What Do the Girls Have to Say About the Guy?

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A Guest Post by Author M.E. Proctor

Ten years ago, when the character of Declan Shaw, a Houston PI, popped into my head, I didn’t give a second thought to the fact that I’d just committed myself to write, from a male perspective, what could become a series. It didn’t bother me. I wanted to try my hand at a detective story featuring in the main role a bruised romantic shamus, a classic updated for the 21st century.

I completed a first manuscript (full disclosure: that attempt will never be published; it was a trial run) and gave it to my husband. He’s a brilliant writer and my first beta reader. He said he enjoyed the story and proceeded to criticize it down to the bone. It’s good to have a fierce reviewer at home; once you’ve cleared that hurdle there’s nothing the world can throw at you that’ll make you flinch. He picked up two dialogue excerpts and commented: “A guy would never say that.”

Out of a 300-page story, I thought that was a pretty good score. It also made me aware of the stumbling blocks that our subconscious takes pleasure in throwing in our path. Note to self: Guys don’t giggle, unless they’re Tommy Udo and about to push a lady down the staircase. Not the mood I was going for … I fixed the dialogue and toughened it up.

We’re quite a few years later now. I have a ton of short stories under my belt, a retro-noir novella written in collaboration (Bop City Swing) where I take the part of the hardboiled cop and my writing partner, Russell Thayer, is in the female assassin’s head, and two Declan Shaw novels. Girls or guys, pumps or brogues, I’ll slip into the shoes the story calls for.

Except …

In Catch Me on a Blue Day, Book 2 of the Declan Shaw series, my PI gets very close and very personal with Isabel, a cute art gallery manager.

I’ve written quite a few seduction/sex scenes and I’m not new to the challenge, but the story required this one to jump higher in the temperature range than I’d gone before. I could have written it from Declan’s point of view—there’s another scene with Isabel in the book that gives him quite a kick—but for this particular one, I thought I could do more from the girl’s perspective. It’s a decision that changed the structure of the book.

The Declan stories are mostly told from his standpoint. Secondary points of view come into play, out of narrative necessity (for example, I put him in the ICU in Book 1, Love You Till Tuesday, and the plot couldn’t remain frozen for a week).

In this case, changing the angle to Isabel gave me an opportunity to put a different light on the main character, and reveal things about him that would never have surfaced otherwise. He’s a very controlled guy and she pushes his buttons so hard he loses his footing.

Next to Isabel’s star turn, I also gave voice to two other female characters who play a major role in the story. They form the other points of a triangle with Declan in the middle, in the crossbeams, and they balance the narrative.

The first one is Jean. She’s old enough to be his mother and would love to slip into a protective role. She does it, in a harrowing scene, and Declan accepts her help, but he remains reticent and unwilling to let her in too close. She sees herself as a nest builder, and he is a drifting soul. Their alliance can only be temporary.

The second one is Kate, close in age to Declan and Isabel. Fiercely independent, wary of emotional entanglements, and dealing with a troubled past. Her sister was murdered thirty years ago, a death that destroyed the family. Kate never knew the girl; she was only two at the time. She doesn’t open up to people easily, and her trust is hard to win. She’d like to see Declan as some noble defender, but he’s a bit wobbly.

Seen through the eyes of these three women, Declan’s character gains new dimensions.

I enjoyed trading his cowboy boots for Isabel’s sandals, Jean’s sensible shoes, and Kate’s wellies … for a little while.

Catch Me on a Blue Day
A Declan Shaw Mystery, Book 2

“For Ella and all the innocents slain by soulless men.”

It’s the dedication of the book on the Salvadoran civil war retired reporter Carlton Marsh was writing before he committed suicide.

A shocking death. Marsh had asked Declan Shaw to come to Old Mapleton, Connecticut to help him with research. He looked forward to Declan’s visit: “See you at cocktail time, a fine whiskey’s waiting.” They talked on the phone a few hours before the man put a bullet in his brains.

Now Declan stands in the office of the local police chief. The cop would prefer to see him fly back to Houston. He’s never dealt with a private detective, but everybody knows they are trouble. If only there weren’t so many unanswered questions around Marsh’s death … the haunting first three chapters of his book, and that dedication to Ella, a girl whose murder thirty years ago brought the town to its knees.

In Catch Me on a Blue Day, Declan is far from his regular Texas stomping grounds. He’s off balance in more ways than one, and the crimes he uncovers are of a magnitude he could not foresee.

Between the sins of an old New England town and the violence of 1980s El Salvador. And the links between the two.

Buy links

paperback

ebook

~*~ 

M.E. Proctor was born in Brussels and lives in Texas. She’s the author of the Declan Shaw detective mysteries: Love You Till Tuesday and Catch Me on a Blue Day. She’s also the author of a short story collection, Family and Other Ailments, and the co-author of a retro-noir novella, Bop City Swing. Her fiction has appeared in anthologies and magazines like Vautrin, Tough, Rock and a Hard Place, Bristol Noir, Mystery Tribune, Reckon Review, and Black Cat Weekly among others. She’s a Shamus and Derringer short story nominee.

Decisions Decisions

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Donnell Ann BellBy Donnell Ann Bell

Some changes are in store for me in the upcoming months. As I write this, I’m about to join the ranks of hybrid author. After 25 years in business, my publisher BelleBooks/Bell Bridge Books/Imajinn is closing its doors. Debra Dixon, who has owned and operated the publishing house (and admirably I might add), will retire.

As far as this author is concerned, as a publisher and editor, Debra Dixon has been exemplary, following through on every commitment she’s made. And to have the author of Goal, Motivation and Conflict as my editor for my Cold Case Series, has been both and education and has made me a better writer. So, now it’s time for this fledgling duckling—I mean author—to decide what she wants to do next. As I await my rights reversion letter, I look at this transition as an opportunity. For the most part, I’m thrilled with the product that Bell Bridge Books produced that bears my name on the covers. Still, like most books, dare I say, every published novel contains surprise gremlins. These gremlins called errors pop up in spite of critique partners, beta readers, editors, copy editors and proofreaders.

My friend Annette Dashofy is famous for saying if a mistake makes it into our books upon publication, after an author’s painstaking review, followed by the numerous editorial eyes on it, that typo deserves to be in there!!😉While I think her philosophy is clever, I respectfully disagree and want that typo corrected. Being traditionally published, I haven’t had the luxury of fixing a digital copy after it’s published. When my books are returned to me, I plan to fix those pesky errors that have plagued me these many years.

Which brings me to something else I’ve been thinking about and would love your opinions. Over the years I’ve received both good and bad reviews. Some readers lamented I didn’t put enough sex in my books, while other readers appreciated that I didn’t. Then there’s the subject of expletives. My mother worked for a doctor who claimed that using foul language was a sign of a weak mind. Moreover, if the speaker did use expletives, it was because he  couldn’t think of anything else to say. As a young woman, I heard that story so many times, I came to believe the doctor had a @#$% valid point!

In my debut novel, The Past Came Hunting, I used expletives. Namely, because my protagonist is a cop. Further, the story begins with a rebellious seventeen-year-old in the process of making the mistake of her life when she hooks up with a California bad boy (later a vengeful ex-con). While my female protagonist cleans up her act (and her language), and the cop occasionally expels an oath, the ex-con absolutely refused to say, “Gosh” and “Darn.” Honest, I asked him!

My debut won several awards, was requested by agents and was responsible for my publication. I remember receiving one letter about the language while the book has hundreds of positive reviews and hit #7 on Amazon’s list as a new author. I’m pretty proud of that. Here’s another question for you. What is it about criticism that we can receive numerous accolades, but we continually focus on the negative?  Also, as I’m going over the book line by line and have the opportunity to sanitize this manuscript, I’m not sure I want to.

Do I still hate expletives? Absolutely. I try hard not to use them. But it’s not about me. It’s about the characters. Fortunately, my other books don’t include a truculent psychopath. Brooke Terpening, another Stiletto Gang member, sent me the following blog written by author Harry Bingham to help me weigh my decision: Click here (content warning).  Mr. Bingham has an incredibly interesting take on the subject. By the way, the article provides an “f-bomb” score. Believe it or not my index is 28/82 = 0.35 which means my book is “unsweary.” Seriously?

Meanwhile, decisions, decisions.

About the Author:

Donnell Ann Bell is an award-winning author who began her nonfiction career in newspapers. After she turned to fiction, her romantic suspense novels became Amazon bestsellers, including The Past Came Hunting, Deadly Recall, Betrayed, and Buried Agendas. In 2019, Donnell released her first mainstream suspense, Black Pearl, A Cold Case Suspense, which was a 2020 Colorado Book Award finalist. In 2022, book two of the series was released. Until Dead, A Cold Case Suspense won Best Thriller in 2023 at the Imaginarium Conference in Louisville, Kentucky. Currently, she’s working on book three of the series. Readers can follow Donnell on her blog or sign up for her newsletter at www.donnellannbell.net.

Do You Play Games?

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In my ongoing effort to declutter, I’ve been taking books to the Family Garden in the park and filling the Little Library there. I’m always thrilled when the last batch I loaded has been taken, and I’m happy to fill it up again. 

But on occasion, there are a few oldies I just can’t part with, like my very yellowed paperback edition of Games People Play, by Eric Berne. I recently spotted it on a shelf behind two other rows of books. (Yes, my bookcases are overburdened, no matter how much I try to lighten the load.)

Mind Games

Berne’s New York Times bestseller was based on his theory of Transactional Analysis, a cultural psychology phenomenon he introduced in the early 60’s. I encountered the book years later when it was assigned reading for an acting class, and again just recently, among other text books from my early days as a theater nerd.

Inside its yellowed cover, I had dutifully underlined paragraphs of Berne’s theories with a red ink pen. Over the years, several pages became unglued. But they were all accounted for, and chock-full of the kind of mind games that define unhealthy interpersonal transactions (or, in non-psychobabble: toxic relationships).

There are 36 “games” identified in its chapters, spread among seven classifications. “Life Games” include Kick Me, Now I’ve Got You, You SOB, and See What You Made Me Do, among others. These are followed by “Marital Games,” “Party Games” (not the children’s party variety) and “Sexual Games,” followed by three more categories. You can see some of them listed on the book’s back cover.

As a treatise on psychotherapy, the point is to get patients to recognize harmful patterns of mind games that are present in their own lives, and eventually, to learn how to stop them, whether the patient is the player or the played-upon. In acting class, it was meant to help us decode the depths of a character’s motivation.

The book is way too technical to be anything but a slog. But on reflection, I realize that I’ve internalized much of its wisdom over the years. It definitely helps me create more fully rounded characters in my writing, especially for villains like E.B. Odom in The Body Business.

And in real life, thankfully, I’ve managed to avoid—or at least identify and remove myself from—most situations in which I might be feeling “played.”

Fun Games

Speaking of more pleasant games, my favorite is the one I play with my husband almost every day at lunch, when I take a break from writing. As I wind down the morning, he’s making a delicious chopped salad which we share over a backgammon table. We’re pretty evenly matched at this game, and the competition’s friendly. Afterward, I’m refreshed for the rest of the afternoon.

Any kind of healthy game can serve as an antidote to any toxic thought gremlins that invade our tranquility. Lots of people I know play Wordle or some variation of it to relieve stress. Group games like Bridge, Poker, and Mahjong are popular again, too.

It may be impossible to permanently shut the woes of the world away, but there’s no harm in trying to raise the fun quotient for a few moments of peace.

Of course, you could also lose the blues by reading a good book!

When you’re plagued by toxic mind games, what do you do to stay calm?

Gay Yellen’s award-winning writing career began in magazine journalism.  She later served as the contributing editor for the international thriller, Five Minutes to Midnight (Delacorte), which debuted as a New York Times “Notable.”

Her multi-award-winning Samantha Newman Mystery Series is full of suspense, with touches of romance, heart, and humor. Available on Amazon or through your favorite bookseller.

Creating Characters: Meet Arabella Carpenter

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Of all my characters (and there are quite a few), Glass Dolphin antiques shop owner Arabella Carpenter is probably my favorite. Feisty and flawed, she’s a loyal friend who still loves her ex-husband, Levon Larroquette (even if she refuses to admit it). But what I really like about her is her motto: Authenticity Matters. Because, well, it does. Anyway, I like Arabella so much that when I began writing the Marketville Mystery series, I found a way to give her a small role as Calamity (Callie) Barnstable’s oldest friend. But who, or what was the inspiration behind her?

I was taking a creative writing course, around 2010, maybe a year or so later, and the assignment was to write a mystery with the words “blue” and “dolphin.” I started writing a story about an antiques shop called the Blue Dolphin, and for no reason I can remember, the name Arabella popped into my head. I don’t think I’d ever heard the name before (although I have since…it’s sort of like when you drive a white Honda Civic..all of a sudden, all the cars you see are white Honda Civics). The Carpenter? I was listening to the radio and Close to You,  an old song by The Carpenters came on. Arabella Carpenter, I thought. That has a nice ring to it. [Sidebar: I changed the name of the shop to the Glass Dolphin after I found out there was a real life Blue Dolphin antiques shop in Maine.]

Here’s a scene from The Hanged Man’s Noose, book 1 in the Glass Dolphin Mystery series:

Arabella surveyed the stack of unopened boxes. The thought of unpacking years of inventory might have been daunting to some, but not to her. She was determined to savor every moment.

She’d been dreaming about owning an antiques shop for ten years, first with Levon, and then without him. No one could take it away now.

But Levon had taught her well, Arabella realized with a trace of nostalgia. She remembered the days when they’d go picking together: estate sales, yard sales, auctions. Levon had an eye for finding a bargain in the rough. It was unfortunate his idea of picking things up went beyond antiques. For him, everything in life came down to the thrill of the hunt.

But he had taken her on as an apprentice when she had nowhere to go and no one to go to, and for that she would be forever grateful. Under Levon’s tutelage, Arabella learned to love antiques for the history they told, the stories they shared. Take clocks. She could pinpoint the region a clock was made simply because of the primary and secondary woods selected. The same held true for antique furniture. No cheap “Made in China” knockoffs back in the nineteenth century. Craftsmen took pride in their work, unlike today’s shoddy built-in obsolescence.

It was close to four o’clock before Arabella stopped, exhausted and hungry. She admired her wall of clocks. The styles were a nice assortment: regulators and banjos, schoolhouse and steeples, gingerbreads, and ogees. Tomorrow morning she’d hang up the vintage posters, the oil paintings and watercolors, the maps and mosaics, before the movers arrived with the furniture. Everything was going to be perfect.

She sat down on top of a stack of flattened boxes and began to cry.

And now, my favorite line of Arabella’s (so far) in response to a developer’s proposal and the standing ovation he receives from the townsfolk:

“Honestly, there are more horses’ asses than horses in this town,” Arabella shouted over the applause. “How can you people buy what that man is selling?”

Seriously, what’s not to love?

About the series:

A small town named after a nineteenth-century traitor. A feisty antiques shop owner with a passion for authenticity. A freelance journalist with a penchant for the truth. Join amateur sleuths Arabella Carpenter and Emily Garland in the not-so-sleepy village of Lount’s Landing, where secrets, subterfuge, and real estate wranglings sometimes lead to murder.

 

READERS: Do you enjoy it when characters (like Arabella Carpenter) make an appearance in another series by the same author? If so, name an example. Three of my faves are Michael Connelly, John Sandford and Tana French, who excel at this.

 

The Glass Dolphin Mystery series is available as a box set or by individual title in trade paperback and e-book. Individual titles are also available in audiobook and large print, trade paperback, and e-book.

www.books2read.com/Glass-THMN

www.books2.read.com/GlassDolphin 

 

 

 

A Labor of Love: Working to Publish a Fellow Author’s Book

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by Paula Gail Benson

The Bethlehem Writers Group (BWG), originally based in Bethlehem, Pennsylvania, but now having members across the United States, has done a great deal to support writers at all levels. Its quarterly online publication, the Bethlehem Writers Roundtable (BWR), pays contributors and sponsors an annual short story contest.

I have a special place in my heart for this group because it published my first online story. When I was offered the opportunity to join the critique partners, I didn’t hesitate.

The information in this post and a related interview that will appear tomorrow in Writers Who Kill, show how this group has rallied behind one of its own to publish his young adult novel and cheer on his success. Carol L. Wright, Marianne H. Donley, and Dianna Sinovic are the organizers, formatters, and editors behind the scenes who worked so diligently to turn Peter J. Barbour’s excellently written Fifteen Keys into a published work. Here’s a few words with this remarkable team of writers.

What is the BWG?

CAROL L. WRIGHT: We call ourselves “a community of mutually supportive authors,” and, at our heart, we are a critique group that meets regularly to give feedback to fellow members on their writing. We’ve stayed small so we can be sure to give everyone an opportunity to share their work. At our meetings, we review entire short stories or chapters of works in progress. If a member wants us to review an entire manuscript, we call special “long-form” meetings where we go chapter-by-chapter, or page-by-page, giving feedback on the whole work: pacing, characterization, story arc, etc. As we critique the work of others, we become better writers ourselves.

As our mission grew to include publishing books and a literary magazine and running an annual Short Story Award competition, we realized we had to formalize our critique group into an LLC. We’ve now published eight of our trademarked “Sweet, Funny, and Strange” anthologies as well as several other books, including our latest: Fifteen Keys, by BWG member Peter J. Barbour.

Carol L. Wright

How was BWG formed?

CAROL L. WRIGHT: In the spring of 2006, the manager of the Bethlehem, PA Barnes & Noble asked me if I would like to start a writers’ group for the store. I had been a book editor some years before, had one published book, and had taken several writers’ courses and workshops, so I figured, why not? At that first meeting, four people came. Only one of them ever returned, but more people continued to join us. Over time we outgrew Barnes & Noble and became the independent group we are today. See more about us at: https://sites.google.com/view/bethlehemwritersgroupllc/home.

What is the BWR?

CAROL L. WRIGHT: In the fall of 2011, we began publishing an online literary magazine: Bethlehem Writers Roundtable (BWR). We currently publish quarterly and seek unpublished short stories (2000 words or fewer) and poetry. Each issue also has several features including interviews and “Literary Learnings.” Currently, we offer $50 for featured stories, $20 for additional stories, and $10 for the poems we publish. For more information, see our submissions page at: https://bwgwritersroundtable.com/submissions-contacts/

Tell us about the annual short story contest.

CAROL L. WRIGHT: Each January, we open our annual Bethlehem Writers Roundtable Short Story Award competition on a specific theme. We recruit a guest judge to select our winners who receive a cash award and an offer of publication either in a forthcoming anthology or in Bethlehem Writers Roundtable. We recently announced our 2025 winners selected by our guest judge, author Adrian Tchaikovsky. You can see the winner list at: https://bwgwritersroundtable.com/short-story-award-2/

Our next contest opens on January 1, 2026, on the theme of science fiction and fantasy for our upcoming anthology, Illusive Worlds: Sweet, Funny, and Strange Tales of Science Fiction and Fantasy due to come out in late 2026. More details about our 2026 competition will be available in our fall issue of Roundtable.

How did you contribute to Fifteen Keys?

CAROL L. WRIGHT: There are myriad tasks required to put out a book, and I’ve been privileged to work with a wonderfully talented team to bring out Fifteen Keys. My role was primarily organizational, making sure everything worked together to produce a book of high quality and appearance, at a price that would be both competitive and profitable, on our optimal timeline. I am so grateful to our BWG publishing team, especially Marianne H. Donley and Dianna Sinovic, and to our author, Peter J Barbour, who was not only terrific to work with, but was a true partner in the publishing process.

What is your hope for Fifteen Keys?

CAROL L. WRIGHT: I’ve been extremely gratified about the excitement generated by the publication of Fifteen Keys. It is not only an Amazon bestseller but has received some very high praise in reviews. Of course, any publisher wants the books they publish to sell, but this one is very special. My hopes for it are that it will not only entertain its readers but will help middle-grade and early teens to navigate the sometimes-turbulent years of adolescence when they struggle with their identities and values. The story and its lessons can help teens, and adults, as they figure out who they want to be and what kind of life they hope to live

What anthologies has the BWG produced and have they won awards?

MARIANNE H. DONLEY: BWG has published eight Sweet, Funny, and Strange Anthologies. They include:

** A Christmas Sampler: Sweet Funny, and Strange Holiday Tales,

* Once Around the Sun, Sweet, Funny, and Strange Tales for All Seasons,

* A Readable Feast: Sweet, Funny, and Strange Tales for Every Taste,

Once Upon a Time: Sweet, Funny, and Strange Tales for All Ages,

*** Untethered: Sweet, Funny, and Strange Tales of the Paranormal,

**  Fur, Feathers and Scales, Sweet, Funny, and Strange Animal Tales,

*** An Element of Mystery: Sweet, Funny, and Strange Tales of Intrigue,

And our newest: *Season’s Readings: MORE Sweet, Funny, and Strange Holiday Tales

We are working on our 9th Anthology Illusive Worlds: Sweet, Funny, and Strange Tales of Science Fiction and Fantasy

Those marked with one * were finalists in the Next Generation Indie Book Award

Those Marked with two * won TWO Next Generation Indie Book Award

Those Marked with three * were finalists in both the Next Generation Indie Book Award and Killer Nashville Silver Falchion Award

How were the anthology stories selected? 

MARIANNE H. DONLEY: All members of BWG are eligible to submit stories to our anthologies. These stories MUST be workshopped at one of our regular BWG critique meetings before being submitted to the anthology.

Stories from authors who are not BWG members are submitted to our annual Short Story Award. We have a celebrity judge each year who selects the winners. First Place always gets considered for publication in our anthology. Sometimes we consider Second and Third Place as well.

Has the BWG published other fiction besides the anthologies?

MARIANNE H. DONLEY: Besides the Sweet, Funny, and Strange Anthologies we have publish Bethlehem Writers Roundtable and online magazine. We publish four issues every year and two of them are open to non BWG authors (and we pay for fiction and poetry).  Submissions for our Winter 2026 issue will open on July 1, 2025.

We have also published, Let It Snow a collection of stories from Bethlehem Writers Roundtable, Off the Rails: A Collection of Weird, Wicked, and Wacky Stories by Jerome W. McFadden and Fifteen Keys by Peter J Barbour.

 

How did you contribute to Fifteen Keys?

MARIANNE H. DONLEY: I formatted Fifteen Keys for both print and ebook. I used a very handy program called Vellum, but still placing the illustrations was a bit tricky. Carol, Pete, and I did a final Zoom call where I shared my Vellum screen. They could weigh in on where a particular illustration looked best. That Zoom call was very helpful.

Using Pete’s painting, I also formatted the front cover. Carol used that design and completed the back cover and the spine. Fifteen Keys was very much a group project.

What is your hope for Fifteen Keys?

MARIANNE H. DONLEY: I hope every child between the ages of 10 to 99 reads and enjoys Fifteen Keys. It’s an entertaining, positive, and uplifting story that is appealing to adults as it is to kids.

I also hope Pete sells a bazillion copies and gets an interview from Oprah Winfrey.

Dianna Sinovic

You have special training as a journalist and writing coach. Why did you decide to become a writing coach?

DIANNA SINOVIC: I’ve been an editor for pretty much my entire career and enjoyed the one-on-one aspect of it. When I heard about book coaching, it seemed like the next logical step—to do more than edit, to help a writer bring their ideas to the page.

How has your training as a journalist and writing coach helped you with your own writing?

DIANNA SINOVIC: My training as a journalist has helped in doing research for my fiction, since research is second-nature for a reporter. My training as a book coach has definitely helped with my own writing. I’m less of a pantser than I used to be and see the value in taking time to tease out aspects such as the point of my story and the big picture before I dive into writing individual scenes and chapters.

When did you begin working with Peter on Fifteen Keys and in what capacity, as coach or editor or both?

DIANNA SINOVIC: I served as copyeditor for Fifteen Keys; the book had gone through several rounds of editing on Pete’s part, based on feedback from BWG members who read the entire manuscript in a “long-form” session.

Do you provide developmental editing as well as line editing, copy editing, and proofreading?

DIANNA SINOVIC: Yes, for my own business, Diasin Books, I provide developmental editing and manuscript evaluations, as well as line editing, copy editing and proofing.

What is your hope for Fifteen Keys?

DIANNA SINOVIC: My hope for the book is that it read and enjoyed widely by teens and parents in discussions about the 15 lessons laid out within it.

When did you join BWG?

PETER J. BARBOUR: I joined BWG approximately 2018.

How did joining BWG affect your process in writing Fifteen Keys?

PETER J. BARBOUR: BWG has had a positive influence on all of my writing. I value the kind critique I receive when we read a piece I wrote at our bimonthly meetings. Show don’t tell has made my prose come alive. I think I’ve learned a lot since I joined the club.

How did you decide to seek publication through BWG?

PETER J. BARBOUR: I watched BWG produce several anthologies. I trusted that my work would be treated professionally and with a personal touch. I was right.

Did you do the illustrations after the writing was complete or while it was ongoing?

PETER J. BARBOUR: I did the drawing after the writing was complete. I didn’t originally plan on illustrating the book. Carol and Marianne suggested I illustrate it. I’ve written and illustrated three children’s books, so I had experience with that.

BIOS:

Carol L. Wright escaped a career in law and academia to write Mysteries and More. Among other works are an award-winning traditional mystery, DEATH IN GLENVILLE FALLS, an award-winning novelette, Apple, Table, Penny . . . Murder, and a collection of short stories in a variety of genres, A Christmas on Nantucket and other stories. She is a founding member of the Bethlehem Writers Group, LLC, a life member of Sisters in Crime and the Jane Austen Society of North America, and a member of SinC Guppies and Pennwriters. Find out more on her website, http://carollwright.com/.

Marianne H. Donley writes fiction from short stories to funny romances and quirky murder mysteries fueled by her life as a mom and a teacher. She makes her home in Pennsylvania with her husband, son, and fluffy dog. Marianne blogs at A Slice of Orange. She is an editor of BWG anthologies. She’s also a member Sisters in Crime and Charmed Writers.

Dianna Sinovic is an author of speculative fiction, horror, and mystery, as well as a certified book coach and editor. Her short stories have been published in a number of anthologies, including those from the BWG, and her flash fiction appears monthly on the blog A Slice of Orange. Her paranormal thriller, SCREAM OF THE SILENT SUN, is slated for release in 2025. She’s a member of the Horror Writers Association, Sisters in Crime, and the National Association of Memoir Writers. In BWG, she serves on the executive committee. Connect with her via her website, www.dianna-sinovic.com, or on Instagram, @dsinovic94.

Peter J. Barbour

Neurologist Peter J Barbour, M.D. retired his reflex hammer to become a full-time writer and illustrator. He is actively involved in Mussar, an ancient study of Jewish ethics, virtues, and mindfulness leading to character development. He participates in the process as a group facilitator and brings Mussar’s timeless wisdom to the writing his latest publication, FIFTEEN KEYS, an action-adventure, coming-of-age novel for middle grade and young teens. His other works include a memoir, LOOSE ENDS, three illustrated children’s books: GUS AT WORK, OSCAR AND GUS, and TANYA AND THE BABY ELEPHANT, and over forty short stories that have appeared in e-journals and magazines. One of them, “The Fate, of Dicky Paponovitch,” earned him Raconteur of the Month from Susan Carol Publishing Company. He belongs to the Bethlehem Writers Group, LLC, and the Society of Children’s Book Writers and Illustrators. He lives in Oregon with his photographer wife. They enjoy traveling and the outdoors.

Guest Author M.E. Proctor Bops into Historical Fiction Waters

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Bopping in Historical Waters

By M.E. Proctor

When I was a kid, I wanted to be an archeologist. I had romantic notions about digging in the Valley of the Kings, excavating the ruins of Troy, or following Percy Fawcett in his search for the lost city of Z—David Grann’s book had not been published yet or I would have known that was a no-no … the critters … yikes.

Adventure books contributed to my vocabulary (quirky), grasp of world geography (off the beaten track), and crossword cracking (obscure). They also developed a long-lasting interest in history. To this day, these are the bookshop shelves I go to first. Logically, I should write historical fiction instead of contemporary crime.

I know why I don’t. The problem is twofold.

First, I’m an impatient obsessive. It’s not as contradictory as it sounds. A few months ago, I wrote a piece for an anthology. The story takes place in 1640 C.E. in Ireland. I spent two months hopping from one rabbit hole to the next, gathering documentation, deeper and deeper. All for what ended up being a 6,000 words story. That’s the obsessive in me. Imagine what would happen if I decided to write a book. My impatient self shivers at the thought. Forty months of research? Before writing the first line? The historical fiction writers reading this will probably say that it isn’t that bad, that once the material is assembled the sailing is smooth, or that I need to be more focused, more organized in the search.

That’s where my second problem kicks in. I’m curious. If something smells good in that rabbit hole, I’ll go for it. What happened in that place a hundred years before, or a hundred years later? What about this character? I don’t picture historical research as an academic pursuit. To me, it’s the most tempting of candy stores, a place of delights where I want to pitch my tent and stay. I might never put a line on paper.

And that’s why I will never write a historical fiction book.

Yet, Bop City Swing is out in the world.

I was tricked.

Russel Thayer contacted me last year and suggested we write a short story in collaboration. We had both published pieces set in California in the 1940s and 50s, classic crime, inspired by the ‘noir’ movies we both love. His recurrent character is gun-for-hire Vivian, nicknamed Gunselle, and I had stories with SFPD homicide detective, Tom Keegan. Let’s bring them together. We didn’t think it would turn into a book.

I didn’t consider 1951 ‘historical fiction’. It isn’t a hundred years old—the marker for antiques—and women’s skirts didn’t sweep the floor, a visual cue that says ‘costume drama’.

Russell and I talked about plot and locations, decided to build the story around a political assassination, didn’t know what would happen next, and started writing.

The need for research became obvious right away. We needed an election year in San Francisco. That set the date, 1951, when incumbent mayor Robinson ran for a second term. We also needed a realistic scene for the crime and chose the Palace Hotel, still standing downtown. A stroke of luck delivered period-accurate floor plans. We didn’t know it yet, but these plans would be critical for the plot. We also gathered city maps and photographs.

Compared to my excursion to the 17th century, none of the work done for Bop City Swing was time-consuming, and the rabbit holes were few. Because we let the plot and the characters dictate the story. When we bumped into an anachronism or a historical impossibility, we adjusted the narrative. Minor modifications: change of address, different music selection. Ironically, the trickier part was shedding some of the language flotsam movies left behind. In the final draft, period slang and hardboiled expressions that leaned too much into Chandlerian back alleys were cut. They’re period-correct, but 2025 readers might blink.

Bop City Swing is neither an homage nor a pastiche, its ambition is just to be a damn good crime story. Historical? Maybe.

Bop City Swing

San Francisco. 1951.

Jazz is alive. On radios and turntables. In the electrifying Fillmore clubs, where hepcats bring their bebop brilliance to attentive audiences. In the posh downtown venues where big bands swing in the marble ballrooms of luxury hotels.

There the story begins, with the assassination of a campaigning politician during a fundraiser.

Homicide detective, Tom Keegan, is first on the scene. He’s eager, impatient, hot on the heels of the gunman. Gunselle, killer for hire, flew the coop, swept away in the rush of panicked guests. They both want to crack the case. Tom, because he’s never seen a puzzle he didn’t want to solve, no matter what the rules say. Gunselle, because she was hired to take out the candidate and somebody beat her to it. It was a big paycheck. It hurts. In her professional pride and wallet.

Buy links

M.E. Proctor was born in Brussels and lives in Texas. The first book in her Declan Shaw PI series, Love You Till Tuesday, came out from Shotgun Honey, with the follow up, Catch Me on a Blue Day, scheduled for 2025. She’s the author of a short story collection, Family and Other Ailments, and the co-author of a retro-noir novella, Bop City Swing. Her fiction has appeared in Vautrin, Tough, Rock and a Hard Place, Bristol Noir, Mystery Tribune, Shotgun Honey, Reckon Review, and Black Cat Weekly among others. She’s a Derringer nominee.

Website: www.shawmystery.com

Substack: https://meproctor.substack.com

 

 

Russell Thayer’s work has appeared in Tough, Roi Fainéant Press, Mystery Tribune, Close to the Bone, Bristol Noir, Cowboy Jamboree Press, Shotgun Honey, Rock and a Hard Place Press, Revolution John, Punk Noir Magazine, Expat Press, The Yard Crime Blog, and Outcast Press. He received his BA in English from the University of Washington, worked for decades at large printing companies, and lives in Missoula, Montana.

Interiority by Saralyn Richard

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Interiority by Saralyn Richard

I recently attended a virtual meeting at which the author, Mark Stevens, spoke. He claimed the main reason a reader likes a fiction book is interiority. Since all writers aim for readers who like our books, I paid attention.

Mark did an excellent job of explaining what interiority is—masterful, in fact, because interiority, like voice, is difficult to nail down. Basically, interiority is the multi-dimensional way in which an author provides the internal thoughts, feelings, and attitudes of a character, so that the character comes alive on the page.

Mary Kole gives another thorough explanation of interiority in fiction here.

When I’m writing, the chief vehicle for character interiority is point of view. Each time I write another book, I learn more about point of view and how critical it is for giving readers the best story.

Here are some of the things I’ve learned:

  1. The perfect POV to serve the story is like the batter’s sweet spot. It can make the difference between a foul ball or a home run.
  2. Having too many POV characters in one book can cause “head-hopping” for the author and the reader. There are ways to accomplish multiple POVs gracefully, but they require a lot of writing finesse.
  3. The problem with having only one POV character is that character has to be “on stage” in every scene. Everything in the story is seen through that character’s interiority, or it isn’t seen.
  4. There used to be only two types of third person POV—omniscient and limited. Now there is a third person deep POV that allows access to the POV character’s thoughts and feelings.

Mark Stevens said readers, especially mystery readers, care less about plot points and more about the people who are living within those plots. I’m sure he’s right, because when I think of all the Agatha Christie books I’ve read—with multi-varied plots and settings—what do I recall most? Hercule Poirot, Miss Jane Marple, Tommy and Tuppence Beresford. And Connelly’s Harry Bosch and Renee Ballard. And Patterson’s Alex Cross.

My own writing experience bears this out. When MURDER IN THE ONE PERCENT came out, the most consistent feedback I received was about Detective Parrott. Not the wealthy and powerful partygoers who had occupied my thoughts when plotting out motivation, weapon, and opportunity. Detective Parrott, the Everyman protagonist, captured readers’ attention and hearts way more.

When Quinn McFarland appeared in BAD BLOOD SISTERS, she was the only POV character. Everything in the book was filtered through her eyes and ears, and she shared a lot of her thoughts and feelings with readers. Throughout the writing process, I identified so closely with Quinn that certain chapters caused me physical discomfort. Readers have told me they felt the same thing.

I’ve read many books where a character’s interiority left an indelible imprint on me. One example is Kya Clark, the Marsh Girl in WHERE THE CRAWDADS SING.

What examples can you think of where POV characters have stayed with you long after you finished the book?

Saralyn Richard is the award-winning author of seven mystery novels, including the Detective Parrott mystery series, and the children’s book, Naughty Nana. Her newest book, Mrs. Oliver’s Twist, is the sequel to Bad Blood Sisters. Look for it soon.

 

Writing Life and Inspiration: Strangers + “What if?” = Plots and Characters in Fiction

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By Lois Winston

Whenever I hear a writer complain that she can’t come up with an idea for a plot or character, I offer this advice: “Get off your phone and keep your eyes and ears open.” No matter where I go—from the supermarket to a doctor’s appointment to the line at the DMV—I see people with their noses buried in their phones. I’m the outlier. As an author, part of my writing life is spent eavesdropping on conversations and observing the behaviors of those around me. That’s where I get much of my writing inspiration. For me, strangers + “what if?” = plots and characters in many of my Anastasia Pollack Crafting Mysteries.

Ideas for plots and characters are all around us if we just take the time to look and listen. Neighbors, friends, relatives, strangers, and the daily news provide constant sources of ideas for plots and characters. All you need to do is channel your inner snoop gene while pretending not to pay attention.

I’ve been privy to the most sensitive of conversations while sitting on a commuter train, in a department store dressing room, and even while doing the necessary in a mall ladies’ room stall. Sometimes, I’ve even heard both ends of the conversation, thanks to the person on the train or in the dressing room or lavatory having placed the call on speaker. Those lavatory experiences became the source of a scene in Assault with a Deadly Glue Gun, the first book in my Anastasia Pollack Crafting Mystery Series.

The world is full of interesting and odd individuals, and I came across some of the oddest back in 1998 when my husband and I moved to a new house. These people and their strange habits have stuck with me over the years. With the encouragement of some of my readers to whom I told about these former neighbors, I incorporated them into my latest Anastasia Pollack Crafting Mystery. To my knowledge, none of the real people were ever murdered or committed murder, but the traits I observed did make their way into Seams Like the Perfect Crime, the fourteenth book in my series, currently up for preorder with a release date of February 2, 2025.

Seams Like the Perfect Crime

An Anastasia Pollack Crafting Mystery, Book 14

When staffing shortages continue to hamper the Union County homicide squad, Detective Sam Spader once again turns to his secret weapon, reluctant amateur sleuth Anastasia Pollack. How can she and husband Zack Barnes refuse when the victim is their new neighbor?

Revolutionary War reenactor Barry Sumner had the odd habit of spending hours mowing a small patch of packed dirt and weeds until his mower ran out of gas. He’d then guzzle beer on his front porch until he passed out. That’s where Anastasia’s son Nick discovers his body three days after the victim and his family moved into the newly built mini-McMansion across the street.

After a melee breaks out at the viewing, Spader zeroes in on the widow as his prime suspect. However, Anastasia has her doubts. There are other possible suspects, including a woman who’d had an affair with the victim, his ex-wife, the man overseeing the widow’s trust fund, a drug dealer, and the reenactors who were blackmailing the widow and victim.

When another reenactor is murdered, Spader suspects they’re dealing with a serial killer, but Anastasia wonders if the killer is attempting to misdirect the investigation. As she narrows down the suspects, will she jeopardize her own life to learn the truth?

Craft projects included.

Preorder now. Available 2/4/25

P.S.: On Monday evening, January 27th at 7pm ET (6pm CT, 5pm MT, and 4pm PT), I’ll be the guest of the Cozy Mystery Party Facebook Group, hosted by Heather Harrisson and Shawn Stevens. If you’d like to join in for a fun hour + of all things murder, mayhem, and cozy mysteries (there will be prizes and surprises!), join the group at https://www.facebook.com/groups/cozymysteryparty. 

Hope to see you there! 

~*~

USA Today and Amazon bestselling and award-winning author Lois Winston writes mystery, romance, romantic suspense, chick lit, women’s fiction, and children’s chapter books. Kirkus Reviews dubbed her critically acclaimed Anastasia Pollack Crafting Mystery series, “North Jersey’s more mature answer to Stephanie Plum.” In addition, Lois is a former literary agent and an award-winning craft and needlework designer who often draws much of her source material for both her characters and plots from her experiences in the crafts industry. Learn more about Lois and her books at her website www.loiswinston.com where you can also sign up for her newsletter and follow her on various social media sites.

Photo of author Catriona McPherson

Special Guest – Catriona McPherson, The Bride Saw Red

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by Sparkle Abbey

Today we welcome a very special guest back to the blog and she’s chatting about the latest in her A Last Ditch mystery series – Scotzilla.

Catriona take it away!

 

SCOTZILLA opens at a wedding and we find Lexy Campbell, protagonist of six previous novels about the Last Ditch Motel, whom readers know to be a pretty laidback sort of a person, in full bridezilla mode, breathing fire and turning the air blue because her daisy-style flower fairylights don’t have five petals, which would have been acceptable, or even four petals which would have been an outrage, but three. Three! Like that last-minute, I-don’t-really-care, sales-point gift-flower the orchid. Or like irises. Pond flowers. As if Lexy is supposed to get married under a web of stinking fish lights!

Chapter one was a lot of fun to write. Even more fun was going back to six months earlier at the start of chapter two and slowly charting the gestation of the monster and the rise of her friends’ dismay at what they’re witnessing, alongside the seeds of the murder plot.

I don’t even think I’ve made her over-the-top. Anyone who reads Carolyn Hax has seen brides this uncorked and I heard of a real life example where my niece offered to pass on her wedding reception fairylights to a friend, in a spirit of generosity and in recognition of how expensive weddings are. The friend burst into tears at the news that someone else was having fairylights at their wedding before she did. Ummmmmm.

Not every bride, mind you. Another niece of mine got married this summer and arrived at the venue only to discover she’d forgotten her veil. Enh, she got married without a veil. And yet another niece (I’ve got a fair few) proudly wore white shoes that cost a tenner because, and I quote, “They’re going to get wrecked and I’ll never wear them again.” That’s my girl.

I never wanted a wedding of my own, and I don’t regret not having one, but that’s not to say I don’t sometimes enjoy them. At a good wedding, I love the ceremony, the speeches, the catch-up with family, sitting out “All the Single Ladies” and getting up for “Solid as a Rock”, the cup of tea that’s served after a couple of hours of dancing, along with savoury and sweet pastries, the tiny wee baby boys in kilts, the post-mortem on the way home . . . (Who was it who said that in a happy marriage you never tear each other down; you tear other people down together? Not me.)

What don’t I love about weddings? Or – to put in another way – what makes for a bad wedding? Well, when you think one of the couple is making a mistake. That’ll do it. (I’d love to be at a wedding where someone objects, soap-opera style. Does it ever happen in real life?)  A terrible DJ who wants to look cool and won’t fill the floor is a bit of a drag (see above: Beyonce/Ashford and Simpson). If there are enough Scots to warrant ceilidh dances but not enough to form a critical mass of people who know what they’re doing; that’s frustrating. Getting stuck with really hard-work people who make no effort to have fun but won’t stop hanging around you. (Same reason I’d never go on a cruise. I would be in the next cabin to and the same table as a crashing bore with no boundaries. And they’d live in the next town when we all got home again.)

What don’t I love about weddings that I probably shouldn’t admit to? Home-made vows. Love the speeches for the toasts, but oh my God the throbbing emotion of a home-made vow makes my toes curl so much I could snap my dancing slippers. (Although, I immediately start to remember exceptions to this rule. A wedding last summer had the sweetest and funniest vows anyone ever spoke – things like “I will always drive you anywhere you want to go because you hate to drive”.) But, usually, home-made vows. Also – the photographer. The time it takes, the hanging about for everyone, the knowledge that no one is ever going to look at 99% of these pictures. Ever. And if there’s a videographer too? Guess.

So my nightmare wedding would be an ill-suited couple of Instagram influencers, who wrote rhyming vows, blew most of their budget on the photographer and videographer and are determined to get their money’s worth, saved a few pennies by letting a relative – huge fan of modern jazz – be the DJ, banned all children, didn’t allow speeches, and one last thing. Where is this hellacious event taking place? Where else? At a “destination”.

Unless anyone wants to convince me that destination weddings are a great idea. No? Tell you what then: let’s really get going on this calamitous event I’ve started designing. What else does it need?  I haven’t touched on the menu . . .

 

Here’s a little bit about SCOTZILLA

Lexy Campbell is getting married! But in the six months of planning it took to arrive at the big day, she has become . . . a challenge. Friendships are strained to breaking point, Lexy’s parents are tiptoeing around her, and even Taylor, her intended, must be having second thoughts.

Turns out it’s moot. Before the happy couple can exchange vows, Sister Sunshine, the wedding celebrant, is discovered dead behind the cake, strangled with the fairy lights.

Lexy’s dream wedding is now not just a nightmare: it’s a crime scene. She vows not to get drawn into the case, but the rest of the Last Ditch crew are investigating a bizarre series of goings-on in Cuento’s cemetery and every clue about the graveyard pranks seems to link them back to Lexy’s wedding day. Will the Ditchers solve the case? Will Sister Sunshine’s killer be found? Will Lexy ever get her happy-ever-after? Not even Bridezilla deserves this.

Thanks so much, Catriona, for stopping by. We love stories set in Scotland and we love Catriona! So needless to say, we already have our copy of Scotzilla!

Photo of author Catriona McPherson

Serial awards-botherer, Catriona McPherson (she/her) was born in Scotland and immigrated to the US in 2010. She writes: preposterous 1930s private-detective stories; realistic 1940s amateur-sleuth stories about a medical social worker; and contemporary psychological standalones. These are all set in Scotland with a lot of Scottish weather. She also writes modern comedies about a Scot out of water in a “fictional” college town in Northern California. SCOTZILLA is book number seven of what was supposed to be a trilogy. She is a proud lifetime member and former national president of Sisters in Crime.  www.catrionamcpherson.com

 

An Interview with Raegan Teller

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I met Raegan Teller through our local Sisters in Crime Palmetto Chapter. In fact, Raegan and I were two of the founding members of the chapter. Since that time, she has independently published seven Enid Blackwell mysteries, marketing them herself through personal appearances at unique festivals and events, most of which are not focused on books. In addition, she has written numerous short stories and organized local Noir at the Bar programs.

Raegan, it’s a great pleasure to have you here at The Stiletto Gang to tell us about your writing journey.

If you have not already read Raegan Teller’s work, add it to your “to be read” list. You’ll truly enjoy it and find it’s an excellent holiday gift!

                                                                        Paula Gail Benson

Raegan Teller

Q: What was your earliest memory of wanting to be an author?

RT: I began reading mysteries as a young girl: Nancy Drew, Trixie Belton, and then later Agatha Christie, Daphne Du Maurier, Victoria Holt, and Phyllis Whitney. Those were the mystery authors the library carried. And like most avid readers, I dreamed of writing my own novels one day. But it was just a pipe dream for most of my life.

Q: Your work experiences have shaped your writing. Tell us about your background and how it helped or found its way into your stories.

RT: I worked for a Fortune 100 company for most of my working life. I held numerous positions and roles, but the ones I enjoyed most were those with a lot of writing involved. But working for a large insurance company, I also investigated auto and other accidents, took statements from accident witnesses, and much more. When I left that company after 20+ years, I started my own management consulting company and found myself doing a lot of writing for my clients. I particularly enjoyed writing white papers because they are just another form of storytelling. I also did some editing work for clients. While my dream of writing a mystery got buried somewhere along the way, little did I realize that all those experiences would help me write mysteries. And my main character, Enid Blackwell, mirrors a lot of my own frustrations with large corporations. All of my work and life experiences have contributed in some way to my stories.

Q: In developing your craft, you studied a number of places with wonderful instructors. Tell us about your journey to becoming a fiction writer.

RT: I’m laughing as I respond to this question because my journey was rocky. First of all, while I was an experienced business writer and editor, I had never written fiction. The goal of business writing is to make sure all questions are answered and that you keep yourself and your feelings out of your writing. I was good at that. But when I tried to write fiction, I was baffled when it came to diving into my emotions and letting them feed by stories, or how to hide information from readers. Worse yet was allowing myself to mislead the readers with red herrings—false clues. Writing fiction was the total opposite of what I knew how to do, and it was maddening! So I took a number of workshops from writing experts around the country. One was Jerry Cleaver, who wrote Immediate Fiction and taught classes at The Writers’ Loft in Chicago. I quickly became annoyed with him, even though he was right. I can still hear him repeatedly saying “add more conflict.” As acclaimed as he was, his teaching style just never clicked for me—but I did learn to add more conflict! I also took a few workshops with Donald Maas (Writing the Breakout Novel), where I learned that my first novel would not be a breakout by his definition. At some point in my journey, I saw an advertisement for Alan Watt’s LA Writers Lab. He believed you should quickly write a novel in 90 Days and clean it up later. And I actually did finish a draft of my first novel in 90 days. (I’ve kept it to remind me how awful my writing can be.) But Watt clicked with me for reasons other than writing quickly, and I ended up doing individual coaching and numerous workshops with him. I loved how he taught story structure and made it less intimidating. He is a screenwriter, so I learned to visualize my story as I wrote. Like Cleaver, Watt offered me a constant reminder, but his was “go deeper.” By far, Watt was the most influential instructor I worked with. With his coaching, I produced the final version of my first novel, Murder in Madden, after three years of trial and error. (I wrote the second novel in eight months.)

Q: You base your novels on cold cases and pending court matters. How did you decide the subject matter for each of your novels?

RT: My novels are inspired by, rather than based on, real-life crimes and events, that either happened near me or just resonated with me in some way. The genesis of my series was the murder of my husband’s seventeen-year-old cousin, who disappeared from a bus stop in Columbia, SC, in 1990. Several days later, they found her body but no has ever been charged with the murder. I wanted to write a non-fiction book about her with the message that we shouldn’t forget these victims. But I didn’t have enough material for a book. Instead, I decided to write a fictional story about a forgotten teenage victim, Rose Marie Garrett, in Murder in Madden. Following that pattern, I chose a real-life victim to be my muse for each subsequent novel.

Q: Is your protagonist, reporter Enid Blackwell, based on a real person? Does she share any of your characteristics?

RT: One of my earliest childhood heroes was Nellie Bly, one of the first female investigative journalists. From the time I read her biography, I wanted to be a journalist just like her. But like many young people, I was encouraged instead to pursue a more practical career. In many ways, Enid Blackwell is a contemporary version of Nellie Bly. As to whether Enid and I share characteristics, I get asked that question a lot. Many of my close friends and family see a lot of me in her. We both have red hair, and we’re both determined to accomplish what we set out to do—some would call that hardheaded. We both value friends and family. But she’s far braver than I, and unlike Enid, I like to cook.

Q: How did you decide to publish independently? What benefits does that offer? What difficulties does it present?

RT: I used to teach a class on self-publishing that was four hours long, but I’ll try to be brief here. When I began looking at publishing options for my first book around 2015, I interviewed both traditionally published and independently published authors—of which there were few at that time. Self-publishing was just emerging as a viable option and was still shaking off its vanity press reputation. The indie authors I talked with had all turned to SP when they were unable to get an agent and/or publisher. SP was not their choice but their fallback. After spending all my working life in large corporations and then owning my own consulting firm, managing my own publishing company was appealing. I knew how to set up and run a small business. And I made a vow to myself that if I made the decision to go indie, I would not try traditional publishing at all. I wanted to choose SP, not use it as a fallback. So I formed Pondhawk Press LLC. SP is a lot of work because you’re running a business. You make investments in cover design, editing, proofing, etc., with your own money, so you need to have cash to get started. DIY is not advised! I do a lot of in-person events, so my husband, who is also my business partner, manages our inventory, provides set-up assistance, helps scope out new venues, and much more. I couldn’t do it without the help of my team, which also includes my editor, proofreader, cover designer, and more. And of course, you have to promote your work constantly on social media and elsewhere. You have to have a marketing plan. It’s a lot of work, but very rewarding for me. I’ll conclude by saying that SP is definitely not for everyone, but for some of us it’s the only way to go.

Q: Which characters have you particularly enjoyed writing? Are they the characters readers identify with most?

RT: My protagonist, Enid Blackwell, has become a close friend. We talk all the time, and she helps me when I get stuck—usually in the dreaded “middle.” I sometimes ask her questions before I fall asleep at night, and she usually gives me an answer. Aside from Enid, there are many “favorite” characters in my books. In addition to Enid, my readers love Jack Johnson, the newspaper editor, and Josh Hart, Enid’s love interest. Some of my favorites include Sheriff Boogie Waters (Secrets Never Told) and Drake Harrow the police investigator and Cassandra the fortune teller, in my latest novel Murder Vision. Harrow, aka Big D, is part Jamaican and I enjoyed learning a bit of Patois, a form of Jamaican creole, for his character. My readers love the series’ characters and often comment on them. I’m fortunate to have both male and female loyal readers, and I’m always surprised and delighted when they tell me who their favorite characters are and what they like about them.

Q: Did you always know you would write a series?

RT: Heck no! I wrote Murder in Madden as a way to honor a real-life, forgotten victim. But I fell in love with my characters and knew they had more stories to tell. So I declared at my first book launch that I would have four books in the series—a number I just pulled out of the air. But after four books, I kept going. The seventh novel in the series, Murder Vision, was published in September 2024 and will be the last in that series—at least for a while. But I already miss talking with Enid.

Q: You also write short stories. What challenges do they present?

RT: I love the challenge of developing a character and telling a story in a few words. My sweet spot is around 2000 words, but I enjoy flash fiction also. Short stories are fun to write, and they keep me writing between novels. I love to write stories from image prompts. There’s a picture on the bulletin board in my office of a lone grave in the middle of a field in Lexington that I took not long ago. I can’t wait to write a story about it.

Q: How do you like organizing Noir at the Bar events? What do writers learn from reading their stories out loud?

RT: I absolutely love Noir at the Bar! I host these at a local bar several times a year and invite other authors to participate. Humans are storytellers by nature, and sharing stories with others is very primal for me. Writing for an audience, like at Noir events, is different than writing for print readers. For one thing, you have to use more dialogue tags because the audience can’t see where the characters change as they would on a page, so they can get confused if the writer isn’t clear on who’s speaking. I read all my novels and stories aloud during the editing process, and it’s a great way to spot areas that may be confusing. Also, writing for a live audience is not the place to be “literary.” Stories that might be appropriate for a literary magazine typically don’t play well to an audience because they are often abstract. Reading for a live audience works best when you stick to writing an entertaining story that has a clear beginning, middle, and end—like a story you’d tell around a campfire.

Q: What advice would you give to writers?

RT: Two things. The first is to keep writing. It’s easy to get distracted and lose focus. There are many reasons you can give yourself for not writing but only one reason to keep going: you must write because your heart compels it. The second piece of advice is to be clear to yourself about your writing goals. There’s nothing wrong with writing as a hobby with no inclination to get published. But if you do decide to publish, be clear about what you want from it—recognition or fame, money, self-satisfaction, or something else. And whatever your goal is, be certain you’re willing to invest your time, money, and other resources into achieving that goal. Self-publishing has made it somewhat easy to publish a book, but then many writers despair because their sales are low. And many traditionally published authors are having to do most of the promoting themselves because of budget cuts. Many writers I’ve talked with have admitted they have no marketing plan, run no ads, and have no goals other than to “sell more books.” Then I have to ask, “Why are you writing? What do you hope to achieve? And if that goal is important, what are you willing to do to make it happen?”

Q: How has your family influenced your writing?

RT: My own family has been very supportive, and my husband in particular is my rock. Without him, I couldn’t do what I do. My sister is always talking about and selling my books. While I’m fortunate to have a wonderful, loving family, I know that not everyone is as blessed. Relationships in general are complex. My books often explore the complexities within both blood and chosen families, which often include betrayal, heartache, and worse.

Q: What are you writing now?

RT: I recently started writing a new series set in Raven’s Rest, NC, a small, fictitious town in the Blue Ridge Mountains. I prefer to read and write about small towns rather than large cities because I love the interplay of everybody-knows-everybody and everybody-has-a-secret. I’m also working on what I think will be a stand-alone novella titled Burning Memories. I can write short and I can write long, so I want to challenge myself to write a mid-length 30K to 40K story. It will be a departure from murder mysteries—more in the style of Nicholas Sparks. Recently, I’ve been reading Stephen King’s novellas because he’s a master of the novella, as is Jo Nesbo.

For more information, visit Raegan Teller.com or the Enid Blackwell Mystery Series on Amazon.