Showing posts with label Leigh Perry. Show all posts
Showing posts with label Leigh Perry. Show all posts

Wednesday, October 23, 2019

An Interview with Toni L. P. Kelner--Leigh Perry by E. B. Davis


Dr. Georgia Thackery is back at home with her parents after finding a new adjunct position at Bostock College. Everyone is excited for their first family Christmas with nothing to hide. Why? Because Georgia’s daughter Madison is now in the know about Sid, their walking, talking family skeleton.

But their Christmas cheer is interrupted when the Thackerys' dog Byron goes missing on a cold December night. When he’s finally found, he has a femur clutched between his jaws, and Georgia and Madison race to apologize to Sid for letting the dog gnaw on him yet again.

Except that all of Sid’s bones are present and accounted for.

This bone is from somebody else, and when they trace Byron’s trail to an overgrown lot nearby, they find the rest of the skeleton. It’s the normal kind, not moving or telling jokes, and when the police come to take charge, they’re sure it was murder.

And one of Georgia’s adjunct friends could be implicated.

With tensions stirring at the college and everyone hiding a secret or two, Sid and Georgia must uncover the truth before the ghost of a Christmas past strikes again.

Leigh Perry is a pseudonym for Toni L. P. Kelner, who wrote the “Where Are They Now” and Laura Fleming Southern mystery series. She’s won many awards and co-authored numerous anthologies with Charlaine Harris. No wonder she’s now writing a cozy paranormal series, The Family Skeleton mysteries. I’m a big fan of this subgenre.

Georgia Thackery is an adjunct college professor whose best friend is a living skeleton, Sid. The mysteries Georgia and Sid solve often occur at the colleges where Georgia teaches. Because she’s an adjunct professor, she often moves each new semester to a different college, and with a few exceptions, her colleagues change. The recurring secondary characters are Georgia’s family—her high-school-age daughter, Madison, Madison’s dog, Byron, Georgia’s sister, Deborah, and their parents, tenured college professors.
   
The series is well-crafted, fun to read, and gives insight into the Thackery’s lives in academia. The Skeleton Stuffs a Stocking is the sixth book in this series and ends with what I consider a Christmas gift to readers. I’ll say no more.


Please welcome, Toni/Leigh to WWK.                            ____           _________                                                    E. B. Davis

Did you start your career as a college professor? On the tenure track or adjunct? I’m so flattered that you asked this, but no, I’ve never been a college professor of any description. I know a lot of academics, and the background in these books comes from a combination of speaking to those friends and online research.  

I didn’t know that college professors had unions, like public school teachers do. I’ve never heard of strikes on college campuses. Is this more common than I know? Are the unions only at public colleges? It varies a lot. Some schools have them, some don’t. There was a recent strike to allow a union of grad students, and there are adjunct unions in some places, but not all. In other words, it’s a perfect situation for a mystery writer because I can make the internal reality match my plot.

Sid’s vitality and life itself hinges on how others need him, his interests, and if he fulfills a function, especially in Georgia’s life. Is this unique to living skeletons or are regular people dependent on the same things? I think so. I’m reminded of all those people who retire, and don’t feel they have reason to get up in the morning. Or, in my case, an empty-nester whose day is suddenly much emptier. (Don’t worry—I’m managing to fill in the gaps.)

Even though Georgia considers Sid her best friend, what sacrifices has she made to keep Sid in her life? It was probably harder when she was a young girl, when she had to keep Sid’s existence a secret. Secrecy is wearing on a person, and she probably hated that she couldn’t take her bestie out shopping or to parties with her. (She had other more typical friends, but they haven’t been mentioned in the books yet.) As an adult, she has to be a little more careful about people she lets into her life, but I don’t think she considers it a sacrifice. The way I think of it is this. I’m hard of hearing, and because of that, my husband has to make adaptations when speaking, and he’s used to repeating things I might not have heard. It can be annoying, but it’s worth it for the benefits of the relationship. (Since we’ve been married 31 years, I think I’m safe in saying that he doesn’t mind too much.)

Sid lives in the same house with Georgia’s professor parents and they’re aware of Sid, but they don’t seem to have a relationship with him. Why not? Phil and Dab are busy academics, and have grad students coming in and out of the house. While Georgia could sneak off to spend time with Sid, her parents just didn’t have the time. Then Madison came along, and Sid sequestered himself, and when Georgia moved out, he got used to being alone in the attic. It was complicated by the fact that Deborah, Georgia’s sister, didn’t want to interact with Sid for a long time. Families fall into odd habits sometimes.

Do Sid and Georgia fight? Not often, but sure they get cranky at one another in the books now and then. You spend enough time with anybody, you’re going to snap sometimes.

I’m surprised that Georgia kept Sid a secret from her daughter, Madison, until she was in high school. Georgia met Sid when she was a child. Why and how did she hide Sid from Madison? That was Sid’s decision, not Georgia’s. Part of the reason is a plot reveal in the first book, so I won’t go into details, but part of it was the worry that a small child wouldn’t be able to keep the secret of Sid’s existence. The how was easy. Georgia and Madison moved out of the Thackery house when Madison was very young, so Sid only had to make himself scarce during visits. Why would Madison go into the Thackery attic? 

I’m also surprised that Sid has no recollections of his life as a person. Did he have a rebirth? Why isn’t he more curious about who he was? His first memory is of waking up as a skeleton, and even if he had been curious, he wouldn’t have known where to start looking for more information. There’s also some denial going on. If he thinks about his past existence, he’ll start thinking about how he went from living-breathing person to semi-living-skeleton. That’s an uncomfortable thing to think about. It just didn’t come up, and by the time the books start, Sid had been dead longer than he was alive.

How does Sid contribute to cases when he can’t be known by others? Sid is great at brain-storming, despite the lack of a brain, and he usually handles the computer stuff and paperwork as needed. Plus, he can make phone calls and send emails. Where he excels is surveillance, because he only needs his skull and a hand to watch and report suspicious activities. There have even been rare times when he’s supplied the muscle. So to speak.

In The Skeleton Stuffs a Stocking, Sid doesn’t seem interested in the case when a skeleton is found in the neighborhood even after Georgia finds out it is a case of murder. Is he sandbagging Georgia or is he absorbed in Christmas? A little of both. He doesn’t see a way for them to get into the case at first, and he is excited about Christmas. But he’s also making the point that Georgia always defers to him in getting involved—he wants to make sure she enjoys their investigations as much as he does.

Charles, a fellow adjunct and friend, confesses that he knows the identity of the victim. Wasn’t he aware of the missing-person investigation into her disappearance? The missing-person investigation took place in a different town, and for reasons explained in the book, weren’t particularly vigorous. So no, he never knew.

Do you think there are as many helicopter parents as there are those who neglect their kids? I think helicopter parents are more obvious—they’re louder. Neglect can be silent and harder to detect.

Georgia is an English professor. Her sister, Deborah, is a locksmith. How can they be so different? I’m a former tech writer who writes mysteries. One of my sisters is a fulltime home caregiver, and another is a retired teacher’s aid. The third’s last job was a cashier at a package store. I’m used to sisters being wildly different.

Why does Deborah only tolerate Sid? Was she jealous? Deborah has always been more rooted in what she considered the real world rather than her parent’s ivory tower or her little sister’s imaginary adventures. Sid just didn’t fit into her worldview. Plus, as a child, she probably was a little jealous. As she got older, she was worried Sid was holding Georgia back in life.

Who is Art Taylor? Did the real Art Taylor, the award-winning mystery writer, lend his name to the book? Yes, I shamelessly borrowed Art’s name. It was late and I couldn’t come up with a name when I needed one. I did ask him, and if he hadn’t approved, I’d have changed it.

When a connection is found between the victim and the Fenton’s circus where Georgia found Sid, it necessitates a visit to the owners of the circus, who happen to be the parents of her old flame, Brownie. Why did Georgia and Brownie stop dating? To be technical, it’s a carnival, not a circus. (Many circuses have a few carnival rides, and many carnivals include a performance or two, so it can be confusing.) The reason Georgia and Brownie quit dating is a little bit of a spoiler, but basically it came down to a miscommunication.

Do carnies have their own vocabulary? Absolutely! I’ve read that modern carnies don’t use as much of the slang as they did in years past, but it’s still fun stuff. So I created a character who is a longtime carnie and who likes trolling on people to give me a reason to use it.

What’s next for Georgia and Sid? I should start thinking about that. A wedding? Another mystery from Sid’s past? Something involving Deborah? A live-action role-playing camp with Madison taking part? Plenty of ideas, but I’m just not sure yet. I can pretty much guarantee there will be bone puns.






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?


Tuesday, September 24, 2013

WRITING THE MYSTERY SHORT STORY: TONI KELNER’S ANSWERS TO OUR SURVEY



In preparing this series, I solicited answers to ten survey questions from members of the Writers Who Kill blog and authors who are well-known for their wonderful mystery short stories. These authors have been so generous, detailed, and insightful in sharing their views and providing excellent information that I wanted the WWK readers to have the full benefit of their replies.

Today, Toni Kelner (also known as Leigh Perry) offers her perspective.

Previously, Toni has been with us on WWK in an interview about her new novel, written as Leigh Perry, A Skeleton in the Family, and also with her own blog message about her new endeavors. Her Leigh Perry website is: http://leighperryauthor.com/

As an author of short stories, Toni has been nominated for the Agatha, Anthony, Derringer, and Macavity awards, and has won the Agatha award for “Sleeping With the Plush” published in May 2006 in Alfred Hitchcock Mystery Magazine. Charlaine Harris is her co-editor on five anthologies, featuring both the mysterious and paranormal. They have a sixth anthology due out next year.

In addition to her short story anthologies, Toni L.P. Kelner has written the Laura Fleming mysteries and “Where are they now?” novels. She has been nominated for RT BookClub awards and received an RT BookClub Career Achievement Award. Toni has a B.A. in English. Her website is http://www.tonilpkelner.com/
Toni, thank you for being with us and taking the time to answer the survey questions.
How has being part of a short story writing community influenced your writing?
If you mean the Short Mystery Fiction Society, I don't think it's affected my writing per se, but it sure has made me aware of the challenges facing short story writers.

It's funny, back when I first started writing, all the writing books I read said to start with short stories to build a reputation, then move on to novels. (Advice that did not work for me, by the way.) Now I think it's easier to sell short stories when you've published a novel first! 

What is your thought process when you submit or select stories for a themed anthology?

When writing for a themed anthology, I always try to do something that nobody else would. So when I was trying to sell to Midnight Louie's Pet Detectives, edited by Carole Nelson Douglas, I wrote an elephant story. When I was writing a story for Jeffrey Marks's Criminal Appetites, which required a recipe, I wrote about marijuana brownies. And when I was trying to write for an MWA courtroom drama anthology, I tried two stories: a trial aboard a pirate ship and a mock trial at a high school. (For what it's worth, I sold the stories to Carole and Jeff, but didn't make it into the MWA anthology, though I sold those stories elsewhere.)

As for selecting, the anthologies I've co-edited with Charlaine Harris have all been invitation only. So we're selecting writers we know can write good stories. We aren't terribly systematic in how we put together a list of people to invite. We just invite people whose work we like and who we think we can work with. Our contract does say that we need a certain number of big-name authors per book, but otherwise, it's our choice. We pull from mystery, thriller, science fiction, fantasy, urban fantasy, paranormal romance, even comics. Charlaine is extremely well-read in all those genres, and that really helps.

When do you know an idea is suited for a short story instead of a longer work?

It's a matter of scope: an instant in a person's life, not a year; one locked room, not a town; a few characters, not an extended family; a gimmick that makes a great "gotcha" moment for a story, which wouldn't carry a whole novel. And often, I get an idea that could be a novel and melt it down to the best part to make a short story. Plus if it's a historical or anything that would require tons of research, I'll do it as short fiction so I don't have to do that much work. I'm kind of lazy.

Have you written “flash fiction”? What do you think of flash fiction as a literary form?

If you'd asked me a month ago, I'd have said no, but I saw that a publisher I admire was looking for flash fiction. So I got an idea one night and wrote one. Then I checked with the publisher and found out one discouraging fact and one deal-breaker. It was to be online only, which I didn't love but would have accepted, and they weren't paying, which was the deal-breaker. I still have the story, and a market in mind, but I need to read it over a couple of more times to polish it.

How many characters can be in a short story?

For fully realized characters? Maybe three or four. You can mention a lot more, of course, but they're going to be background characters.

How long have you been writing short stories?

Since high school. I have this gimmicky short story I wrote and submitted to Isaac Asimov's Science Fiction Magazine back when George Scithers was the editor. It came back with my very first rejection slip, but it was a good one--he really encouraged me. And yes, I still have that slip somewhere around here.

What is good/bad about the current short story market?

The good part is that with electronic publishing, there are some interesting markets out there. Also short stories, though not the entree into the field my old writing books promised, are excellent for promotion. I've had stories reviewed by readers who add, "I can't wait to check out her books," and I was approached by an Italian publisher purely because of a short story in Alfred Hitchcock Mystery Magazine. (In fact, it was one of the ones rejected for the MWA anthology I mentioned in Question #2.)

The bad are (1) readers who flat out refuse to read a short story because it's short, (2) so many markets that expect me to write for free, (3) so few markets that pay decently.

Should an unpublished author self-publish short stories?

I wouldn't. 

The reason I write short stories is:

They are so much FUN! I can try things I'd never try in a novel. Pirates, elephants, noir, PI, male POV, carney lingo... I can run wild.

The most important aspect of writing a mystery short story is:

The ending. Please, give your story one. I read short stories for a contest a few years back, and despaired at how many stories just stopped or dwindled. Something has to happen. In best cases, the main character affects change or changes himself or herself, but I'll settle for a bad joke if I have to. I need a payoff, darn it!  

Again, thanks for joining us and providing us with such terrific insight, Toni. Best wishes for your continuing success.

Monday, September 9, 2013

Good Bye, Summer Reading


A proud reader
For some, the first day of school means the end of summer. At libraries, it means the end of summer reading. Close to one thousand children participated in the summer reading program at my county library. The finishers, who had to read fifteen books over the summer, earned a coupon book of prizes and the right to put their names on paper cut outs we display in the branch. Many children proudly visit their cut outs, so we leave them up for a few weeks into the school year. But the gears shift; the reading lists change.

Gone are the lighter, funnier, summer reads. In September, the school reading lists bristle with classics and serious novels. The Great Gatsby steps in as Bridget Jones makes her exit.

Many adults make the same shift. Instead of the brightly colored book displays of beach reads, bristling with bikinis, sand castles, and sailboats, the library book display this month features biographies, serious and suitable for September, the back to school month. Many of these books may have bikinis, sandcastles, and sailboats in the story, but these frivolous elements are hidden behind serious head shots and no nonsense titles: Fearless. Unbreakable. No Easy Day. Lean In.

As we move into the autumn, we'll display books appropriate for those lengthening hours of darkness. Autumn is the time to recommend the darker favorites, Justin Cronin's The Passage, or Alden Bell's The Reapers Are the Angels, a zombie apocalypse/Flannery O'Connor mash up. Leigh Perry's A Skeleton in the Family, about a mystery-solving skeleton, might appeal to those who want some laughs with their shivers.




I realized as I watched this transition in reading material that I had unconsciously set my work in progress in a beach town in September. The tourists are gone, the crowds have left the beach, the leaves are shading into gold and orange. The transition of the seasons underscores the transitions being made by the characters. The sun is losing its warmth. The cold days are coming. Change is literally in the air.

What was your favorite “beach read” this summer?
Writers, does the season of the year play a part in your story?