KN Magazine: Articles
Dying for Dinner: Caroline's Eggplant Parmesan and Florentine Roast Pork
Dying for Dinner
Looking to serve your beloved a delicious meal this Valentine's Day? Look no further—Killer Nashville is here with tried and trued recipes that'll leave your mouth watering.
Because what's more romantic and intriguing than a recipe procured from a mystery/suspense magazine?
Caroline’s Eggplant Parmesan
By Caroline Davidson
As a new year rings in, the cold weather lingers, and Valentine’s day is right around the corner, there is something romantic about this time of year. It’s a time to reflect on what we want to accomplish over the next 12 months and time to maybe start a new hobby, or spend more time on one we already have! For me, cooking is my hobby and I always wish I could spend more time in my kitchen experimenting and trying new dishes. Maybe if you fear the kitchen and find it stressful, this year you can step outside of your comfort zone and impress your significant other with a warm, romantic dish on a chilly evening. I am sharing with you one of my personal favorite recipes, one that has taken me years to perfect after reading through recipe after recipe from both celebrity chefs and home-cooks. Pour a glass of red wine and dive into this comforting (& vegetarian) romantic dish…
Disclaimer: I’m a cook who doesn’t really measure anything…a dash of this, a spoonful of that…eyeball it and trust your tastebuds!
Serving Size: 4
Cooking Time: 1 hr and 30 min
Ingredients:
2 Eggplants
Salt & Pepper
Italian Seasoning
2 to 3 cups Panko Breadcrumbs
2 large eggs
3/4 to 1 cup Flour
3-4 cups Marinara sauce (homemade or store bought)
1 large ball of fresh Mozzarella cheese (cut into 1 inch slices…or you can use shredded if that’s more convenient!)
12 fresh leaves of Basil
Angel hair pasta
Extra Virgin Olive Oil
Vegetable Oil
Instructions:
- Slice the eggplant in 1 inch slices. You’d like to have 6 slices from each eggplant…creating stacks of 3 eggplant slices for 4 servings.
- The key to a delicious eggplant parmesan is taking the bitter flavor that can sometimes be tasted when roasting eggplant. I have your answer! After slicing your eggplant, line them up on a baking sheet and sprinkle both sides of each slice with salt and let sit for 20-25 minutes. Why? This actuallypulls out juices that carry bitter flavors and it collapses the air pockets in the eggplant's sponge-like flesh, preveniting it from absorbing too much oil and getting greasy.
- While your eggplant is soaking it’s “salt bath” prepare your marinara sauce…this can be homemade or from your favorite store brand. Although, I will admit homemade marinara is SO easy that once you learn to make a big batch of it at home you’ll never go back to buying it at the store! You can also freeze whatever you don’t use in ice cube trays and save in the freezer for months….pull out a few cubes when you want to whip up an easy spaghetti dish or a homemade pizza!
- Preheat over to 425 degrees
- Now you can set up your frying station. Here is how I organize my ingredients:
- On 1 large plate—spread about 3/4 a cup of white flour
- In 1 medium size bowl—crack the 2 eggs and add a tablespoon of water…add salt and pepper and beat until yolks are broken down
- On 1 large plate—spread at least 1-2 cups of panko breadcrumbs and sprinkle a generous amount of italian seasoning into the panic.
- Once the eggplant are finished soaking, rinse them off and pat dry
- Heat about a 1/2 cup of vegetable oil in your frying pan until simmering. Note: you can drop a piece of panko into the pan—if it starts frying, you are good to go!
- For each eggplant slice, follow these steps:
- Pat both sides of eggplant slice in the flour
- Dredge the eggplant slice in the egg wash
- Dip both sides of the eggplant slice in the Panko Breadcrumb mixture (after about 4-5 slices, you may need to add some more panko to the plate so that the additional slices are coated well also)
- Place in frying pan and fry at least 3-4 minutes on each side, or until golden brown
- Place all slices on a paper towel after they are fried and golden brown!
- After all your eggplant slices have been fried, you are ready to assemble & pop in the oven!
- In a casserole dish, cover the bottom with a layer of your marinara sauce
- For each eggplant stack, follow these steps:
- place 1 eggplant slice on top of the marinara layer in the casserole dish
- top with a slice of mozzarella, 1 basil leaf, and a spoonful of marinara sauce
- place the second eggplant slice on top
- top with a slice of mozzarella, 1 basil leaf, and a spoonful of marinara sauce
- place the third, and last, eggplant slice on top
- top with a slice of mozzarella (no basil leaf here, it will turn brown and ugly in the oven…you will add it at the end for presentation!)
- After you have your 4 stacks completed and in the casserole dish, pop in the oven for 25-30 minutes
- When your eggplant has about 10 minutes left, cook your angel hair pasta. Be SURE to toss the cooked angel hair with a drizzle of extra virgin olive oil…the pop of flavor here is incredible!
- Pull your eggplant out of the oven and top each eggplant stack with one large basil leaf
- To assemble:
- On a large plate or in a large pasta bowl…add a layer of angel hair pasta
- Add a spoonful of marinara sauce on top of the pasta
- Top with 1 eggplant stack & add a few crack of fresh black pepper and a pinch of salt
- ENJOY!
Arista alla fiorentina/Florentine Roast Pork
By Alana White
MAKES 6 to 8 SERVINGS
PREP: 10 MIN.; BAKE: 1HR., 15 MIN.
STAND: 15 MIN.
PREHEAT OVEN TO 475 DEGREES THEN REDUCE TO 350 DEGREES
1 (4-lb.) boneless pork roast
4 sprinkles fresh rosemary
4 cloves peeled garlic, thinly sliced
5 whole cloves (the spice)
2 tablespoons olive or canola oil
Meat thermometer
Aluminum foiled-lined broiler pan, 4-qt. or 9"x13"
1. With a small knife cut slits in the pork roast. Insert the thinly sliced peeled garlic and the cloves.
2. Rub pork loin with the olive or canola oil
3. Insert meat thermometer in thickest portion of the roast
4. Bake at 475 for 20 minutes. Reduce heat to 350, and bake 50 to 55 more minutes or until the meat thermometer registers 160. Turn off oven.
5. Sprinkle rosemary over the roast and return to oven. Let stand in the warm oven for 15 minutes or until thermometer reaches 170.
6. Remove from oven, slice and enjoy!
Caroline Davidson graduated with honors from Belmont University with her Bachelors degree in Entrepreneurship. She worked for a start-up company a few months after college and learned the inside world of the distribution business. After this business dissolved, she joined Turner Publishing in Nashville as the marketing director. She organized marketing campaigns for 30-35 books a year and worked directly with Ingram distributors. Caroline joined JKS Communications as a publicist in the fall of 2015.
Alana White's debut historical mystery novel, THE SIGN OF THE WEEPING VIRGIN, is set at the height of the Italian Renaissance. The book features powerful (real-life) Florentine lawyer and diplomat Guid'Antonio Vespucci and his nephew and secretary, Amerigo Vespucci, as they investigate a plot involving a painting of the Virgin Mary that has begun weeping in the Vespucci family church, a missing girl, and Pope Sixtus IV's scheme to overthrow the Florentine Republic.
Alana's first short fiction featuring the Vespuccis was a Mystery Readers International Macavity Award finalist. Her book reviews appear regularly in the Historical Novel Society "Historical Novels Review." Her lifelong fascination with Renaissance Italy has taken her to Florence for research on the Vespucci and Medici families on many occasions, and she is currently writing her second Guid'Antonio Vespucci mystery.
In addition to fiction set in 15th-century Florence, Alana is the author of a biography of Sacagawea, SACAGAWEA: WESTWARD WITH LEWIS AND CLARK, and of COME NEXT SPRING, a novel set in 1940s Appalachia. She is a member of the Author's Guild, the Historical Novel Society, Sisters in Crime, Mystery Writers of America, and the Women's National Book Association.
These recipes are so good they should be a crime. If you concoct either of these great recipes, let us know what you think and send us a picture. We may include it here with a link to your website.
What are you cooking? Submit your favorite recipes. They can be based on your favorite literary character, your Aunt Clara’s, or some amalgamation of ingredients you’ve discovered that makes life worth living (nothing with arsenic seasoning, please). Make sure to include your contact information and explanation of the origin of the recipe. Send your submissions (to which you avow in a court of law that you have all rights to and are granting the nonexclusive rights to Killer Nashville to use in any form and at any time) with subject line “Dying For Dinner” to contact@KillerNashville.com.
Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale.
In The Public Eye: The #1 Novice Mistake in Self-Publishing
Self-publishing is becoming an increasingly popular option for many authors. And, in recent years, the industry has seen a flood of self-publishing companies hit the market—CreateSpace and Lightning Source chief among them.
In her latest article, PR expert Julie Schoerke discusses the pros and cons of self-publishing, and how companies like CreateSpace or Lightning Source simultaneously help and hurt writers, readers, and bookstores alike.
The #1 Novice Mistake in Self-Publishing
By Julie Schoerke
You may be, no you are, brilliant with what you’ve chosen to do with your life up to this point. However, nothing prepares you for book publishing and the myriad of ways that you can get screwed.
Because there are so many books being published today—some estimates based on ISBN purchases, put the number at more than 3 million in the United States alone each year. And 2.2 million of those are self or “indie” published books.
There is a whole industry that has emerged to “help” authors publish their books for the first time. But, a number of these are predatory or are not the right fit, and it’s tough for an author to know that unless they’ve been down the publishing path before.
Here’s what you need to do if you’re going to self-publish, while going for the “traditionally published” look of your book:
Hire a professional book editor. Not a journalist, not a former teacher, a book editor. At JKS, we require the book to be edited by a book editor that has either worked for a major publishing house (a lot of them freelance now) or has edited a book that has won a major national award. They know how a book is supposed to be packaged so that the reader has an enjoyable experience. This is developmental editing with copy editing coming at the very end.
Hire an amazing book cover designer. While there are lots of über-talented and creative graphic artists, a book cover is very specific and if you don’t do it correctly, it will look shoddy. Unless you’re coming from a publishing background, you really need to have a pro to create and evaluate the cover. A book is, sadly, judged on its covers oftentimes.
Find a book designer who has laid out interior books for a publishing house in the past. There are all kinds of amateurish mistakes that can be made here that will make your book look unprofessional. Trust me. I shudder when I see these, as I know that, no matter how good the writing is, it’s just not going to get the respect it deserves if it isn’t done well and to industry standards.
Hire a book publicity firm that you feel like you click with, understands what your goals are, and is enthusiastic about your particular book. There are various ways to find out if a book publicity firm is legitimate. Talk to friends. Research them online. Research the mid-list books that they represented 6 to 18 months ago to see if you can find plenty of things online about the book. Talk to the publicity firm and see if the personality fit is comfortable for you. Find out how they are held accountable for what they say they will do for you (there are no guarantees of specific media in book publicity, but reporting and transparency are paramount).
There are many questions about self/indie publishing through CreateSpace (Amazon) vs. Lightning Source or Spark (Ingram). If you are publishing through CreateSpace, and have that name inside of your book, then know that it will be looked upon favorably by Amazon when “optimizing” it’s viewability on the book buying site, but will be a total buzzkill for bookstores who want nothing to do with Amazon and consider the company to be ruthlessly setting out to ruin their business. CreateSpace indicates in it’s promotional materials that your book is available for order by any bookstore—just understand that no bookstore will order your book whether it’s available or not since it’s been produced by their toughest competitor.
If you publishing through an Ingram subsidiary, that is very friendly for bookstores and makes it easy for them to order your book—it’s always “in stock” because Ingram can produce a beautiful print-on-demand copy (they’ve come a long way, baby!) within an hour of the request and it will be mailed the same day. What’s more, if you publish through an Ingram subsidiary, the largest distributor of books in the U.S. is producing your book across all distribution chains. The best feature is that a bookstore can order your book and see it in the Ingram catalog without having to set up a new payment system to get your book. Indie bookstores would like to be able to keep track of all orders in one place and Ingram or Baker & Taylor are the top choices. Your book won’t be highly “optimized” on Amazon, but it’s not penalized either.
Many of our indie authors publish on CreateSpace for Amazon and Ingram Spark for bookstores—it takes two ISBNs, but is well worth it. Anyone who is going to publish a book, an ebook, or audio book, and will potentially write more books in the future, should buy a set of 10 ISBNs (cheaper in a bundle) from Bowker (www.bowker.com), rather than through CreateSpace (again, you will be tagged as an affiliate of Amazon if you use one of their ISBNs, which bookstores can see in their computer systems).
While both CreateSpace and Ingram subsidiaries have their benefits, you’re most likely to experience positive results if you eschew the Amazon self-publishing option. Whichever route you take, one thing remains constant: you will need professional help in order to turn your manuscript into a well-polished, marketable reality—or else risk undermining the book you worked so hard to create.
Happy writing in 2016!
Julie Schoerke founded JKS Communications, a Literary Publicity Firm, 15 years ago, and the firm has gone on to represent more than 600 authors, as well as publishers and literary organizations. Personalizing creative campaigns for each author, having an accountability system in place throughout the authors' campaigns and including former journalists on the publicity team are hallmarks of her vision for the firm. Julie speaks at writers’ conferences, universities, and book festivals across the United States. She also writes book- marketing and book-promotion columns for trade publications and is a featured guest frequently on radio. JKS Communications is headquartered in Nashville, TN with operations in New Orleans and New York as well. For more information please visit www.jkscommunications.com
Believability—How Much Can We Stretch Reality and Get Away With It? / Caroline Fardig
Part of the fun of fiction is escaping the constraints of normality. Although readers value consistency and authenticity in the worlds we construct, we have to be careful not to allow these concerns to squelch our creativity. This week’s guest blogger Caroline Fardig offers advice on walking that tightrope, drawn from her experience as an author of both cozy and forensic procedural mysteries.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Believability—How Much Can We Stretch Reality and Get Away With It?
By Caroline Fardig
My agent, Ethan Ellenberg, once told me that if you can get the reader sucked into a good story, it’s okay for believability to take a backseat. I agree wholeheartedly, and in my writing I’m always stretching the limits of what “real” people would actually do in a given situation. That said, you can’t exactly introduce a family of sparkly, angsty vampires into your psychological thriller and expect your readers to go along with it. Yes, writing fiction gives us certain liberties, but you still have to play by the rules of your genre.
In any genre, you want to create characters who come to life for your readers. They should have faults as well as redeeming qualities, and you can exaggerate those traits, but only up to a certain point. For example, maybe your main character is a curmudgeonly, hard-nosed cop, never passing a chance to offer up a gruff comment or a fiery retort. You can play that to the hilt. However, he has to have a softer side; otherwise, he won’t seem real (or likeable).
Humans are complex, and characters with layers to their personalities are much more lifelike than one-dimensional caricatures, and thus believable. If your character seems dependable and real, you can stretch the boundaries of what they are able to do, like when the fate of the world hangs in the balance and only one person has the power to save it.
With mysteries, it depends on your specific genre as to how much of a stickler you need to be for accurate investigational procedure and forensics. In cozies, you’re never going to have a decomposing body lying in a pool of bodily waste with blowflies circling it. It’s just not done.
On the flip side, in a more hard-boiled detective novel, you’re not going to find dead Aunt Martha posed peacefully in her favorite chair and still smelling like roses after being dead for a day or two.
Case in point, in my upcoming humorous cozy, Mug Shot, the heroine lands herself in jail for a minor infraction. She’s thrown in the drunk tank, which is co-ed, and hilarity ensues. Do men and women ever get locked up together in the same cell in real life? Not likely. But when I asked my friend Rick Reed (a detective-turned-author and yearly Killer Nashville presenter) if he thought it was too unbelievable, he said I should go for it.
Rick assured me that it wasn’t too terribly far-fetched for a cozy and it sounded like a fun scene. Would I do the same thing in the forensic procedural I’m currently writing? Heck, no!
In fact, I am so intent that my grittier mystery series is believable, I’ve taken two criminology classes at my local college. My forensics professor also works as a firearms and tool mark specialist for the Indiana State Police Crime Lab, so for one of the class sessions, we got to tour the local lab facility and speak with all of the criminologists on staff. Both classes had a lot of guest speakers, so I was able to make connections with law enforcement officials who have been more than willing to answer my questions and explain the ins and outs of crime solving.
Did I go that far in researching for my cozies? Again… heck, no! In preparing to write my cozy Java Jive series (Death Before Decaf and Mug Shot), the most rigorous “research” I did was going on a couple of weekend trips to check out coffeehouses in Nashville.
Don’t scoff too much at that, though. If you’re writing a story based in a real area, you need to actually go to the area and get a feel for the place. I’ve either walked or driven down nearly every street in the Midtown area of Nashville, which is just south of downtown between the campuses of Vanderbilt and Belmont Universities, because I want the setting to be as true-to-life as possible, even if the situations the characters get themselves into are not!
If you’ve followed all the rules and are still worried that something doesn’t quite sound believable, fess up to it! At the end of Joyland, Stephen King admits to making up some of the carny slang he uses throughout the book. He basically said that we readers should get over it, and he very kindly let us know we could save our hate mail, because after all … it’s FICTION!
Caroline Fardig is the author of the Java Jive Mysteries series and the Lizzie Hart Mysteries series. Suspense Magazine recently named Fardig’s Bad Medicine as one of the Best Books of 2015. She worked as a schoolteacher, church organist, insurance agent, funeral parlor associate, and stay-at-home mom before she realized that she wanted to be a writer when she grew up. Born and raised in a small town in Indiana, Fardig still lives in that same town with an understanding husband, two sweet kids, two energetic dogs, and one malevolent cat. Find Caroline on the web at www.carolinefardig.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Believability—How Much Can We Stretch Reality and Get Away With It? / Caroline Fardig
Part of the fun of fiction is escaping the constraints of normality. Although readers value consistency and authenticity in the worlds we construct, we have to be careful not to allow these concerns to squelch our creativity. This week’s guest blogger Caroline Fardig offers advice on walking that tightrope, drawn from her experience as an author of both cozy and forensic procedural mysteries.Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Believability—How Much Can We Stretch Reality and Get Away With It?
By Caroline Fardig
My agent, Ethan Ellenberg, once told me that if you can get the reader sucked into a good story, it’s okay for believability to take a backseat. I agree wholeheartedly, and in my writing I’m always stretching the limits of what “real” people would actually do in a given situation. That said, you can’t exactly introduce a family of sparkly, angsty vampires into your psychological thriller and expect your readers to go along with it. Yes, writing fiction gives us certain liberties, but you still have to play by the rules of your genre.
In any genre, you want to create characters who come to life for your readers. They should have faults as well as redeeming qualities, and you can exaggerate those traits, but only up to a certain point. For example, maybe your main character is a curmudgeonly, hard-nosed cop, never passing a chance to offer up a gruff comment or a fiery retort. You can play that to the hilt. However, he has to have a softer side; otherwise, he won’t seem real (or likeable).
Humans are complex, and characters with layers to their personalities are much more lifelike than one-dimensional caricatures, and thus believable. If your character seems dependable and real, you can stretch the boundaries of what they are able to do, like when the fate of the world hangs in the balance and only one person has the power to save it.
With mysteries, it depends on your specific genre as to how much of a stickler you need to be for accurate investigational procedure and forensics. In cozies, you’re never going to have a decomposing body lying in a pool of bodily waste with blowflies circling it. It’s just not done.
On the flip side, in a more hard-boiled detective novel, you’re not going to find dead Aunt Martha posed peacefully in her favorite chair and still smelling like roses after being dead for a day or two.
Case in point, in my upcoming humorous cozy, Mug Shot, the heroine lands herself in jail for a minor infraction. She’s thrown in the drunk tank, which is co-ed, and hilarity ensues. Do men and women ever get locked up together in the same cell in real life? Not likely. But when I asked my friend Rick Reed (a detective-turned-author and yearly Killer Nashville presenter) if he thought it was too unbelievable, he said I should go for it.
Rick assured me that it wasn’t too terribly far-fetched for a cozy and it sounded like a fun scene. Would I do the same thing in the forensic procedural I’m currently writing? Heck, no!
In fact, I am so intent that my grittier mystery series is believable, I’ve taken two criminology classes at my local college. My forensics professor also works as a firearms and tool mark specialist for the Indiana State Police Crime Lab, so for one of the class sessions, we got to tour the local lab facility and speak with all of the criminologists on staff. Both classes had a lot of guest speakers, so I was able to make connections with law enforcement officials who have been more than willing to answer my questions and explain the ins and outs of crime solving.
Did I go that far in researching for my cozies? Again… heck, no! In preparing to write my cozy Java Jive series (Death Before Decaf and Mug Shot), the most rigorous “research” I did was going on a couple of weekend trips to check out coffeehouses in Nashville.
Don’t scoff too much at that, though. If you’re writing a story based in a real area, you need to actually go to the area and get a feel for the place. I’ve either walked or driven down nearly every street in the Midtown area of Nashville, which is just south of downtown between the campuses of Vanderbilt and Belmont Universities, because I want the setting to be as true-to-life as possible, even if the situations the characters get themselves into are not!
If you’ve followed all the rules and are still worried that something doesn’t quite sound believable, fess up to it! At the end of Joyland, Stephen King admits to making up some of the carny slang he uses throughout the book. He basically said that we readers should get over it, and he very kindly let us know we could save our hate mail, because after all … it’s FICTION!
Caroline Fardig is the author of the Java Jive Mysteries series and the Lizzie Hart Mysteries series. Suspense Magazine recently named Fardig’s Bad Medicine as one of the Best Books of 2015. She worked as a schoolteacher, church organist, insurance agent, funeral parlor associate, and stay-at-home mom before she realized that she wanted to be a writer when she grew up. Born and raised in a small town in Indiana, Fardig still lives in that same town with an understanding husband, two sweet kids, two energetic dogs, and one malevolent cat. Find Caroline on the web at www.carolinefardig.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Believability—How Much Can We Stretch Reality and Get Away With It? / Caroline Fardig
Part of the fun of fiction is escaping the constraints of normality. Although readers value consistency and authenticity in the worlds we construct, we have to be careful not to allow these concerns to squelch our creativity. This week’s guest blogger Caroline Fardig offers advice on walking that tightrope, drawn from her experience as an author of both cozy and forensic procedural mysteries.Happy reading!
Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Believability—How Much Can We Stretch Reality and Get Away With It?
By Caroline Fardig
My agent, Ethan Ellenberg, once told me that if you can get the reader sucked into a good story, it’s okay for believability to take a backseat. I agree wholeheartedly, and in my writing I’m always stretching the limits of what “real” people would actually do in a given situation. That said, you can’t exactly introduce a family of sparkly, angsty vampires into your psychological thriller and expect your readers to go along with it. Yes, writing fiction gives us certain liberties, but you still have to play by the rules of your genre.
In any genre, you want to create characters who come to life for your readers. They should have faults as well as redeeming qualities, and you can exaggerate those traits, but only up to a certain point. For example, maybe your main character is a curmudgeonly, hard-nosed cop, never passing a chance to offer up a gruff comment or a fiery retort. You can play that to the hilt. However, he has to have a softer side; otherwise, he won’t seem real (or likeable).
Humans are complex, and characters with layers to their personalities are much more lifelike than one-dimensional caricatures, and thus believable. If your character seems dependable and real, you can stretch the boundaries of what they are able to do, like when the fate of the world hangs in the balance and only one person has the power to save it.
With mysteries, it depends on your specific genre as to how much of a stickler you need to be for accurate investigational procedure and forensics. In cozies, you’re never going to have a decomposing body lying in a pool of bodily waste with blowflies circling it. It’s just not done.
On the flip side, in a more hard-boiled detective novel, you’re not going to find dead Aunt Martha posed peacefully in her favorite chair and still smelling like roses after being dead for a day or two.
Case in point, in my upcoming humorous cozy, Mug Shot, the heroine lands herself in jail for a minor infraction. She’s thrown in the drunk tank, which is co-ed, and hilarity ensues. Do men and women ever get locked up together in the same cell in real life? Not likely. But when I asked my friend Rick Reed (a detective-turned-author and yearly Killer Nashville presenter) if he thought it was too unbelievable, he said I should go for it.
Rick assured me that it wasn’t too terribly far-fetched for a cozy and it sounded like a fun scene. Would I do the same thing in the forensic procedural I’m currently writing? Heck, no!
In fact, I am so intent that my grittier mystery series is believable, I’ve taken two criminology classes at my local college. My forensics professor also works as a firearms and tool mark specialist for the Indiana State Police Crime Lab, so for one of the class sessions, we got to tour the local lab facility and speak with all of the criminologists on staff. Both classes had a lot of guest speakers, so I was able to make connections with law enforcement officials who have been more than willing to answer my questions and explain the ins and outs of crime solving.
Did I go that far in researching for my cozies? Again… heck, no! In preparing to write my cozy Java Jive series (Death Before Decaf and Mug Shot), the most rigorous “research” I did was going on a couple of weekend trips to check out coffeehouses in Nashville.
Don’t scoff too much at that, though. If you’re writing a story based in a real area, you need to actually go to the area and get a feel for the place. I’ve either walked or driven down nearly every street in the Midtown area of Nashville, which is just south of downtown between the campuses of Vanderbilt and Belmont Universities, because I want the setting to be as true-to-life as possible, even if the situations the characters get themselves into are not!
If you’ve followed all the rules and are still worried that something doesn’t quite sound believable, fess up to it! At the end of Joyland, Stephen King admits to making up some of the carny slang he uses throughout the book. He basically said that we readers should get over it, and he very kindly let us know we could save our hate mail, because after all … it’s FICTION!
Caroline Fardig is the author of the Java Jive Mysteries series and the Lizzie Hart Mysteries series. Suspense Magazine recently named Fardig’s Bad Medicine as one of the Best Books of 2015. She worked as a schoolteacher, church organist, insurance agent, funeral parlor associate, and stay-at-home mom before she realized that she wanted to be a writer when she grew up. Born and raised in a small town in Indiana, Fardig still lives in that same town with an understanding husband, two sweet kids, two energetic dogs, and one malevolent cat. Find Caroline on the web at www.carolinefardig.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
For more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Thinking Like a Horse / Lisa Wysocky
As a well-rounded adult member of society, you have more interests and areas of expertise than just the all-important writing world. (Right? …If not, well, I hate to say it, but you’re missing out.) Sometimes, viewing an aspect of writing through that seemingly incongruous lens offers you perspective, and can help you approach problems with new insight. In this week’s guest blog, equestrian mystery writer Lisa Wysocky applies her lifelong love of horses to decrypting the relationship between writers and readers.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Thinking Like a Horse
By Lisa Wysocky
From the time I was very young, I have written about horses, and as I have gotten older I find that my most important lessons have come from the world of horses—including lessons about reading and writing (and about readers and writers).
Every “horse person” knows that humans are predators and horses are prey. Obviously, this is a fundamental difference between species, and as a result, each acts accordingly. Horses look to those around them for leadership. If their human partner does not display an ability to lead via business-like body posture, competent facial expression, calm voice, and sensible decisions, the horse will lose respect for the human and call them on their error by misbehaving.
What, you might ask, does this have to do with reading or writing a mystery? Everything, actually, as horses and humans are not the only ones to have differences. Authors and readers can also be very different, in terms of their roles. Authors, for instance, “lead” the reader into the story, just as a human might lead a horse into a new adventure on the trail. If the writer’s story is not engaging and exquisitely crafted, then, just like a horse, the reader will lose respect.
Mystery authors sometimes live with their characters long enough that it becomes difficult to find perspective in giving out needed details of character and plot. If they get it wrong, a reader will call an author on it every time. In this way, the horse/human relationship and the author/reader relationship are not so very different.
Horse lovers also try to impose human experiences onto horses, and that is an impossible task. From the way horses process thought, to how they see and process touch, theirs is a world apart from the human experience. It is the same with readers and writers. When I write, I try to think like my readers, even though I know my characters and the story inside and out, while the reader is at the mercy of the information I choose to deliver.
That’s why I am always conscious of how the typical mystery reader might interpret a scene, or the last line of a chapter. Will my description of a round pen, for example, make sense to a person who does not know about horses, yet not be too elementary for those who do? As a reader, I know that I would much rather have the comfort of a concise, accurate description of an object or a process, than have a “Huh?” experience. As an author, however, that balance can be hard to find.
I have been fortunate to have my nonfiction books about horses diligently edited by people who are seasoned horse people, because those are the only readers who will be interested in that kind of book. On the other hand, I am equally as fortunate to have a woman who knows little about horses edit my Cat Enright equestrian mystery series, including The Fame Equation (2015). Even though I try to think like my readers when I write, I sometimes forget that not everyone knows, for example, what a fetlock is. My editor calls me on those lapses every time.
What is relevant information? What description adds to the story? What words advance the plot? How much is too much? Authors must lead the reader ably into, through, and out of the story in such a way that the reader wants to come back for more. Horse lovers want their horses engaged with them. Authors want to engage readers. Both, in a way, are done through leadership.
That’s why I try to think like a horse when I write. Scientists’ best guess is that horses think in pictures, much as people on the autism spectrum do, and every writer wants to be visual. Horses are also quite literal. If they don’t like something, you know it immediately with the pinning of an ear or a swish of a tail. As a writer, I know pretty quickly if a reader doesn’t like something, as one is sure to speak up.
Whether it is through reading or writing, we all love to immerse ourselves in a new mystery. That focus and attention is also very horse-like, so whether you realize it or not, you have something in common with the horsiest of horses.
Lisa Wysocky is a registered level PATH International instructor and also holds a certification as a Mentor and Equine Specialist in Mental Health and Learning. The September 2011 publication of the four-time award winning Cat Enright equestrian mystery, The Opium Equation, marked Lisa's debut fiction effort. The follow up, The Magnum Equation, takes place at an all breed horse show and won best book at the American Horse Publications awards, the first fiction book ever to earn this honor. The Fame Equation was published in 2015 and the series has recently been optioned for film and television. Lisa is also one of the authors included in the best-selling anthology, Eight Mystery Writers You Should Be Reading Now, with a Foreword by Hank Phillippi Ryan. She splits her time between Tennessee and Minnesota. Find her at LisaWysocky.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Thinking Like a Horse / Lisa Wysocky
As a well-rounded adult member of society, you have more interests and areas of expertise than just the all-important writing world. (Right? …If not, well, I hate to say it, but you’re missing out.) Sometimes, viewing an aspect of writing through that seemingly incongruous lens offers you perspective, and can help you approach problems with new insight. In this week’s guest blog, equestrian mystery writer Lisa Wysocky applies her lifelong love of horses to decrypting the relationship between writers and readers.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Thinking Like a Horse
By Lisa Wysocky
From the time I was very young, I have written about horses, and as I have gotten older I find that my most important lessons have come from the world of horses—including lessons about reading and writing (and about readers and writers).
Every “horse person” knows that humans are predators and horses are prey. Obviously, this is a fundamental difference between species, and as a result, each acts accordingly. Horses look to those around them for leadership. If their human partner does not display an ability to lead via business-like body posture, competent facial expression, calm voice, and sensible decisions, the horse will lose respect for the human and call them on their error by misbehaving.
What, you might ask, does this have to do with reading or writing a mystery? Everything, actually, as horses and humans are not the only ones to have differences. Authors and readers can also be very different, in terms of their roles. Authors, for instance, “lead” the reader into the story, just as a human might lead a horse into a new adventure on the trail. If the writer’s story is not engaging and exquisitely crafted, then, just like a horse, the reader will lose respect.
Mystery authors sometimes live with their characters long enough that it becomes difficult to find perspective in giving out needed details of character and plot. If they get it wrong, a reader will call an author on it every time. In this way, the horse/human relationship and the author/reader relationship are not so very different.
Horse lovers also try to impose human experiences onto horses, and that is an impossible task. From the way horses process thought, to how they see and process touch, theirs is a world apart from the human experience. It is the same with readers and writers. When I write, I try to think like my readers, even though I know my characters and the story inside and out, while the reader is at the mercy of the information I choose to deliver.
That’s why I am always conscious of how the typical mystery reader might interpret a scene, or the last line of a chapter. Will my description of a round pen, for example, make sense to a person who does not know about horses, yet not be too elementary for those who do? As a reader, I know that I would much rather have the comfort of a concise, accurate description of an object or a process, than have a “Huh?” experience. As an author, however, that balance can be hard to find.
I have been fortunate to have my nonfiction books about horses diligently edited by people who are seasoned horse people, because those are the only readers who will be interested in that kind of book. On the other hand, I am equally as fortunate to have a woman who knows little about horses edit my Cat Enright equestrian mystery series, including The Fame Equation (2015). Even though I try to think like my readers when I write, I sometimes forget that not everyone knows, for example, what a fetlock is. My editor calls me on those lapses every time.
What is relevant information? What description adds to the story? What words advance the plot? How much is too much? Authors must lead the reader ably into, through, and out of the story in such a way that the reader wants to come back for more. Horse lovers want their horses engaged with them. Authors want to engage readers. Both, in a way, are done through leadership.
That’s why I try to think like a horse when I write. Scientists’ best guess is that horses think in pictures, much as people on the autism spectrum do, and every writer wants to be visual. Horses are also quite literal. If they don’t like something, you know it immediately with the pinning of an ear or a swish of a tail. As a writer, I know pretty quickly if a reader doesn’t like something, as one is sure to speak up.
Whether it is through reading or writing, we all love to immerse ourselves in a new mystery. That focus and attention is also very horse-like, so whether you realize it or not, you have something in common with the horsiest of horses.
Lisa Wysocky is a registered level PATH International instructor and also holds a certification as a Mentor and Equine Specialist in Mental Health and Learning. The September 2011 publication of the four-time award winning Cat Enright equestrian mystery, The Opium Equation, marked Lisa's debut fiction effort. The follow up, The Magnum Equation, takes place at an all breed horse show and won best book at the American Horse Publications awards, the first fiction book ever to earn this honor. The Fame Equation was published in 2015 and the series has recently been optioned for film and television. Lisa is also one of the authors included in the best-selling anthology, Eight Mystery Writers You Should Be Reading Now, with a Foreword by Hank Phillippi Ryan. She splits her time between Tennessee and Minnesota. Find her at LisaWysocky.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Thinking Like a Horse / Lisa Wysocky
As a well-rounded adult member of society, you have more interests and areas of expertise than just the all-important writing world. (Right? …If not, well, I hate to say it, but you’re missing out.) Sometimes, viewing an aspect of writing through that seemingly incongruous lens offers you perspective, and can help you approach problems with new insight. In this week’s guest blog, equestrian mystery writer Lisa Wysocky applies her lifelong love of horses to decrypting the relationship between writers and readers.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Thinking Like a Horse
By Lisa Wysocky
From the time I was very young, I have written about horses, and as I have gotten older I find that my most important lessons have come from the world of horses—including lessons about reading and writing (and about readers and writers).
Every “horse person” knows that humans are predators and horses are prey. Obviously, this is a fundamental difference between species, and as a result, each acts accordingly. Horses look to those around them for leadership. If their human partner does not display an ability to lead via business-like body posture, competent facial expression, calm voice, and sensible decisions, the horse will lose respect for the human and call them on their error by misbehaving.
What, you might ask, does this have to do with reading or writing a mystery? Everything, actually, as horses and humans are not the only ones to have differences. Authors and readers can also be very different, in terms of their roles. Authors, for instance, “lead” the reader into the story, just as a human might lead a horse into a new adventure on the trail. If the writer’s story is not engaging and exquisitely crafted, then, just like a horse, the reader will lose respect.
Mystery authors sometimes live with their characters long enough that it becomes difficult to find perspective in giving out needed details of character and plot. If they get it wrong, a reader will call an author on it every time. In this way, the horse/human relationship and the author/reader relationship are not so very different.
Horse lovers also try to impose human experiences onto horses, and that is an impossible task. From the way horses process thought, to how they see and process touch, theirs is a world apart from the human experience. It is the same with readers and writers. When I write, I try to think like my readers, even though I know my characters and the story inside and out, while the reader is at the mercy of the information I choose to deliver.
That’s why I am always conscious of how the typical mystery reader might interpret a scene, or the last line of a chapter. Will my description of a round pen, for example, make sense to a person who does not know about horses, yet not be too elementary for those who do? As a reader, I know that I would much rather have the comfort of a concise, accurate description of an object or a process, than have a “Huh?” experience. As an author, however, that balance can be hard to find.
I have been fortunate to have my nonfiction books about horses diligently edited by people who are seasoned horse people, because those are the only readers who will be interested in that kind of book. On the other hand, I am equally as fortunate to have a woman who knows little about horses edit my Cat Enright equestrian mystery series, including The Fame Equation (2015). Even though I try to think like my readers when I write, I sometimes forget that not everyone knows, for example, what a fetlock is. My editor calls me on those lapses every time.
What is relevant information? What description adds to the story? What words advance the plot? How much is too much? Authors must lead the reader ably into, through, and out of the story in such a way that the reader wants to come back for more. Horse lovers want their horses engaged with them. Authors want to engage readers. Both, in a way, are done through leadership.
That’s why I try to think like a horse when I write. Scientists’ best guess is that horses think in pictures, much as people on the autism spectrum do, and every writer wants to be visual. Horses are also quite literal. If they don’t like something, you know it immediately with the pinning of an ear or a swish of a tail. As a writer, I know pretty quickly if a reader doesn’t like something, as one is sure to speak up.
Whether it is through reading or writing, we all love to immerse ourselves in a new mystery. That focus and attention is also very horse-like, so whether you realize it or not, you have something in common with the horsiest of horses.
Lisa Wysocky is a registered level PATH International instructor and also holds a certification as a Mentor and Equine Specialist in Mental Health and Learning. The September 2011 publication of the four-time award winning Cat Enright equestrian mystery, The Opium Equation, marked Lisa's debut fiction effort. The follow up, The Magnum Equation, takes place at an all breed horse show and won best book at the American Horse Publications awards, the first fiction book ever to earn this honor. The Fame Equation was published in 2015 and the series has recently been optioned for film and television. Lisa is also one of the authors included in the best-selling anthology, Eight Mystery Writers You Should Be Reading Now, with a Foreword by Hank Phillippi Ryan. She splits her time between Tennessee and Minnesota. Find her at LisaWysocky.com.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Author vs. Reader / C. Hope Clark
Thanks to the Internet, and the proliferation of cliché-caching sites like TVTropes.com, it’s harder than ever to surprise a reader. We’ve become so jaded as story-consumers that even the phrase “I’ve seen it all before” is too predictable to bother uttering. Rather than allowing this to discourage her, however, guest author C. Hope Clark chooses to see genre-savvy readers as an exciting challenge for her creativity to overcome in her quest to trick and trap her readers to their hearts’ delight.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Author vs. Reader
By C. Hope Clark
Mystery is the only genre that pits author against reader. When I state this in classes, attendees’ eyes travel up and to the left, as if searching through their mental files to see if their experiences prove my statement. They always smile in recognition.
At first blush, anything with X versus Y sounds like a bad thing. An adversarial experience. Readers hunting for mistakes, maybe. Finding blue eyes on your protagonist on page 43 and brown on page 76. Or spelling “Jesse” in one conversation and later having it “Jessie”.
But only mystery? What about romance? Sci-fi? Women’s fiction? Suspense? Ah, suspense! Still no. Suspense is about the chase, not the whodunit. Only in mystery does the story open with an unanswered question that, through clues, trip-ups, and numerous wrong turns, leads the reader to a solution he never saw coming.
Author vs. Reader is about more than the whodunit. It’s about the red herrings and twists, and writing them such that the reader can’t tell what’s real and what isn’t. It’s about leading him down one path with all its color, intricacies and three-dimensional style to make him feel that what isn’t real actually is. Then at the end, after the maze of this redirection, the solution rears up in the reader’s face all grinning, sly, and smiling, and whispers, “Got you.”
I get chills mastering that talent as an author, and it is entertainment of the highest order when an author bests my sleuthing skills as a reader.
I absorbed this Author vs. Reader tenet a long, long time ago in a small, uneventful class, but I didn’t realize the intensity of its importance until I got involved in a critique group. I’ve belonged to an online critique group for twelve years. A core within that group has followed and coached me from the first novel to the present. We have become so familiar that we scold each other when material triggers our BS meters.
While I can write without the group, I prefer to hear their questions as to why I chose a certain route. “If that’s a clue, you’ll need to flesh it out better than this, because it isn’t working for me.” Or, “Are you kidding? Sorry, but I can’t see this character doing that even if it is a red herring.” After feedback, sometimes I toss that twist in the trash. Other times I hone it more, so that it is smoking hot smart. It’s finding that subtle edge that makes a mystery brilliant.
No author, however, can know all the potential options to taking a mystery from Point A to Z. I dare say that no author can operate in a vacuum without running twists by someone they trust. As mystery specialists, we read so much and juggle so many options through our heads that we can become callous and flat in understanding what zings. However, beta readers or a strong critique group can help us zig instead of zag so that the zing really sings. The harsher you let them question your motives, the slicker you learn to adjust.
An avid mystery reader enters a story with radar on and eyes scanning for clues, accepting the challenge laid down by an author. The reader opens the book, thinking, “No way this author can best me.” The author writes, thinking, “You’ll never guess who did it before the end.” And the gauntlet is thrown down. Unless your theories and clues have been tested to the nth degree, a mystery aficionado will bust you by chapter ten.
This Me against You mentality makes for some of the best stories. But it makes for some of the biggest hurdles for an author. Every story has to be told well, with great dialogue, remarkable setting, and characters that pop off the page. The highs and lows, the emotional baggage, all must be presented with a deft hand. Each word matters, and in the best books, the reader appreciates this because he never sees the words… only the story.
A mystery author, however, must invest themselves deeper, because the reader enters Chapter One knowing that anyone on any page might be the culprit… or an author’s misrepresentation. Actions, choices, and even snippets of dialogue can snare and divert a reader.
A knife thrown in the bushes jumps out as a clue to watch, while the subtle mention of hot chocolate on the counter means nothing, only to become the real evidence. Or will the knife seem so obvious that the reader discounts it, only to learn that it did matter, a jousting advance and retreat between reader and author.
I’ve altered who died, shifted red herring suspects, and even deleted climaxes to avoid being too predictable. Killed the unexpected good character and saved the cad. My second Carolina Slade Mystery, Tidewater Murder, had an entirely different climax before a beta reader gave it a lukewarm rating as predictable. In the third, Palmetto Poison, a Silver Falchion award winner, I decided in the third draft to insure every single character represented a twist somewhere in the book.
Authors twist and turn, then twist and turn again, then ponder whether to undo one twist and replace it with another. Or twist the twist that came about from the first twist. There’s nothing wrong with stepping back from your work think, “How can I screw with this in another direction one more time?” Remember, your reader has many mysteries under his belt, and feels he’s seen it all. He tingles at the opportunity to experience something he hasn’t. Every paragraph and page must be taken to the point of ridiculousness, because anything less is fair game to the reader.
An author has to wow himself with the clues and answers in a mystery long before he wows the reader. And if a mystery author hasn’t completely amazed himself with his story, he’ll never win the fight.
C. Hope Clark attempts to amaze her mystery readers in her award-winning Carolina Slade Mysteries and Edisto Island Mysteries, both from Bell Bridge Books of Memphis, TN. Two of the Slade mysteries won Silver Falchion awards at Killer Nashville, and her latest release is Edisto Jinx. Her short mystery “Rich Talk” appeared in Killer Nashville Noir: Cold-Blooded and has been nominated for an Edgar. When not twisting mysteries, Hope manages FundsforWriters.com, chosen by Writer’s Digest Magazine for its 101 Best Websites for Writers for 15 years. Reach her at www.chopeclark.com. She lives on the banks of Lake Murray in central South Carolina, when she isn’t writing at Edisto Beach.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Author vs. Reader / C. Hope Clark
Thanks to the Internet, and the proliferation of cliché-caching sites like TVTropes.com, it’s harder than ever to surprise a reader. We’ve become so jaded as story-consumers that even the phrase “I’ve seen it all before” is too predictable to bother uttering. Rather than allowing this to discourage her, however, guest author C. Hope Clark chooses to see genre-savvy readers as an exciting challenge for her creativity to overcome in her quest to trick and trap her readers to their hearts’ delight.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Author vs. Reader
By C. Hope Clark
Mystery is the only genre that pits author against reader. When I state this in classes, attendees’ eyes travel up and to the left, as if searching through their mental files to see if their experiences prove my statement. They always smile in recognition.
At first blush, anything with X versus Y sounds like a bad thing. An adversarial experience. Readers hunting for mistakes, maybe. Finding blue eyes on your protagonist on page 43 and brown on page 76. Or spelling “Jesse” in one conversation and later having it “Jessie”.
But only mystery? What about romance? Sci-fi? Women’s fiction? Suspense? Ah, suspense! Still no. Suspense is about the chase, not the whodunit. Only in mystery does the story open with an unanswered question that, through clues, trip-ups, and numerous wrong turns, leads the reader to a solution he never saw coming.
Author vs. Reader is about more than the whodunit. It’s about the red herrings and twists, and writing them such that the reader can’t tell what’s real and what isn’t. It’s about leading him down one path with all its color, intricacies and three-dimensional style to make him feel that what isn’t real actually is. Then at the end, after the maze of this redirection, the solution rears up in the reader’s face all grinning, sly, and smiling, and whispers, “Got you.”
I get chills mastering that talent as an author, and it is entertainment of the highest order when an author bests my sleuthing skills as a reader.
I absorbed this Author vs. Reader tenet a long, long time ago in a small, uneventful class, but I didn’t realize the intensity of its importance until I got involved in a critique group. I’ve belonged to an online critique group for twelve years. A core within that group has followed and coached me from the first novel to the present. We have become so familiar that we scold each other when material triggers our BS meters.
While I can write without the group, I prefer to hear their questions as to why I chose a certain route. “If that’s a clue, you’ll need to flesh it out better than this, because it isn’t working for me.” Or, “Are you kidding? Sorry, but I can’t see this character doing that even if it is a red herring.” After feedback, sometimes I toss that twist in the trash. Other times I hone it more, so that it is smoking hot smart. It’s finding that subtle edge that makes a mystery brilliant.
No author, however, can know all the potential options to taking a mystery from Point A to Z. I dare say that no author can operate in a vacuum without running twists by someone they trust. As mystery specialists, we read so much and juggle so many options through our heads that we can become callous and flat in understanding what zings. However, beta readers or a strong critique group can help us zig instead of zag so that the zing really sings. The harsher you let them question your motives, the slicker you learn to adjust.
An avid mystery reader enters a story with radar on and eyes scanning for clues, accepting the challenge laid down by an author. The reader opens the book, thinking, “No way this author can best me.” The author writes, thinking, “You’ll never guess who did it before the end.” And the gauntlet is thrown down. Unless your theories and clues have been tested to the nth degree, a mystery aficionado will bust you by chapter ten.
This Me against You mentality makes for some of the best stories. But it makes for some of the biggest hurdles for an author. Every story has to be told well, with great dialogue, remarkable setting, and characters that pop off the page. The highs and lows, the emotional baggage, all must be presented with a deft hand. Each word matters, and in the best books, the reader appreciates this because he never sees the words… only the story.
A mystery author, however, must invest themselves deeper, because the reader enters Chapter One knowing that anyone on any page might be the culprit… or an author’s misrepresentation. Actions, choices, and even snippets of dialogue can snare and divert a reader.
A knife thrown in the bushes jumps out as a clue to watch, while the subtle mention of hot chocolate on the counter means nothing, only to become the real evidence. Or will the knife seem so obvious that the reader discounts it, only to learn that it did matter, a jousting advance and retreat between reader and author.
I’ve altered who died, shifted red herring suspects, and even deleted climaxes to avoid being too predictable. Killed the unexpected good character and saved the cad. My second Carolina Slade Mystery, Tidewater Murder, had an entirely different climax before a beta reader gave it a lukewarm rating as predictable. In the third, Palmetto Poison, a Silver Falchion award winner, I decided in the third draft to insure every single character represented a twist somewhere in the book.
Authors twist and turn, then twist and turn again, then ponder whether to undo one twist and replace it with another. Or twist the twist that came about from the first twist. There’s nothing wrong with stepping back from your work think, “How can I screw with this in another direction one more time?” Remember, your reader has many mysteries under his belt, and feels he’s seen it all. He tingles at the opportunity to experience something he hasn’t. Every paragraph and page must be taken to the point of ridiculousness, because anything less is fair game to the reader.
An author has to wow himself with the clues and answers in a mystery long before he wows the reader. And if a mystery author hasn’t completely amazed himself with his story, he’ll never win the fight.
C. Hope Clark attempts to amaze her mystery readers in her award-winning Carolina Slade Mysteries and Edisto Island Mysteries, both from Bell Bridge Books of Memphis, TN. Two of the Slade mysteries won Silver Falchion awards at Killer Nashville, and her latest release is Edisto Jinx. Her short mystery “Rich Talk” appeared in Killer Nashville Noir: Cold-Blooded and has been nominated for an Edgar. When not twisting mysteries, Hope manages FundsforWriters.com, chosen by Writer’s Digest Magazine for its 101 Best Websites for Writers for 15 years. Reach her at www.chopeclark.com. She lives on the banks of Lake Murray in central South Carolina, when she isn’t writing at Edisto Beach.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Author vs. Reader / C. Hope Clark
Thanks to the Internet, and the proliferation of cliché-caching sites like TVTropes.com, it’s harder than ever to surprise a reader. We’ve become so jaded as story-consumers that even the phrase “I’ve seen it all before” is too predictable to bother uttering. Rather than allowing this to discourage her, however, guest author C. Hope Clark chooses to see genre-savvy readers as an exciting challenge for her creativity to overcome in her quest to trick and trap her readers to their hearts’ delight.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Author vs. Reader
By C. Hope Clark
Mystery is the only genre that pits author against reader. When I state this in classes, attendees’ eyes travel up and to the left, as if searching through their mental files to see if their experiences prove my statement. They always smile in recognition.
At first blush, anything with X versus Y sounds like a bad thing. An adversarial experience. Readers hunting for mistakes, maybe. Finding blue eyes on your protagonist on page 43 and brown on page 76. Or spelling “Jesse” in one conversation and later having it “Jessie”.
But only mystery? What about romance? Sci-fi? Women’s fiction? Suspense? Ah, suspense! Still no. Suspense is about the chase, not the whodunit. Only in mystery does the story open with an unanswered question that, through clues, trip-ups, and numerous wrong turns, leads the reader to a solution he never saw coming.
Author vs. Reader is about more than the whodunit. It’s about the red herrings and twists, and writing them such that the reader can’t tell what’s real and what isn’t. It’s about leading him down one path with all its color, intricacies and three-dimensional style to make him feel that what isn’t real actually is. Then at the end, after the maze of this redirection, the solution rears up in the reader’s face all grinning, sly, and smiling, and whispers, “Got you.”
I get chills mastering that talent as an author, and it is entertainment of the highest order when an author bests my sleuthing skills as a reader.
I absorbed this Author vs. Reader tenet a long, long time ago in a small, uneventful class, but I didn’t realize the intensity of its importance until I got involved in a critique group. I’ve belonged to an online critique group for twelve years. A core within that group has followed and coached me from the first novel to the present. We have become so familiar that we scold each other when material triggers our BS meters.
While I can write without the group, I prefer to hear their questions as to why I chose a certain route. “If that’s a clue, you’ll need to flesh it out better than this, because it isn’t working for me.” Or, “Are you kidding? Sorry, but I can’t see this character doing that even if it is a red herring.” After feedback, sometimes I toss that twist in the trash. Other times I hone it more, so that it is smoking hot smart. It’s finding that subtle edge that makes a mystery brilliant.
No author, however, can know all the potential options to taking a mystery from Point A to Z. I dare say that no author can operate in a vacuum without running twists by someone they trust. As mystery specialists, we read so much and juggle so many options through our heads that we can become callous and flat in understanding what zings. However, beta readers or a strong critique group can help us zig instead of zag so that the zing really sings. The harsher you let them question your motives, the slicker you learn to adjust.
An avid mystery reader enters a story with radar on and eyes scanning for clues, accepting the challenge laid down by an author. The reader opens the book, thinking, “No way this author can best me.” The author writes, thinking, “You’ll never guess who did it before the end.” And the gauntlet is thrown down. Unless your theories and clues have been tested to the nth degree, a mystery aficionado will bust you by chapter ten.
This Me against You mentality makes for some of the best stories. But it makes for some of the biggest hurdles for an author. Every story has to be told well, with great dialogue, remarkable setting, and characters that pop off the page. The highs and lows, the emotional baggage, all must be presented with a deft hand. Each word matters, and in the best books, the reader appreciates this because he never sees the words… only the story.
A mystery author, however, must invest themselves deeper, because the reader enters Chapter One knowing that anyone on any page might be the culprit… or an author’s misrepresentation. Actions, choices, and even snippets of dialogue can snare and divert a reader.
A knife thrown in the bushes jumps out as a clue to watch, while the subtle mention of hot chocolate on the counter means nothing, only to become the real evidence. Or will the knife seem so obvious that the reader discounts it, only to learn that it did matter, a jousting advance and retreat between reader and author.
I’ve altered who died, shifted red herring suspects, and even deleted climaxes to avoid being too predictable. Killed the unexpected good character and saved the cad. My second Carolina Slade Mystery, Tidewater Murder, had an entirely different climax before a beta reader gave it a lukewarm rating as predictable. In the third, Palmetto Poison, a Silver Falchion award winner, I decided in the third draft to insure every single character represented a twist somewhere in the book.
Authors twist and turn, then twist and turn again, then ponder whether to undo one twist and replace it with another. Or twist the twist that came about from the first twist. There’s nothing wrong with stepping back from your work think, “How can I screw with this in another direction one more time?” Remember, your reader has many mysteries under his belt, and feels he’s seen it all. He tingles at the opportunity to experience something he hasn’t. Every paragraph and page must be taken to the point of ridiculousness, because anything less is fair game to the reader.
An author has to wow himself with the clues and answers in a mystery long before he wows the reader. And if a mystery author hasn’t completely amazed himself with his story, he’ll never win the fight.
C. Hope Clark attempts to amaze her mystery readers in her award-winning Carolina Slade Mysteries and Edisto Island Mysteries, both from Bell Bridge Books of Memphis, TN. Two of the Slade mysteries won Silver Falchion awards at Killer Nashville, and her latest release is Edisto Jinx. Her short mystery “Rich Talk” appeared in Killer Nashville Noir: Cold-Blooded and has been nominated for an Edgar. When not twisting mysteries, Hope manages FundsforWriters.com, chosen by Writer’s Digest Magazine for its 101 Best Websites for Writers for 15 years. Reach her at www.chopeclark.com. She lives on the banks of Lake Murray in central South Carolina, when she isn’t writing at Edisto Beach.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Too Cozy or Not Too Cozy? / Linda Thorne
Although it’s tempting to think of our own works as too special, too ground-breaking, too fill-in-the-blank to fit into any kind of genre, the truth is that every story fits into some kind of box, once you break it down enough. And that’s not a bad thing. Genre designations help us as a community of writers and readers to categorize our preferences, and reach the people interested in our particular niche.
But what about when those definitions change? Can genres stretch to accommodate the needs and tastes of new generations? In this week’s guest blog, author Linda Thorne grapples with the constraints of “cozy”, and the different ways that modern cozies—including her own—diverge from these supposedly hard and fast rules.
Happy reading!
Clay Stafford
Founder Killer Nashville
Publisher / Editorial Director Killer Nashville Magazine
Too Cozy or Not Too Cozy?
by Linda Thorne
Anything you hear regarding cozy mysteries will likely slot them into a sub-genre that promises the reader escape from anything objectionable. Profanity is eliminated, or virtually imperceptible. If sex is written into the book, it will always be low-key. The protagonist is never physically harmed or subjected to true violence. I recently read a post online that said crime in a cozy would be “bloodless.”
The setting is a small town where the characters drink tea and have cats or dogs for pets (sometimes other animals). The lead will be a female amateur sleuth, often described as a sincerely nice and endearing person. The definition offered here is what I read in posts and articles. It’s the same when I listen to authors speak on the subject.
Before my debut novel Just Another Termination was contracted for publication, I submitted it to agents, publishers, contests, always referencing it as a mystery. My rejection letters referred to it as a cozy. One year when I entered Just Another Termination in the Colorado Gold Writers Contest, one of the judges wrote notes in the margin beside my description of the first dead body, a crime scene far from “bloodless.” He said I was stepping outside the bounds of cozy.
I made all the other changes both my judges suggested, but held on to the grizzly, real-life description of the dead body, as it seemed important to my story. When I found a publisher, the graphic details of my murder scene survived their edits, yet my book is still considered a cozy.
Are there cozies that are hybrids: mostly mystery with a touch of cozy? I presented the question to a panel of cozy authors at a Killer Nashville Writers’ Conference years ago, using Carolyn Haines’ Sarah Booth Delaney Bones series as an example. I told the group that I’d noticed Sara Booth’s sex life escalating in each new book and her consumption of Jack Daniels increasing. After some pause, one of the panel authors said, “Maybe we could call her books naughty cozies.” The whole room had a good laugh, but then the questions and responses moved back to the traditional elements of cozies.
But my question hadn’t been answered: why do the cozies I read (and write) not meet some or all of the typical cozy criteria? Goldy Schultz, the caterer protagonist in Diane Mott Davidson’s series, has been knocked down, bonked, bruised, and stabbed. She’s been left unconscious and has found herself confronted by many murderers trying to kill her. Any reader of the series should find solid reason to believe she is in true danger of physical harm or death. Often.
As for M.C. Beaton’s series character, Agatha Raisin, I’d hardly describe the character as nice. Certainly not endearing. To me, Agatha is a fun protagonist in her sarcastic, grumpy, cigarette-smoking, self-centered way.
Jennie Bentley has some horrific things happen in her cozy renovation series. The skeleton of a baby is found in a crawl space above an attic, a 98 year-old woman is pushed to her death down steep stairs, and more.
In Sunny Frazier’s second book in her Christy Bristol series, Where Angels Fear, Christy gets involved in a membership-only S&M sex club. I have to say, the subject added spice to the story, but an objectionable topic to some? I would think so.
The books I’ve mentioned are missing a lot of tea drinkers, and in one way or another have taken a brazen step outside the boundary of their subgenre. Regardless, I came away from reading these books with a feeling I’d been on a fun ride. One without gloomy afterthoughts or bad dreams. As these authors’ examples illustrate, books called cozies can move outside their definition and still hold their label, cozy, so long as they leave the reader with their hallmark—a warm and comfy feeling. It works for me.
Linda Thorne began pursuing her true passion, writing, in 2005. Since then, she has published numerous short stories in the genres of mystery, thriller, and romance. Four of her short stories made the selection process for publication in the 2012 anthology, Soundtrack NOT Included. Her debut novel, Just Another Termination, is the first in a planned series of mysteries that tell the story of Judy Kenagy, the first career human resources manager to turn sleuth. She is currently writing the second book in her series, A Promotion to Die For. Thorne resides in a suburb of Nashville, Tennessee with her husband and two border collies. Learn more at http://www.lindathorne.com, and connect with her @lindamthorne on Twitter.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Too Cozy or Not Too Cozy? / Linda Thorne
Although it’s tempting to think of our own works as too special, too ground-breaking, too fill-in-the-blank to fit into any kind of genre, the truth is that every story fits into some kind of box, once you break it down enough. And that’s not a bad thing. Genre designations help us as a community of writers and readers to categorize our preferences, and reach the people interested in our particular niche.But what about when those definitions change? Can genres stretch to accommodate the needs and tastes of new generations? In this week’s guest blog, author Linda Thorne grapples with the constraints of “cozy”, and the different ways that modern cozies—including her own—diverge from these supposedly hard and fast rules.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Too Cozy or Not Too Cozy?
by Linda Thorne
Anything you hear regarding cozy mysteries will likely slot them into a sub-genre that promises the reader escape from anything objectionable. Profanity is eliminated, or virtually imperceptible. If sex is written into the book, it will always be low-key. The protagonist is never physically harmed or subjected to true violence. I recently read a post online that said crime in a cozy would be “bloodless.”
The setting is a small town where the characters drink tea and have cats or dogs for pets (sometimes other animals). The lead will be a female amateur sleuth, often described as a sincerely nice and endearing person. The definition offered here is what I read in posts and articles. It’s the same when I listen to authors speak on the subject.
Before my debut novel Just Another Termination was contracted for publication, I submitted it to agents, publishers, contests, always referencing it as a mystery. My rejection letters referred to it as a cozy. One year when I entered Just Another Termination in the Colorado Gold Writers Contest, one of the judges wrote notes in the margin beside my description of the first dead body, a crime scene far from “bloodless.” He said I was stepping outside the bounds of cozy.
I made all the other changes both my judges suggested, but held on to the grizzly, real-life description of the dead body, as it seemed important to my story. When I found a publisher, the graphic details of my murder scene survived their edits, yet my book is still considered a cozy.
Are there cozies that are hybrids: mostly mystery with a touch of cozy? I presented the question to a panel of cozy authors at a Killer Nashville Writers’ Conference years ago, using Carolyn Haines’ Sarah Booth Delaney Bones series as an example. I told the group that I’d noticed Sara Booth’s sex life escalating in each new book and her consumption of Jack Daniels increasing. After some pause, one of the panel authors said, “Maybe we could call her books naughty cozies.” The whole room had a good laugh, but then the questions and responses moved back to the traditional elements of cozies.
But my question hadn’t been answered: why do the cozies I read (and write) not meet some or all of the typical cozy criteria? Goldy Schultz, the caterer protagonist in Diane Mott Davidson’s series, has been knocked down, bonked, bruised, and stabbed. She’s been left unconscious and has found herself confronted by many murderers trying to kill her. Any reader of the series should find solid reason to believe she is in true danger of physical harm or death. Often.
As for M.C. Beaton’s series character, Agatha Raisin, I’d hardly describe the character as nice. Certainly not endearing. To me, Agatha is a fun protagonist in her sarcastic, grumpy, cigarette-smoking, self-centered way.
Jennie Bentley has some horrific things happen in her cozy renovation series. The skeleton of a baby is found in a crawl space above an attic, a 98 year-old woman is pushed to her death down steep stairs, and more.
In Sunny Frazier’s second book in her Christy Bristol series, Where Angels Fear, Christy gets involved in a membership-only S&M sex club. I have to say, the subject added spice to the story, but an objectionable topic to some? I would think so.
The books I’ve mentioned are missing a lot of tea drinkers, and in one way or another have taken a brazen step outside the boundary of their subgenre. Regardless, I came away from reading these books with a feeling I’d been on a fun ride. One without gloomy afterthoughts or bad dreams. As these authors’ examples illustrate, books called cozies can move outside their definition and still hold their label, cozy, so long as they leave the reader with their hallmark—a warm and comfy feeling. It works for me.
Linda Thorne began pursuing her true passion, writing, in 2005. Since then, she has published numerous short stories in the genres of mystery, thriller, and romance. Four of her short stories made the selection process for publication in the 2012 anthology, Soundtrack NOT Included. Her debut novel, Just Another Termination, is the first in a planned series of mysteries that tell the story of Judy Kenagy, the first career human resources manager to turn sleuth. She is currently writing the second book in her series, A Promotion to Die For. Thorne resides in a suburb of Nashville, Tennessee with her husband and two border collies. Learn more at http://www.lindathorne.com, and connect with her @lindamthorne on Twitter.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Too Cozy or Not Too Cozy? / Linda Thorne
Although it’s tempting to think of our own works as too special, too ground-breaking, too fill-in-the-blank to fit into any kind of genre, the truth is that every story fits into some kind of box, once you break it down enough. And that’s not a bad thing. Genre designations help us as a community of writers and readers to categorize our preferences, and reach the people interested in our particular niche.But what about when those definitions change? Can genres stretch to accommodate the needs and tastes of new generations? In this week’s guest blog, author Linda Thorne grapples with the constraints of “cozy”, and the different ways that modern cozies—including her own—diverge from these supposedly hard and fast rules.Happy reading!Clay StaffordFounder Killer NashvillePublisher / Editorial Director Killer Nashville Magazine
Too Cozy or Not Too Cozy?
by Linda Thorne
Anything you hear regarding cozy mysteries will likely slot them into a sub-genre that promises the reader escape from anything objectionable. Profanity is eliminated, or virtually imperceptible. If sex is written into the book, it will always be low-key. The protagonist is never physically harmed or subjected to true violence. I recently read a post online that said crime in a cozy would be “bloodless.”
The setting is a small town where the characters drink tea and have cats or dogs for pets (sometimes other animals). The lead will be a female amateur sleuth, often described as a sincerely nice and endearing person. The definition offered here is what I read in posts and articles. It’s the same when I listen to authors speak on the subject.
Before my debut novel Just Another Termination was contracted for publication, I submitted it to agents, publishers, contests, always referencing it as a mystery. My rejection letters referred to it as a cozy. One year when I entered Just Another Termination in the Colorado Gold Writers Contest, one of the judges wrote notes in the margin beside my description of the first dead body, a crime scene far from “bloodless.” He said I was stepping outside the bounds of cozy.
I made all the other changes both my judges suggested, but held on to the grizzly, real-life description of the dead body, as it seemed important to my story. When I found a publisher, the graphic details of my murder scene survived their edits, yet my book is still considered a cozy.
Are there cozies that are hybrids: mostly mystery with a touch of cozy? I presented the question to a panel of cozy authors at a Killer Nashville Writers’ Conference years ago, using Carolyn Haines’ Sarah Booth Delaney Bones series as an example. I told the group that I’d noticed Sara Booth’s sex life escalating in each new book and her consumption of Jack Daniels increasing. After some pause, one of the panel authors said, “Maybe we could call her books naughty cozies.” The whole room had a good laugh, but then the questions and responses moved back to the traditional elements of cozies.
But my question hadn’t been answered: why do the cozies I read (and write) not meet some or all of the typical cozy criteria? Goldy Schultz, the caterer protagonist in Diane Mott Davidson’s series, has been knocked down, bonked, bruised, and stabbed. She’s been left unconscious and has found herself confronted by many murderers trying to kill her. Any reader of the series should find solid reason to believe she is in true danger of physical harm or death. Often.
As for M.C. Beaton’s series character, Agatha Raisin, I’d hardly describe the character as nice. Certainly not endearing. To me, Agatha is a fun protagonist in her sarcastic, grumpy, cigarette-smoking, self-centered way.
Jennie Bentley has some horrific things happen in her cozy renovation series. The skeleton of a baby is found in a crawl space above an attic, a 98 year-old woman is pushed to her death down steep stairs, and more.
In Sunny Frazier’s second book in her Christy Bristol series, Where Angels Fear, Christy gets involved in a membership-only S&M sex club. I have to say, the subject added spice to the story, but an objectionable topic to some? I would think so.
The books I’ve mentioned are missing a lot of tea drinkers, and in one way or another have taken a brazen step outside the boundary of their subgenre. Regardless, I came away from reading these books with a feeling I’d been on a fun ride. One without gloomy afterthoughts or bad dreams. As these authors’ examples illustrate, books called cozies can move outside their definition and still hold their label, cozy, so long as they leave the reader with their hallmark—a warm and comfy feeling. It works for me.
Linda Thorne began pursuing her true passion, writing, in 2005. Since then, she has published numerous short stories in the genres of mystery, thriller, and romance. Four of her short stories made the selection process for publication in the 2012 anthology, Soundtrack NOT Included. Her debut novel, Just Another Termination, is the first in a planned series of mysteries that tell the story of Judy Kenagy, the first career human resources manager to turn sleuth. She is currently writing the second book in her series, A Promotion to Die For. Thorne resides in a suburb of Nashville, Tennessee with her husband and two border collies. Learn more at http://www.lindathorne.com, and connect with her @lindamthorne on Twitter.
(To be a part of the Killer Nashville Guest Blog, send a query to contact@killernashville.com. We’d love to hear from you.)
Thanks to Tom Wood, Emily Eytchison, and publisher/editorial director Clay Stafford for their assistance in putting together this week’s blog.
And for more writer resources, visit us at www.KillerNashville.com, www.KillerNashvilleMagazine.com, and www.KillerNashvilleBookCon.com.
And be sure to check out our new book, Killer Nashville Noir: Cold-Blooded, an anthology of original short stories by New York Times bestselling authors and newbies alike.
*Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale. Killer Nashville receives zero compensation (other than sometimes the book to review) from publishers who have been selected for the Book of the Day.
Killer Cocktails: The Conundrum
This month’s exclusive Killer Nashville Killer Cocktail: The Conundrum
The great mystery writer Agatha Christie lived a bit of a conundrum. It turns out she was not a fan of her own character, Hercule Poirot. In fact, Christie hated Poirot so much—she said he was prim and fussy—that she wrote his death story, which was published before her own death in 1975. Much to her chagrin, Poroit’s death made the front page of the New York Times.
Mark “Spaz” Morris thought the story about Christie’s loathing of Poirot so compelling, he developed the perfect cocktail to ease any conundrum. We like to think Christie would approve.
The Conundrum
A Killer Nashville Signature Cocktail
Ingredients:
2-ounces Marquis de Montesquiou Armagnac VSOP
1-ounce Merlet Crème de Fraise
Orange slices
Sphere of ice
Directions:
This cocktail works best with a large ice cube or sphere. Molds for larger than normal cubes can be purchased at your local liquor store or wherever you might find kitchen gadgets.
To prepare The Killer Nashville Conundrum, place one sphere of ice into a shaker. Pour the Armagnac and add the crème de Fraise.
Do not shake, but swirl the shaker. With tongs, put another sphere in a martini glass, add a slice of orange, and pour the shaker contents.
Cheers!
Send us pictures and comments of you and the Killer Nashville’s Conundrum. We’ll share them here along with a link back to you.
About Spaz:
Spaz started in the restaurant/bar business back in 1984 in Baton Rouge, Louisiana when he was a student at Louisiana State University. Instead of becoming a chemical engineer, he became a social legend instead, he says jokingly. He later transferred to Knoxville, Tennessee, and received a Bachelor’s in marketing from the University of Tennessee in 1989. He has worked in biker bars to 4-fork-setting restaurants. An avid traveler, he has lived in 13 states and visited 40, so far. He enjoys reading sci-fi and sci-fantasy books. He currently holds court at Red Dog Wine and Spirits in Franklin, Tennessee. Check out the store: www.reddogwineandspirits.com.
The Writer's Life: Supporting Characters: Allies
Monk has Sharona Flemming. Hercule Poirot partnered with Capt. Arthur Hasting. Sherlock Holmes needs Dr. Watson. These well-known detectives were nothing without their sidekicks. They helped the detectives to be better at everything from detecting to being human. Author Beth Terrell takes on the importance of allies in this month’s writing how-to column.
Supporting Cast: Allies
By Jaden (Beth) Terrell
We’ve spent a lot of time talking about your main character, and we’ve touched on the victim and the villain. Now let’s look at your protagonist’s allies.
No matter how much of a loner your character is, or how reluctantly he plays with others, a crime investigation doesn’t take place in a vacuum. Whether he’s a professional investigator or an amateur sleuth, sooner or later, he’ll need to get information he has no way of learning for himself from someone else. Maybe he needs to identify a fingerprint or trace a license plate? Where can he get that information?
Then, there’s his personal life—perhaps he has a love interest, sidekick, or confidante. Or maybe she has a family that will play a role in one or more subplots.
There are several things to take into account when creating allies for your main character. First, ask yourself what needs to be accomplished that your character can’t do. If she’s a sharpshooting martial artist who relies primarily on brawn and charm to get what she wants, and the villain is stalking his victims in cyberspace, then, one of her allies will need to be someone who can help her navigate the digital universe.
Allies can fill the gaps in your character’s skill set and knowledge. Look at the clues that need to be found and interpreted; then think of who might best be able to provide that information. Does your PI need a source at the police department? At the DMV? Does she need access to a computer hacker? An informant in a street gang?
An ally should also be someone whose skills and personality traits complement the protagonist’s. Is your character serious to a fault? Maybe one of his friends or allies can be a light-hearted jokester who brings some much-needed humor to the story. Is the main character impulsive and devil-may-care, someone who rarely takes anything seriously? Maybe he needs someone more serious alongside him to remind him to be wise.
While many allies help the protagonist out of affection or a sense of responsibility, others (such as an informant who cooperates only because the protagonist has something on him) are more reluctant. Each can play a valuable role. Might that reluctant ally end up betraying your protagonist at a critical moment? That doubt can increase tension and keep your reader wondering what might happen. Another way to ratchet up tension is for the villain to threaten someone the protagonist cares about. The love interest, perhaps? The best friend? A family member? A partner whose skills are integral to solving the crime?
Allies can reveal your protagonist’s character traits. For example, my protagonist is a private detective named Jared McKean. Jared is competent and impulsive, a martial artist and horse whisperer. His interactions with Frank Campanella, his surrogate father and former partner in the homicide department, show his tough-guy side. But he also has a son with Down syndrome and an ex-wife he’s still in love with. Jared’s interactions with his son and ex-wife reveal his compassionate side and the lengths he’ll go to in order to preserve a loving relationship with both.
You can also use an ally to reveal a skill or some specialized knowledge your character has. In the second Jared McKean book, A Cup Full of Midnight, Jared recalls sitting at the kitchen table with his ex-wife, Maria (who is an artist), and a big box of Crayola crayons. She holds up a crayon and asks him what color it is.
“Blue?” he asks.
“No, cobalt.” She holds up another. “And this one?”
“Cobalt?”
“Cornflower.”
He thinks, I never knew there were so many colors in the world.
This scene does two things. First, it shows you how Jared feels about Maria—that she’s expanded his vision and opened his eyes to a brighter, more vivid world. Second, because of this scene, when he has to describe a suspect or a witness’s living room, it’s believable that he’s able to use more nuanced descriptions of color.
What qualities do you want to reveal about your character? What kinds of allies will most effectively showcase or explain those qualities? Do you want to show that your protagonist is uncomfortable with praise? Give her an ally who loves to give compliments. Do you want to show his fear of heights? Give him an ally who insists on meeting on the roof of the city’s tallest apartment building.
Once you’ve established what roles are needed, you can begin to fill them. To avoid a cast of thousands, ask yourself if one character could plausibly play multiple roles. Could the sidekick and confidante be the same person? Could she have one or more of the skills your protagonist will need to reach his goals?
Below is a chart that might help you figure out who your protagonist’s allies are. Some of these characters will be more developed than others. That’s fine. Use the questions you’ve learned so far to flesh out each character as much as you need to.
Download or Print a FREE Supporting Cast Worksheet – Created by Jaden (Beth) Terrell
Supporting characters are an important tool in your Novelist Took Kit. Their foibles and passions can underscore your theme, reveal your main character’s strengths and weaknesses, and add depth to your novel. A rich, well-crafted supporting cast can help turn a pretty good book into a great one.
Jaden Terrell (Beth Terrell) is a Shamus Award finalist, a contributor to “Now Write! Mysteries” (a collection of writing exercises by Tarcher/Penguin), and the author of the Jared McKean private detective novels Racing The Devil, A Cup Full of Midnight, and River of Glass. Terrell is the special programs coordinator for the Killer Nashville conference and the winner of the 2009 Magnolia Award for service to the Southeastern Chapter of Mystery Writers of America (SEMWA). A former special education teacher, Terrell is now a writing coach and developmental editor whose leisure activities include ballroom dancing and equine massage therapy. www.jadenterrell.com
Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale.
Self-Publishing: Finding Your Audience
So, you’ve published a book? Now, the real hurdle is getting it to your readers. This is an extremely difficult task—especially for self-published writers—and dooms a good many. Author Tom Wood shares his own methods to distribute his novel, Vendetta Stone.
Finding Your Audience: Festivals, Events, Book Signings
By Tom Wood
Over and over, an old media axiom was reinforced during several workshops at the recent Film-Com event in Nashville.
“If Content is King, then Distribution is King Kong.”
For self-published authors, truer words were never spoken.
Or harder to achieve.
Writing your book is just the first baby-step in this process. Distribution of your novel is everything.
On one hand, distribution is easier than ever, thanks to the Internet. I self-published through CreateSpace, and get worldwide distribution through Amazon and Kindle.
My book, Vendetta Stone, sells very well in Europe and I have registered sales in Australia and many other countries outside the U.S.
On the other hand, I have trouble getting my fictional true-crime thriller in chain bookstores and even some independent bookstores. The latter especially bothers me.
I understand how indie storeowners would consider Amazon the enemy, but not carrying my book isn’t hurting Amazon. It’s hurting me—and, potentially, readers who might enjoy my book.
Some chain bookstores won’t carry Vendetta Stone on the shelves, but it is available for order on their website or at a store.
So distribution can be a tricky puzzle to solve.
A grass roots approach seems to work, at least it does for me.
I do as much promotion as possible, arranging events and interviews, festivals and libraries, speaking engagements, etc. My motto is: Never turn down an opportunity.
When Vendetta Stone first came out in late 2013, John Seigenthaler, my former boss at The Tennessean, invited me to tape a segment for his long-running talk show with authors. It aired in late July 2014, just a few days after his death at age 86.
After the taping, John and I discussed marketing strategies. When I told him I didn’t want to be seen as too pushy, he smiled and offered two words of advice that have stuck with me. “Be pushy,” was all he said.
And that is about the best advice I have to offer—be pushy (but in a kinder, gentler way).
You are going to have to network to find some of those opportunities, keeping your eyes open for any prospect. One author I know announced that she would be appearing at the prestigious 2014 Dahlonega Literary Festival. I made a couple of calls, looked at the event’s website, sent a few emails—now I will be at the 2016 Dahlonega Literary Festival in March.
So, finding lists of major book events in your region is one key. Reach out to your local and state libraries for contact lists. Scan the local newspapers for lists of upcoming events that don’t have a thing to do with books. They publish those lists sometimes months in advance or have a website with that information readily available. They might even provide you with a list, or at least point you in the right direction.
Festivals and fairs are always looking for vendors to hawk their products. And if you’re an author, your books are your products. Go to FestivalNet.com for an idea of what’s out there. It will blow your mind just how many different events are listed in your area.
It’s like this: when you are writing, you are creating worlds, spinning yarns and living the dream. When you are promoting, you are a salesman, and you have one product to sell. Well, two. Besides the book, you are selling yourself (but not your soul) as someone to whom an audience should pay attention. It takes a lot of confidence, and a little brass. But if you don’t do it, who will?
Our Authors Circle group annually has several members at events in Franklin, Tennessee, such as the Main Street Festival in the spring, and Dickens of a Christmas in early December. We are right out there with all the food vendors, the candlestick makers, the jewelry sellers, and everyone else. Books make great Christmas gifts, right?
For speaking engagements which may lead to sales opportunities, contact the Rotary Club, the Lions and any other civic groups you can think of, especially those which have something to do with your particular genre. Think outside the box—and the books!
Here’s a final suggestion: always carry a few bookmarks to distribute wherever you are. If I see someone reading a book at the airport or a coffee shop, I’ll politely interrupt and offer them a bookmark with a picture of my book cover, a teaser, and information on how they can order a copy.
Maybe someday they’ll look at it and decide it intrigues them enough to buy.
That’s old-school distribution: one reader at a time.
A veteran sports writer and copy editor, Tom Wood has covered a variety of events ranging from the Iroquois Memorial Steeplechase to the Atlanta Olympic Games for The Tennessean in Nashville. After retirement, he continues his passion for writing, contributing to the Civil War-based anthology, Filtered Through Time and conducting an interview with Stephen King for Feast of Fear: Conversations with Stephen King. In the last year, Tom has begun writing Western fiction short stories, two of which have been published by Western Trail Blazer. “Tennesseans West” is his next project with four other authors involved. He is also an actor and can be seen in several episodes of the ABC series “Nashville”. He also coordinates the Killer Nashville guest blog series. Vendetta Stone is his first novel and he is working on the sequel.
Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale.
Marketing Your Book 101: Don't Artificially Boost Your Twitter Account
Save shortcuts for traffic congestion. That’s what marketing guru, Erik Deckers says. Build your Twitter following with care. In this month’s column, Deckers talks about the pitfalls of padding your Twitter account and how to do it right.
Don't Artificially Boost Your Twitter Account
By Erik Deckers
I'm not impressed by your gigantic Twitter account.
Your tens of thousands of followers. Your legions of fans. The rampaging throngs of people who follow you and you follow back. The Kardashian-ness of your Twempire (Twitter + empire) only makes me look down my nose at you.
(Said the guy with 18,500 followers. More on my hypocrisy in a minute.)
It's become an epidemic among new Twitter users, this belief that you need 50,000+ followers just to be somebody. That Twitter success means having inflated numbers, and no real content to back it up. I especially see authors falling for this, believing that more followers equals more sales.
It doesn't.
I can spot these Twitter fakers from a mile away. They're the ones with 30, 50, even 100,000 followers, and yet they've only written a few hundred tweets. I've written over 50,000, and yet have only 18,500 followers. Nobody is that awesome at Twitter that they've got 100,000 people hanging on their every word after just a few hundred tweets.
There's no rule of thumb here. Nothing that says "you must have 2,000 tweets before you have 2,000 followers." But unless you're an A-list celebrity who just announced on Conan that you joined Twitter, you're not going to magically get 100,000 followers without publishing much of anything. It's only achieved through cheating.
Here's How They Do It
There are two ways you can build up a massive Twitter following, and they're both morally repugnant. I'm only telling you so you can avoid them, not do them.
1) You pay someone $25 or so for 5,000 followers. Sure, you have 5,000 shiny new followers, but they're not real. They're fake accounts, usually created by spammers in The Philippines. It's like filling the audience with mannequins at your next reading and bragging about a full house.
2) You yo-yo follow people. If you follow me, I get a notification, and follow you back. A few days later, you unfollow me, but I don't get notified, so I keep following you. Imagine doing that to 2,000 people. You follow them, unfollow them a few days later, and repeat, thus growing your army.
I call that yo-yo following. You raise and drop your follower/following count like a yo-yo. Do that for a few weeks with some black market software, and soon you're in the 100K club.
Here's The Best Way
There's a third way to get a big following: Create good work.
Write interesting stuff on Twitter that people want to see. Not inane motivational sayings every single morning. Not an uninterrupted stream of news articles. Just have conversations, and be interesting (I discussed this more in-depth in last month's column).
I've Twitter chatted with one of my favorite authors, Christopher Fowler (@Peculiar), author of the Bryant & May mystery series, about the weather in Indianapolis versus Barcelona, and the genius of interior windows for cooling a house. Even if he weren't already a favorite, I would check out his work just because he took the time to chat. That's the power of a simple person-to-person connection.
It will take a long time, but this is how you build a network of people who like you, trust you, believe in you, and want to support you. If you can fill your network with just 500 of these followers, you're doing much better than the person who yo-yo'ed their way to 50,000.
You have 500 readers, 500 friends, 500 people who want to see you do well. Not 50,000 faceless people who couldn't care less about you.
I've been on Twitter since 2007, and have amassed a respectable following by slowly adding people. It also didn't hurt that I've written three social media books, which attracted a lot of attention in the early days of social media.
I follow authors, artists, and people in my line of work. I follow people who interest me and I want to have conversations with. They're the people I remember, and the people who respond when I tweet something funny or ask for help with a problem, or even share something I've written.
I was recently followed by an author who had over 235,000 followers and was following 225,000. Needless to say, I ignored her. She had no interest in hearing what I had to say. At best, I'm one of a massive crowd. At worst, she'll unfollow me later, letting her black market software fill the hole.
Even if people follow her, they probably don't read her messages. They don't know when she's written a new book or see any new announcements. They don't care about her, because she hasn't shown she cares about them. Her strategy works if she's relying on statistical probability to create sales, but as a true communication strategy, it's ineffective.
You build a strong Twitter network the same way you make new friends: slowly, over time, letting people get to know you, and sharing in their interests. If everything grows naturally and organically, without being forced or faked, you'll have a network of true fans and friends who want to support you and see you do your best.
Erik Deckers owns a content marketing agency in Indianapolis, and is the co-author of four books on social media. He is also a professional speaker and newspaper humor columnist, and was named a 2016 writer-in-residence at the Kerouac House Project.
Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale.
Under the Microscope with Todd Matthews and Joshua Savage: Behind the Scenes at NamUs
In this installment of “Under the Microscope”, Todd Matthews, Director of Communications and Case Management for the National Missing and Unidentified Persons System (NamUs) and Joshua Savage give us a behind-the-scenes, myth-debunking look at NamUs—what it is, does, and how it works.
Behind the Scenes at NamUs: The National Missing and Unidentified Persons System
By Todd Matthews and Joshua Savage
In 2015, nearly every major television network had a lineup of programs that focused on forensic investigations. Through their programming, television networks have given the public a never-before-seen look into the world of forensics—a look that, unfortunately, is not entirely accurate. Many of these programs are limited to a 30 or 60 minute time slot, with many of those minutes being devoted to commercial breaks, resulting in a program that has to solve a crime or a mystery in an extremely short time period. In so doing, the networks have inadvertently given the public an inaccurate accounting of the actual processes involved. The paragraphs that follow will give readers and writers an accurate account of the various resources that are available to law enforcement and the public through NamUs, the National Missing and Unidentified Persons System.
Since its inception in 2007, NamUs has made great strides towards combatting our nation’s Silent Mass Disaster. Beginning as a centralized repository for information regarding missing and unidentified persons, NamUs has expanded into a world-class organization that has become the gold standard for countries around the world seeking to replicate its successes. It is the go-to tool for authorities nationwide, offering its services free of charge, thanks to a generous grant from the National Institute of Justice.
Entering Into the System
Once a Missing Persons (MP) case is entered into the NamUs MP Database, the case is assigned an MP number located in the top left near the subject’s name and photograph (if one is available). The investigating agency will receive a default set of automated possible matches based on a standard search criteria. The default setting is a general system search based on geography, chronology, and physical characteristics. Once entered into the system, the search can be fine-tuned to be more specific based upon available information and biometrics. The more information that is available, the more accurate the search will be.
Forensic Odontology
The NamUs subject matter experts will then work with investigators in their process of elimination. NamUs currently has two Forensic Odontologists on staff who can analyze and enter dental coding information into the NamUs MP and Unidentified Persons (UP) Systems, allowing for comparisons and exclusions based on available dental records. Recently, they have made great strides in this area by building a working relationship with the National Personnel Records Center in St. Louis, Missouri. Through their efforts, they have opened the door to quick and easy access to military dental records for comparison to current unidentified persons cases.
Fingerprint Unit
In addition to Forensic Odontology, we also have a Fingerprint Unit that can analyze and enter fingerprint information and conduct comparisons using our sophisticated Cogent Automated Fingerprint Identification System (CAFIS), the first of its kind in the United States. This system allows NamUs to store and compare fingerprint information related to missing and unidentified persons cases from across the United States, creating the only database of its kind in the country. Other databases allow for local storage or one-time searching of missing and unidentified fingerprints, but do not serve as a permanent repository for these types of biometric records. In addition, the CAFIS system ensures that identifications are not missed, especially when dealing with fingerprints from unidentified decedents, which are often of inferior quality due to decomposition of the remains.
So long as we have the needed biometric information for comparisons, we can issue an exclusion based on scientific evidence. If we do not have the needed criteria to compare or exclude a case, we do our best to further enrich the cases. Our Regional System Administrators will then contact local authorities to inquire about the cases, and secure the relevant information, if available. This information could also include securing a family reference DNA sample from any living relatives in the area. Written records might also be available, but not digitized and uploaded.
Shared Information
With the biometric data entered (dental, DNA, and fingerprints) the investigator not only gets to compare his or her case to the system suggested matches, but through their efforts, they are also making their information available to other investigating agencies who might be searching for the same information. Furthermore, NamUs is the only organization that not only allows access to the general public, but encourages it. Family and friends can oftentimes provide critical information that can assist authorities with their investigations. Our staff can further aid this process by facilitating contact between the public and investigators, allowing for efficient use of resources and time on both sides.
Future Updates
In the very near future, NamUs will be entering its newest iteration dubbed “NamUs 2.0”. This upgrade will provide additional features, and make the system easier for everyone to use—from the input of new cases to searches across the databases. One of the newest features currently in development is a system designed to assist families and law enforcement during “critical incidents”. While the NamUs Unidentified Persons and Missing Persons Databases largely deal with the long-term missing and unidentified, the Critical Incident (CI) Database will be an entirely different entity within the NamUs system. Drawing from its already established successes as a web-based platform and its capable and highly-trained staff, NamUs can activate the CI Database in emergency situations when needed.
When activated, emergency personnel will gain a centralized repository for information relating to the missing, injured, or deceased, as well as those found alive during CI events. Government officials and other agencies will be able to access the information entered into the CI Database by logging into the system using their username and secure password. By creating the CI Database, NamUs hopes to provide a simple, secure, and scalable system to provide accurate tracking and documentation during any event that might require use of the system.
NamUs will continue to grow as these new features come online, so please stay tuned to our website, http://namus.gov/new-features.htm, for more information.
Todd Matthews serves as Director of Communications and Case Management for the National Missing and Unidentified Persons System. In his current role, he manages the NamUs Regional System Administrator staff, oversees quality assurance and quality control of NamUs data, performs outreach and training, coordinates all NamUs print and broadcast media, and serves as the media spokesperson for NamUs. Matthews previously served as a NamUs Regional System Administrator and was a member of the NamUs Advisory Board for the development of the NamUs database and program. In those roles, he piloted efforts to coordinate data exchanges between NamUs and the National Center for Missing & Exploited Children. He has also served as the Media Director for two important volunteer programs related to missing and unidentified persons: The Doe Network and Project EDAN. He has worked as a blogger for Discovery ID and served as a consultant for Jerry Brukheimer on "The Forgotten" and Dick Wolf on "Lost & Found", two scripted series related to missing and unidentified persons.
Joshua Savage joined NamUs in February 2015 as a Communications Specialist. He is a graduate of Tennessee Technological University (B.A. History, 2011) and East Tennessee State University (M.A. History, 2014). During his time at ETSU, Josh served in a number of roles ranging from President of the Alpha Epsilon Epsilon Chapter of the Phi Alpha Theta National History Honor Society to Councilman on the ETSU Graduate Council. His research centered on the American Experience in World War II, with a focus on the Tennessee Army Maneuvers of June 1941 which ultimately became the focus of his Master's Thesis. Because of his service with the History Department of ETSU, Josh received a full graduate assistantship for the 2013-2014 academic year and the Dale J. Schmitt Outstanding Graduate Student Award in May 2014.
Killer Nashville is a participant in the Amazon Services LLC Associates Program. If you purchase a book from the links on this page, Amazon will give Killer Nashville a small percentage of the total sale.
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