Finding Time to Read

One troubling thing about writing a lot of fiction is that I have less time to read. I not only write my own stuff, but I participate in a critique group in which we read one another's work weekly, and I manage my writing business. The latter does not interest me much, but if I don't do it well I sell fewer books.

Several years ago I began to read audio books all the time. I have them in the car and by my bed. That guarantees me at least twenty-four works of fiction a year.

I've finally begun reading books on my phone (in addition to a Kindle) because I'll always have my phone with me. I tend to make these lighter works, because I dive in and out of them in grocery store lines.

I haven't read much on paper for the last few years. After moving several times and giving away a lot of books, I made a conscious decision to largely buy ebooks. Of course, I use the library.

But several times in the last year I ended up in a situation where either Wi-Fi wasn't available or my phone battery was low. Nothing worse than waiting in a doctor's office with nothing to do. (I won't touch the magazines--think how many sick people have leafed through them.)

So I've started keeping books in the car again. My library has a huge used book room, so paperbacks are only seventy-five cents. I've finished a couple books in the last few months, and last week read an entire paperback on a train trip.

So many books, so little time...
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To learn more about Elaine or her writing, go to www.elaineorr.com or sign up for her newsletter. 

When Does the Back Story Need to Be Told?

            Until December 20, write a comment below this blog post and you're
                  entered to win a copy of my newest book, The Twain Does Meet.

Part of knowing a character's motives (for good or bad deeds) is knowing their past. I jot notes about where my characters were when, but I don't usually write pages. The exception would be for Scoobie in the Jolie Gentil series, and that may be why he strikes many as the most well rounded character in the books.

Common writing principles say the reader needs to know enough of the back story to understand why a character behaves as s/he does in the story. More than that and the reader will wonder why they have to wade through so many details that were not germane to the plot or relationships.

I had so much material on Scoobie (and Jolie) that I finally did a book called Jolie and Scoobie's High School Misadventures. Why stop there? Why not delve into the college years and the first part of their twenties? Because the high school years were when they were together prior to the start of Appraisal for Murder, and most relevant in their lives from that time going forward.

For some reason, likely a daft one, I wanted them to be the parents of twins. But I didn't want to bore readers, or myself, with 2 AM feedings that made Jolie too tired to pursue a clue or potty training that saw Scoobie with fodder for his poetry.

So the twins came into the story at age 3. That's also the point when I think kids become more independent and their senses of humor are more evident. Sometimes earlier, but it's also an age when parents can feel comfortable with a schedule that has the kids in day care or with friends -- not in the way of crime solving.

However, I had promised readers that I would tell the story of the twins' birth at some point.

I mulled that over for more than a year. Had to be funny, of course, but not syrupy or slapstick. I also didn't want Jolie solving a murder while pregnant. Not good for fetal development.

As I started The Twain Does Meet, I realized it was also an opportunity for readers to learn more about Scoobie's much younger brother, who had unexpectedly joined their lives. I needed to learn more about him, too.

Since a story needs to go beyond day-to-day activities, and I didn't want to include much on mood swings or stretch marks, there had to be meaningful action -- discovery other than finding a murderer.

The final criterion was that readers of the Jolie Gentil cozy mysteries needed to know they would be reading a fun story, but not a true mystery. I suppose that's in how I present the books to readers. I didn't want them to be disappointed if they didn't get the whodunit they expected. I think I've made it clear.

In any event, it's some fun backstory, and I had a blast writing it. I hope readers enjoy it when it becomes available December 20th. (For a link to all sites selling it, go to my website.
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To learn more about Elaine or her writing, go to www.elaineorr.com or sign up for her newsletter. 

Making the Bad Guys Worse

Every author needs to be able to critique herself. My most consistent comment is that I resolve conflict too quickly. That's great in life, but not so good in mysteries.

After giving it more thought, I believe this is because I don't fully develop the villains of the story. In my head, I look at almost everything from one of my antagonist's point of view. I'll think carefully about how a murder takes place and the immediate reason, but not the ultimate why.

In preparing for a presentation on villains I considered several books and movies. Some portray the hero's life and motives so well we don't need  to fully understand the bad guy. Every year I watch It's a Wonderful Life (the Christmas story with Jimmy Stewart and Donna Reed). We see the clear angst George Bailey feels at having to remain in Bedford Falls and we understand why his wife Mary loves being there.

Slowly George comes to see himself as the town sees him, and he understands the full value of his life. But what about Mr. Potter? We know he's a skinflint, know that when he didn't return the Bailey Savings and Loan Bank Deposit it sets the stage for George's belief that the world would be better off without him in it.

But why is Potter a mean, miserly man? Is he angry that he ended up in a wheelchair? Did his parents abandon him? We don't know, and in that story, his actions matter more than his motives.

Consider the first Star Wars movie, A New Hope. The story opens with Darth Vader chasing the rebels to secure the return of the plans for the Death Star. Leia is important, but it's when Luke's aunt and uncle are killed on his home planet that he gets the drive to combat the evil of the Empire.

So did the theft of the plans start the action? I'd say no. Darth Vader was compelled to seek to quash the rebellion because, in his words, he felt "a disturbance in the Force." Of course he wanted those plans, but he knew how strong his weapons were. Surely he would have felt it possible to combat any threat.

Except the threat that challenged his very existence. As the story progresses through three movies, we come to fully understand his desperation.

Where does that leave us? It tells me I need to know the enemy's backstory, his or her motives, to develop an enemy as strong as Darth Vader and the Empire. Strength comes in many forms. I think the strongest ones are secrets.

How will this realization change my writing? I've  decided it will be okay to jot down ideas for a plot or the main characters (the antagonists, for me), but I won't let myself start another mystery without developing the entire story from the villain's point of view. I probably won't use all the material in the novel, but knowing it will created a stronger enemy for my sleuth to overcome.

I'll keep notes as I go and let you know how it turns out.
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To learn more about Elaine or her writing, go to www.elaineorr.com or sign up for her newsletter.