Book Clubs by Saralyn Richard

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One of the many tasks an author tackles when she has a new book released is to develop a list of discussion questions for book clubs. While I enjoy every part of researching, writing, revising, publishing, and marketing a book, creating discussion questions is one of my favorites.

Years of doing lesson plans, creating assessments, and interacting with students around the literature they’ve read have given me the tools.  I also helped teachers develop higher level questions when I was an administrator. And, for the trifecta, I took Junior Great Books training, which helps leaders craft Socratic questions that have more than one right answer and whose answers prompt more questions. All of these gave me excellent experience in working with book clubs.

Before I get into details, I must say that no two book clubs are alike. In fact, even the same book club can differ from its last session with a different book, a different leader, a slightly different crowd, or a different context for discussion. For example, I just returned to a fabulous local book club that had discussed my book, BAD BLOOD SISTERS, a year ago, and this time they were discussing MURDER IN THE ONE PERCENT. A different book, a different series, and this time there were men in the group. Furthermore, the person who hosted the second session turned it into a party to simulate the elegant party in the book. The whole atmosphere was charged with festivity, and, although I had prepared higher level discussion questions to go with the book, no one wanted to hear them. Instead, the readers had questions of their own to ask me. I was cool with that. I wanted everyone to enjoy the discussion, and I wouldn’t want anyone to leave empty-handed, with unanswered questions.

Two days later, I had the first book club discussion of the new release, MRS. OLIVER’S TWIST. I sat down to prepare the questions, and that old familiar sense of joy flooded through me. I loved writing the book, and I would love setting the platform for discussing it. What would I want to revisit? The characters? The plot? The setting? The theme?

I crafted between fifteen and twenty questions, printed them out, cut them into strips, folded them neatly, and placed them into a jar. When it came time for the discussion, I led with a five-to-ten-minute talk about the inspiration for the book, and then opened the floor for questions. Everyone had to take a turn asking or answering a question. If a person didn’t have a question to ask, she could pull a question from the jar. She would read the question and take the first crack at answering it. Or she could pass and let someone else answer it.

At the end of the evening, everyone had contributed to the discussion several times, and everyone went home happy—including the book’s author!

I’m always amazed at what comes from readers at book clubs. My philosophy is that the book belongs to me when I’m writing it, but it belongs to the reader once it’s published. So I don’t claim to have all the “right” answers, and I enjoy hearing different responses.

Sometimes I attend these book clubs in person, and sometimes by FaceTime or Zoom. Either way, it’s an honor and a joy to be invited to discuss my book with a new group.

How about you? What is the most interesting, unusual, or fun book club meeting you’ve ever attended?

 

 

Saralyn Richard is the author of the Detective Parrott mystery series, the Quinn McFarland mystery series, A MURDER OF PRINCIPAL, and the children’s book, NAUGHTY NANA. If you’d like to invite Saralyn to your next book club or organization meeting, contact her at saralyn@saralynrichard.com.

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Book Trailers

By Saralyn Richard

 

I’m not sure when book trailers became “a thing,” but now the internet is flooded with video teasers that make prospective readers want to buy books in all genres. Some are professionally done; others are created with easy-to-use software, such as Canva, MovieMaker, and VistaCreate.

What I like about successful book trailers is that they crystallize the essence of the book into short, pithy artistic statements. The selected text, graphics, and video make the book description come alive with aesthetics, movement, action, sound, and emotional appeals.

The cover is hot, but the trailer is even hotter.

The advertising potential is vast, and, assuming the trailer is widely viewed, it becomes a valuable marketing tool for the book.

A lesser realized, but no less important outcome is what the trailer does for the author. In writing seven novels and one children’s book, I’ve found it easier to write a hundred-thousand-word work of fiction than to write a book description or blurb. Condensing the book into its essential parts and highlighting its purpose is extremely difficult and frustrating. What to include? What to leave out, because it’s a spoiler? What to emphasize?

Brevity may be the soul of wit, but for a novelist, brevity can suffocate. Figuring out what to put into a book trailer, both in images and words, simplifies the task. While writing is a left-brain activity, movie-making is right-brain.

Even if the trailer is “hired out,” the author must give the artist the basic information: characters, setting, and plot. If the book is a mystery, the trailer needs to capture the elements of suspense, suspects, clues, and mood, all provided by the author

. The trailer requires a script and storyboard, and a great hook at the beginning.

The video for my book, CRYSTAL BLUE MURDER, is an example of a trailer that helps the audience get a feel for the book. It also helps me clarify the important plot points and messages of the book. You can currently view the trailer here:

Crystal Blue Murder Book Trailer v2

Does it make you want to read the book? Do book trailers in general appeal to you when you are deciding what to read next? I love hearing from you!

Saralyn

Setting Matching by Saralyn Richard

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Setting Matching

By Saralyn Richard

 

Should your reading setting match the setting of your current book? Not really. Otherwise, how could you enjoy historical or sci fi fiction? But some interesting things have occurred to me in the past when I read a book that matched the situation I was in at the time.

The first time I noticed this phenomenon was when I was sick with the flu. The rather unfortunate choice of books on my nightstand included Year of Wonders by Geraldine Brooks. As I coughed and battled high fevers, I read about the English plague of 1666, and I shuddered all the more with the tension of the book.

I read Suzanne Morris’ Galveston while sitting on the beach, only a few blocks from the Victorian homes described in that book. The sights, sounds, and smells of Galveston surrounded me in real life, as I read Morris’ descriptions of them.

I read Emilya Naymark’s Hide in Place during a cold snap. I could feel the biting wind and hear the crunch of the snow as I read. The chills of the book became actual chills for me.

Not exactly serendipity, after visiting the National Aeronautics & Space Museum (NASA), I decided to read Tom Wolfe’s The Right Stuff. I had a greater appreciation for the astronauts’ personal journeys as described by Mr. Wolfe, because I had sat in one of the space vehicles mentioned in the book.

Of course, it’s not a requirement to select a book based on its location, time in history, or season’s matching the one you are currently in, but there’s an extra surge of fun when the match-up occurs.

If you’re looking for a sizzling summer mystery, Bad Blood Sisters might be up your alley. All the tension begins on the Fourth of July. And Quinn’s family, who owns a mortuary and sometimes jokes about death, decides that this summer death stops being funny.

Whatever you’re reading this summer, I hope you’re having a great time. Can you think of examples of setting matching that you’ve experienced?

 

 

Saralyn Richard writes award-winning humor- and romance-tinged mysteries that pull back the curtain on people in settings as diverse as elite country manor houses and disadvantaged urban high schools. Her works include the Detective Parrott mystery series, BAD BLOOD SISTERS, A MURDER OF PRINCIPAL, NAUGHTY NANA, and various short stories published in anthologies. She also edited the nonfiction book, BURN SURVIVORS. An active member of International Thriller Writers and Mystery Writers of America, Saralyn teaches creative writing and literature. Her favorite thing about being an author is interacting with readers like you. Visit Saralyn here, on her Amazon page here, or on Facebook here.

 

Figures of Speech

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Figures of Speech

by Saralyn Richard

An English major in college, I was required to take courses in Chaucer/medieval lit, Shakespeare, Milton, 18th and 19th century literature, and American literature, among others. Of these, the dreaded subject was Milton, mainly because the brilliant poet and author of Paradise Lost took full advantage of the vast body of history, philosophy, religion, politics, and literary criticism of the day, and analyzing and interpreting even a few lines of his work could send a person down a rabbit hole for eons.

I had read excerpts from Milton’s works in high school, and I’d found them dry and uninteresting, but when I arrived in my Milton class junior year in college, I had a whole different experience. Call it an awakening, a challenge, a puzzle—whatever—I delighted in the intrigue and purpose of Milton’s language, and I couldn’t get enough.

After the semester, I decided to continue studying Milton by undertaking two semesters of work, researching and writing an honor’s thesis. My focus of study was figures of speech.

Most people understand the function of figurative language and can identify and explain similes, metaphors, personifications, and analogies. Few, however, realize that these represented only a miniscule number of the figures of speech available for Milton and other writers of the Elizabethan and Puritan eras.

I could write treatises—or an honors thesis—about what I learned from books, such as George Puttenham’s The Arte of English Poesie, or Henry Peacham’s The Compleat Gentleman, but for this blogpost, I’ll say that I was astounded by the more than 456 figures of speech used by Renaissance writers of poetry and prose.

The literary devices included repetitions, inversions, comparisons, and rhetorical devices to tickle the ear and tempt the mind. Some of the more obscure, but popular, figures of speech were anastrophe, litotes, and anadiplosis.

Once I learned about them, I had fun hunting for them in Milton’s verse. Each find unlocked a bit of the magic that made Milton’s writing so memorable.

Fast forward to the 21st century, and I was teaching creative writing to students aged 55 and older at the Osher Lifelong Learning Institute. I introduced a unit in figures of speech, and we dug into definitions and examples of a variety of the lesser-used devices. I challenged learners to use some, like synecdoche and metonymy in their writing, and the results were amazing.

Also, when I read a work of fiction by an author like Poe, Tartt, Kingsolver, or Irving, and I find a turn of phrase that is particularly appealing, I love to deconstruct the language. Do you do the same? What is your favorite figure of speech, and which author do you think is especially adept at using figurative language?

Saralyn Richard writes award-winning humor- and romance-tinged mysteries that pull back the curtain on people in settings as diverse as elite country manor houses and disadvantaged urban high schools. Her works include the Detective Parrott mystery series, two standalone mysteries, a children’s book, and various short stories published in anthologies. She also edited the nonfiction book, Burn Survivors. An active member of International Thriller Writers and Mystery Writers of America, Saralyn teaches creative writing and literature. Her favorite thing about being an author is interacting with readers like you. If you would like to subscribe to Saralyn’s monthly newsletter and receive information, giveaways, opportunities, surveys, freebies, and more, sign up at https://saralynrichard.com.

 

Reading the Same Book Twice

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Reading the Same Book Twice

by Saralyn Richard

 

 

I’m always surprised when a reader tells me he’s read one of my books multiple times. As a voracious lifelong reader, I find myself muttering, “So many books, so little time.” I’m on a personal mission to read as many new books as I can, and I don’t take the time to re-read any of them.

I feel the same way about movies. I’m stunned by the number of times my husband can watch a classic movie favorite. I recently asked him how many times he thought he’d seen “Casablanca,” and he estimated more than 100. “Do you continue to see new things in it each time?” I asked. “Absolutely,” he said, and, as a viewer, he is moved by the story in different ways each time, too.

 

That thought gave me pause. I wonder if I re-read Gone with the Wind today, would I have a whole different take on it than I did when I read it at the age of sixteen? Or how about Catcher in the Rye, or To Kill a Mockingbird?

One of my loyal readers, a dear friend, makes it a point to read my books three times. I’m honored that she spends so much time with my characters, and I’m intrigued, too. I asked her over lunch if she would elaborate as to why she does this, and what she gets out of it. Her answer was enlightening.

She said, “The first reading is a light, quick skip through the story, mainly following the plot. The second reading is more intense. That’s where I pay close attention to the clues and the path on which they are leading me. The second reading is more process oriented. The third reading is more holistic. By this time, I’m able to enjoy the whole package of the story. I can see how the setting, characters, plot, and theme work together to form a perfect whole.”

“Wow,” I said, flattered that she has taken the time to analyze, synthesize, and evaluate each of my books. Her higher-level thinking makes my heart sing.

And it makes me re-think what it means to be a reader, rather than a consumer of books. For many years I taught a literature course entitled, “Literary Tapas.” The class read short pieces of literature and analyzed them using Socratic questioning. Through the questioning, we were able to get at some incredible insights and meanings, no matter what genre or time period the literature came from. And we always read it twice.

Now that I think about it, I might enjoy reading a few favorite books again, savoring the journey as I go. How about you? Are there any books you’ve read or would like to read twice?

 

Saralyn Richard writes award-winning humor- and romance-tinged mysteries that pull back the curtain on people in settings as diverse as elite country manor houses and disadvantaged urban high schools. Her works include the Detective Parrott mystery series, two standalone mysteries, a children’s book, and various short stories published in anthologies. She also edited the nonfiction book, Burn Survivors. An active member of International Thriller Writers and Mystery Writers of America, Saralyn teaches creative writing and literature. Her favorite thing about being an author is interacting with readers like you. If you would like to subscribe to Saralyn’s monthly newsletter and receive information, giveaways, opportunities, surveys, freebies, and more, sign up at https://saralynrichard.com.

 

Magic Carpet Ride by Saralyn Richard

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Photo by DESIGNECOLOGIST on Unsplash

At a recent interview, I was asked whether I’ve always been attracted to mysteries, even as a child. That’s not the first time I’ve answered the question, but the more experience I have as a mystery writer, the more I’ve seen the power of mysteries, and I want to share my thinking.

I’m an eclectic reader and teacher of literature. I like to read all genres and nonfiction, plays, poems—you name it. But mysteries draw me in more than any other genre, and I think that’s because in no other type of book are the reader and writer so closely connected.

The intellectual puzzle of a mystery novel is a carefully planned path laid out by the author and followed by the reader. The steps, the clues, the evidence, the red herrings—all are set forth in a grand treasure hunt, and the reader is invited to join in. In accepting the invitation, a reader becomes complicit with the scheme. He enters the story as an ally or a sidekick of the sleuth, and he solves the mystery along with the character.

In order to enjoy the mystery fully, the reader must pay attention, not only to the intellectual puzzle, but also to the emotional puzzle. How do the characters relate to one another? What motivates one or more of them to commit a crime? How will the truth be discovered, and how will justice be administered?

The mystery is less about the actual killing of a person and more about the process of decision-making and problem-solving that will restore order to the world of the book. Yes, bad things happen in life, but clever people can overcome these bad things and find stability again. And if characters in books can achieve successful outcomes, people in real life can, also.

When I’ve read a good mystery, I feel I’ve connected with the author’s heart and soul. I know she’s an upright person who believes in doing the right thing. She’s taken me along with her on the journey, and, even if she’s dazzled and bewildered me, even when she’s twisted my thinking into knots and tossed me around the landscape of the novel, she’s held my hand throughout, and she’s taken pleasure in the fact that I’m still with her at the end.

I know these things because my favorite part of being a mystery author is doing those same things with my readers. The writer-reader connection is central to the mystery, and that’s what makes both reading and writing so much fun. Let’s hop on the magic carpet together and go for a ride.

ABOUT THE AUTHOR

Saralyn Richard writes award-winning humor- and romance-tinged mysteries that pull back the curtain on people in settings as diverse as elite country manor houses and disadvantaged urban high schools. Her works include the Detective Parrott mystery series, two standalone mysteries, a children’s book, and various short stories published in anthologies. She also edited the nonfiction book, Burn Survivors. An active member of International Thriller Writers and Mystery Writers of America, Saralyn teaches creative writing and literature. Her favorite thing about being an author is interacting with readers like you. If you would like to subscribe to Saralyn’s monthly newsletter and receive information, giveaways, opportunities, surveys, freebies, and more, sign up at https://saralynrichard.com.

Detective Parrott Mystery Series by Saralyn Richard

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My introduction to Brandywine Valley, Pennsylvania, was at a weekend retreat in one of the country mansions there. I was invited to a birthday party for one of the elite one-percenters who owned a gentleman’s farm. The thirteen guests were treated to three days of luxurious meals and accommodations, fit for royalty. That Saturday night we enjoyed a gourmet nine-course meal with wine pairings for each course. It was over the top, but tasteful at the same time. The conversation was intelligent and witty, and everyone had a wonderful time, especially the birthday celebrant, who beamed at his friends and family members the entire time.

After the elaborate dinner on Saturday night, our bellies and spirits equally full, we sat around near the fireplace in the den and talked about many things. The gathering reminded me of an Agatha Christie locked room mystery, where someone died, and the rest of the guests were suspects. I was struck by the idea that this would be the last place you’d expect a murder to occur. I turned to the person next to me and said, “This would be the perfect setting for a murder mystery.”

From that moment on, I wanted to write about these rich and powerful people, this setting, and the elements of social class that distinguish the ultra-wealthy from those who serve them. That was the beginning of MURDER IN THE ONE PERCENT.

Since that time, I’ve traveled all over the country, talking about Brandywine Valley. The Detective Parrott mystery series has become popular, and it’s grown from a single mystery to four, the latest of which is being released January 5, 2024, MURDER OUTSIDE THE BOX. In each of the books, Detective Parrott learns and grows, while his cases intertwine with his real life.

The series, along with two standalone novels set in less opulent environments, has won numerous awards, favorable reviews, and loyal fans. I’ve conducted extensive research on various aspects of the Brandywine community, and I’ve acquired many first-hand sources who are happy to fill me in on details about the topography, history, architecture, artistry, equestrian activities, artistic endeavors, gardens, museums, shopping areas, bank barns, funeral customs, wildlife conservancy, and other aspects of the community.

The area has turned out to be a second home for me and a favorite escape for my readers. I love the less posh settings of my other books, too, but that long-ago birthday celebration in Brandywine Valley has turned out to be a seminal event in my writing life, and my fascination with the Brandywine culture continues to grow.

Do you have a favorite setting, either fictional or real, that holds you with its magic? Tell me about it!

 

 

IT’S A MATTER OF BIRTH AND DEATH.

The serene Brandywine Valley wakes up to an intoxicating double shock: a baby abandoned on the porch of a caretaker’s cottage, and a young post-partum woman lying dead on the estate of a billionaire scotch whiskey magnate. Detective Parrott’s instincts tell him the two crimes are connected, but the evidence points him in directions that are both baffling and personal. Parrott searches for answers in high and low places, including his own office.  As he races to find the truth about the baby’s origin and best placement, he untangles chilling murder clues that implicate people who harbor secrets that even their positions of power and trust can’t protect. Once again, Parrott may have to risk his reputation—and even his life—to uncover the real story.

A compulsive and compelling police procedural with relatable characters who remain in your heart. If you like detectives from Louisa Scarr, Clare Mackintosh, and Michael Connelly, you’ll love Detective Oliver Parrott. Purchase at your favorite bookstore or here.

Parrott and Tonya Sitting in a Tree by Saralyn Richard

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Literary detectives rarely work alone. Sherlock had Watson. Nero Wolfe had Archie Goodwin. Poirot had Captain Hastings. Then there are Nick and Nora Charles, Tommy and Tuppence Beresford, Lincoln Rhyme and Amelia Sachs, and Lord Peter Wimsey and Harriet Vane.

Authors make good use of the sidekicks throughout the series. The sidekick provides a sounding board for the detective, someone to help with collecting evidence and processing clues. Sometimes the sidekick offers an insight that might turn out to be a red herring—or not. The dialogue and interaction between the detective and his sidekick add interest and humanity to the story.

The Detective Parrott mystery series features Detective Oliver Parrott, a young, smart, organized person who’s well-grounded and dedicated to finding the truth. An outsider in the wealthy community he serves, he has a sixth sense about sniffing through subterfuge and barriers, and he’s undaunted by rich and powerful people. He just wants to do the right thing and make way for justice to be served.

That’s a big job for one guy to do, and the work can become frustrating and lonely. That’s why Parrott has a sidekick—his lovely fiancée (and then wife) Tonya.  College sweethearts, Parrott and Tonya have similar backgrounds. Both come from single parent homes in underprivileged neighborhoods. They had scholarships to Syracuse, where Parrott was a football star. Tonya majored in political science, while Parrott majored in criminal justice.

When the series opens in MURDER IN THE ONE PERCENT, Tonya is on a tour of duty in Afghanistan with the Navy. Parrott visits with her on Skype, and, while she can’t tell him much about her work, and he can’t tell her much about his, they both provide significant encouragement and support for each other.

By the time of the second book, A PALETTE FOR LOVE AND MURDER, the Parrotts are married and living in Parrott’s small house with their pet cockatiel, Horace. They have a loving marriage, but from the start, their lives are complicated by Tonya’s PTSD. Without spoiling the plot of this and subsequent books, I’ll say that Tonya’s story becomes inextricably entwined with Parrott’s investigation, and from then on, the Parrotts’ personal lives and the detective’s professional life cross paths.

The pattern continues in CRYSTAL BLUE MURDER and MURDER OUTSIDE THE BOX. At times the elements of humor and romance tip the plots into scenes unusual for a police procedural. Readers and reviewers apparently enjoy the dynamics between the two characters, and I’ve been present at many book clubs where people remark about it. One reader stopped me at the theater to plead with me never to let Parrott and Tonya divorce.

I doubt that will ever happen, although the Parrotts have to go through rough times, just like the rest of us. Right now, Parrott and his lovely wife are getting ready for the holiday celebration in their home, and they’ve asked me to wish each and every one of you the best of the season, and a happy new year. Let me echo those chirpy good wishes. May you have good health, friendship, love, peace, and happy reading!

 

MURDER OUTSIDE THE BOX will be available January 5. For other books, check out Saralyn Richard’s website here or Amazon page here.

Love-Hate Relationship with English Grammar by Saralyn Richard

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Love-Hate Relationship with English Grammar

by Saralyn Richard

Photo by Brett Jordan on Unsplash

 

 

I taught high school English for many years in the days when students had to write ten mandatory papers per quarter, or forty papers per year. According to my estimates, I’ve graded over seven thousand papers, not counting major assignments, where I graded several drafts of the same paper. I graded papers day and night in every location you can imagine. With all that practice, I became a walking encyclopedia of grammar, able to recite every rule, chapter and verse.

Here are a few of the most common mistakes my students made:

  • Run-on sentences or comma splice
  • Pronoun disagreement
  • Mistakes in apostrophe usage, especially possessives
  • Lack of subject-verb agreement
  • Misplaced modifiers
  • Sentence fragments
  • Verb tense inconsistency
  • No clear antecedent for a pronoun

 

When my son was in ninth grade, his English teacher offered five points extra credit whenever a student could find a mistake in the “real world,” take a photo of it, get the person in charge to change it, and photograph the correction. You wouldn’t believe how many errors came to light. My son even had the local park district take down and redo a huge sign at the entrance to a nearby subdivision, costing taxpayers approximately nine hundred dollars.

Today we have online (AI-based) grammar tutors, and we are still plagued with grammar infractions everywhere we go, including in edited and published media. As a reader, I find mistakes distracting, but I no longer carry the weight of responsibility for marking each one in red ink and making sure the writer knows better for next time.

As a writer and editor, I’m not let off the hook so easily. While I recognize there is no such thing as a perfect piece of writing, I can’t let go of wanting anything with my name on it to be as clean as possible. For me, an error-free, clearly stated, well-ordered paragraph practically sings from the page.

How about you? Do you have a love-hate relationship with English grammar, too?

 

Saralyn Richard is an educator and the writer of six mystery novels and a children’s book. Connect with her at http://saralynrichard.com and subscribe to her monthly newsletter for interesting and fun content and opportunities.