. Though Evelyn insists she's meant to help Carrie in her investigations, she often holds back information that she fears might incriminate her relatives. It isn’t until Buried in the Stacks, the third book in the series that Carrie discovers that Evelyn’s death was no accident.

Cameron Leeds, the ghost in Giving Up the Ghost, is a charismatic scoundrel. In life he was a good-looking man with a generous heart, except when wheeling and dealing—often at his friends’ expense. A Romeo who flirted with every woman who crossed his path. Though his best friend, the town’s police chief, has declared his death to have been an accident, Cam knows he was murdered. Trouble is, he doesn’t know who did it, and he can’t move on until he does. When Gabbie Meyerson rents his family’s cottage—the only place where he can manifest—Cam nags and cajoles until she agrees to investigate. Gabbie starts asking questions, and to her dismay discovers that several of Cam’s so-called friends and neighbors are glad he’s dead and are possible suspects.

Twelve-year-old Vannie Taylor, the protagonist in Getting Back to Normal, has just lost her mother, and her father is a basket case without her. Vannie meets Archie the ghost, hours after her father has moved her and her brother to live in a dingy cottage on the large estate where he manages events. Archie appears to be carefree and funny. Dressed in a tuxedo, he performs cartwheels and handstands. He’s overheard Vannie wondering aloud what to give her brother for dinner, and provides her with a simple recipe. He even tells her she can find the necessary ingredients in the mansion’s kitchen.

But Archie is far from carefree, as Vannie and her best friend discover when they research his life. He was twenty-five when he died, foolishly chasing after the thief who stole his wife’s necklace. Archie tells Vannie that before he can go to his rest, he must atone for having abandoned his wife and their one-year-old son. She is astonished to learn that Mayda, her parents’ close friend and the last of the family that once owned the estate, is Archie’s granddaughter. Archie implores Vannie to encourage the budding relationship between her father and Mayda—the one thing Vannie doesn’t want. But it may be the only way that her life will get back to normal.

Real or imagined, ghosts, I believe, add a dimension to a novel. How do you feel about reading or writing books with paranormal elements?