Tag: A Murder in Mount Moriah

I forgot to water the blog.

I’ve been neglecting the blog lately, but I have a good excuse! I’m working on two exciting Minty Fresh endeavors:

Firstly, I’m busily drafting A Burnt Island Burial Ground, the third book in the Lindsay Harding series. Although I’m still a few months from publication, here’s a little sneak peak of the Back Cover blurb:

“We hid the body. The money belonged to everyone, but we stole it for ourselves. You have to help me give it back before it’s too late. If I don’t stop this, that money’s gonna drag us all straight down to hell.”

With these words, whispered to hospital chaplain Lindsay Harding as part of a cryptic confession, the stage is set for another intricately-plotted Mount Moriah mystery. All signs seem to point to a murder, but no one can find any trace of a body. Lindsay’s sure that not all is as it seems, but she’ll need hard grit and quick wit to follow a trail that leads from the deathbed of a wealthy textile magnate back through history to Burnt Island, a remote patch of swampland in eastern North Carolina.

Lindsay’s task is made all the more complicated by the quickly shifting landscape of her personal life. After pre-wedding jitters jeopardize a relationship that seemed to be her best shot at happily-ever-after, Lindsay falls under the spell of a charming stranger. Whether she gets another chance at love will depend on following her heart…and on whether she can keep that heart beating for long enough to unlock the mystery of Burnt Island.

The second major development here at Minty Fresh HQ is that I got word last week that A Murder in Mount Moriah is being turned into an audiobook by ACX! I just listened to the first few voice-over artist auditions, and they are SO GOOD. I’ll be posting more on my progress with that as the project takes shape.

Oh! If you don’t yet own A Death in Duck on Kindle, now’s your chance to snarfle up a copy for dead cheap. It’s only 99¢ until January 21st.

Free copies of A Death in Duck

Those of you who obsessively check my Amazon and Goodreads pages (or is that just me…?) will have Final-Book-Cover-Vector-v4seen that the cover artwork for the Lindsay Harding series has recently undergone a facelift. In celebration, I’m giving away three signed copies of A Death in Duck with the older artwork (the original Doberman cover) to the first three people who post reviews of either book on Amazon. Or better yet, review both books and then post your reviews on Goodreads as well! 🙂

Book2-v3 (2)Once you’ve left your honest review on Amazon, post the link in the comments section below. I’m interested in your opinion–both critique and praise–so please opine freely!

Reviews page for A Murder in Mount Moriah
Reviews page for A Death in Duck

If you’ve posted a review previously, THANK YOU. Just post the link to claim your free book! I’m also running this contest via my mailing list, so I’ll post updates in the comments section below as the free books are claimed.

 

Amazon, 650. Traditional Publishing, 0.

Since the beginning of January, I’ve made about $650 in royalties from my novel, A Murder in Mount Moriah. That’s a little over $100/month, on average, for the arithmetically challenged. While that’s not exactly “quit your day job” money, I’m proud of it. It represented hundreds of sales (at $2.99 or .99 cents each for the Kindle title, which represents the vast majority of purchases). This doesn’t, of course, include the many thousands (10,000+) of free downloads via Amazon marketing schemes. I’m hopeful that once I have two or three more titles in the Reverend Lindsay Harding series, my writing income stream will grow considerably and provide a little contribution toward my daughter’s college fund/bail money.

In addition to deriving satisfaction from gaining an audience from my book, I feel that this income bolsters my belief that I made the right choice by aligning myself with Little Spot for Stories. Little Spot is essentially a platform for self-publishing. The editor, Nicole Loughan, is herself a successful indie author whose “Saints” series became an Amazon bestseller. Nicole vets the books she publishes under her imprint and provides marketing advice. What she does not do is play the dysfunctional game that most literary agents and book publishers do.

Why do I call it a dysfunctional game? The best-selling indie writer Hillary Rettig explained this beautifully in her recent article about the current Amazon vs. Hachette standoff. She explains how, for her, me, and many others, there is no contest between Amazon and traditional publishing. Amazon has giving writers all the tools they need to reach audiences, and they compensate writers at a reasonable rate for their efforts. Writers have control of the quality of their work, and control over marketing decisions. Meanwhile, traditional publishing is, for a writer, frequently fraught with peril and disappointment.

Here’s my experience with the world of traditional publishing, as an illustration. I finished writing A Murder in Mount Moriah about three years ago. Hopeful little author that I was, I duly submitted query letters, using the wonderful website Query Tracker, to the major agents representing my genre (cozy mystery).  I was overjoyed when my very first letter, to a BIG TIME AGENT, yielded an immediate request for a full manuscript and a period of exclusivity. After months of nervous waiting, the BIG TIME AGENT came back with a “thanks, but no thanks.” My next round of letters (and I sent multiple this time, because that whole exclusivity thing is a load of bullocks), scored me my very own BIG TIME AGENT, someone with several titles on bestseller lists and an impressive client list. Now, this agent knows her stuff and has all the right (write?) connections. She was excited about my manuscript, and I was over the moon.

Then began another round of waiting. She sent the book to the Big 5 publishers (e.g. Penguin, Kensington, Minotaur, etc.). The responses, when they eventually came after many, many months, were positive, but no one wanted to take on the series. Here’s a snippet from one:

“I thought the writing was very strong and I greatly enjoyed Lindsay’s character-she has a wonderful voice for a protagonist-funny, down to earth, and instantly endearing. I had a few second reads and the overall feeling was that the hospital setting was just too difficult to make work for our line.”

I also had editors say it wasn’t “cute” enough, wasn’t “crafty” enough (lots of cozies involve baking, knitting, etc.), or that their marketing team couldn’t figure out how to “visually convey” hospital chaplaincy.

Ultimately, my agent strongly encouraged me to give up on the hospital chaplain book and write something grittier and more hard-boiled. I don’t blame her for giving up. Publishing is a business, and the sooner a writer understands that, the better. The problem is, though, that I don’t want to write about some latter-day Josef Mengele psycho killer who spends his days stroking a cruel-eyed Persian cat while plotting out the details of his next gruesome rape or murder. (He is, obviously, laughing maniacally all the while). I don’t want to describe how this killer then wove a macramé owl out of the intestines of his unfortunate victim and fed the victim’s toes, one by one, to the cat (who is also laughing maniacally all the while).

Self-publishing has given me the freedom to tell the stories that I want to tell, and to try to find an audience that wants to hear them.

All of this is not to say that I wouldn’t consider traditional publishing. I’d still love to do that. But self publishing on Amazon has given me a basis for negotiation. I don’t have to take any old offer that I get. If traditional publishing can score me better than $100/month, I’m all ears.

 

The 3 step cure for writer’s block

http://20px.com/blog/2013/02/09/the-curious-case-of-rainbow-pooping-unicorns/#.U1qtMvldXE0I know that it may seem insensitive to say that writer’s block isn’t real. If you’re on my blog right now because you’ve been up all night desperately trying to Google your way out of a crippling fit of writerly inertia, you’d probably like to reach through the World Wide Web and poke me in the eye with a freshly-sharpened pencil. But when I say it isn’t “real” what I mean is that it isn’t hardwired into anybody’s biology and it isn’t the inevitable lot of creative minds. To me, the thing called writer’s block can only happen when we think of writing as some sort of conjuring trick that certain Illuminati-like geniuses can spew forth from their star-dusted fingertips. I don’t think of writing that way. Instead, I think of it more like digging a really long ditch. And so, I want to share a 3-step no-nonsense, ditch-digging guide to demystifying the writing process.

Step 1: Realize that writing isn’t hard

I know that we all have heard stories about tortured authors who spend each miserable day trying to wring little word droplets out of their husk-dry brains. One day, if they’re lucky, they experience a downpour of inspiration and the reservoir of their creativity fills. They write like demons until the well once again runs dry. Then it’s a return to waiting — days of lamenting, opium taking, and a slow descent into madness. Or whatever.

But writing just shouldn’t be that hard. For Pete’s sake, my 7-year-old can do it. You know why? Because she doesn’t stress about whether what she writes is good enough to win the Booker Prize. She just sits down and writes because she enjoys it. I’ve never understood people who are tortured by the writing process. I know we all have dreams of becoming successful, but for the vast, overwhelming lot of us, writing will always be a hobby. Or at best, a sideline that brings in a bit of spending money. Unless you’re J.K. Rowling or Stephen King, you’re probably not going to get rich off of what you write. So enjoy the process. Or find another hobby that you do enjoy, like bass fishing.

Step 2: L’ego your Ego

The fact that writing isn’t hard doesn’t mean that it isn’t work. It’s easy to sit down and barf forth a jumble of ill-conceived ideas and poorly-delineated characters. If you’re going to have any shot at winning that Booker Prize, or even bringing in enough money to fund the occasional Joss and Main shopping spree, you need to be willing to admit that sometimes you just waste a lot of time writing something that has the literary merit of a 13-year-old girl’s love notes to Harry Styles. Give yourself permission to write badly. Become friends with the delete button. To return to my ditch metaphor, if you were digging a ditch and realized that the path you’d initially laid out would take you straight off the edge of a rather steep cliff, would you keep digging along that same course? No, ma’am. Or if part of your ditch caved in, would you give up the whole project and go home? Your answer should be a resounding nope!

Letting go of your ego also requires that you get honest input on your work from people who did not give birth to you and who do not owe you money or a kidney. Find a reliable writing group (electronically or otherwise) and solicit honest opinions. Be willing to have skilled ditch constructors say that your ditch sucks.

Step 3: Write the damn book

Many of us work or have young children. Our days are sliced into units of time as wafer-thin as supermarket deli meat. But writing something, especially something as long and intricate as a novel, takes time. Each little chunk of time you devote to your writing project is another shovelful of dirt, another rock removed, another…thingy that you do when you’re digging a very long ditch. (Okay, I’m realizing that I know very little about the process of digging ditches).

If this doesn’t work for you, then buy my book A Murder in Mount Moriah. Included with each copy is a complimentary visit from the Magical Writing Unicorn. The MW Unicorn will visit you while you’re sleeping and bestow extra special writing powers on you. This is the secret that all great writers know — forget MFA programs and endless revisions — it’s all about the damn unicorn. I can guarantee that if you look on Sue Monk Kidd’s bedroom floor, you’ll find it marked with glittery unicorn hoof-prints.

Paging Chaplain Barbie

I came across this great blog post today, written by a young, attractive female hospital chaplain: Paging Chaplain Barbie. “Chaplain Barbie” relates this experience:

Patient: “You don’t look like a chaplain.”
Me: “What does a chaplain look like?” 
Patient: “An old man with wrinkles and white hair.” 

There is a scene almost exactly like this in A Murder in Mount Moriah! I know this happens to women in a lot of professions (engineering, math, and science are obvious examples), but there is something about a young female religious professional that can be particularly difficult for folks to get their heads around.  Hooray for the real Reverend Lindsay Hardings out there!

Why write murder mysteries? And why have a chaplain solve them?!

One of my writing heroes, the fabulous novelist Ann Patchett, was interviewed on NPR’s Fresh Air recently. She said that all of her books are fundamentally about groups of strangers who are thrown together in unusual circumstances. Patchett reckons that all writers have a similar “thing”–the theme that underpins almost all of their writing. Jack London? Man against nature. Hemingway? Strength and the loss of strength.

My writing buddy, Charlotte Morgan, heard the Patchett interview, too, and asked me what my theme was. It may not be entirely obvious to those who’ve only read A Murder in Mount Moriah. In fact, it wasn’t something I’d ever thought about. Yet, I was able to answer Charlotte’s question immediately. My theme is death. Or perhaps more accurately, my own fear of death and my exploration of other people’s attitudes towards death. That may seem an odd answer given that most of what I write is (or tries to be!) funny. But I’ve never seen any incompatibility between humor and death. Indeed, one of my first literary ventures was writing an original comedy piece for my forensics team when I was a freshman in high school. The story I wrote began with the death of an old woman who was “rammed by a ewe”. All these years later, I’m still pretty proud of that pun.

So death is my theme. But why have a main character who is a hospital chaplain? I suppose that my protagonist, Lindsay Harding, is my shield. Her wisdom and humor protect me from the aspects of death that I would otherwise find too scary to confront. Because hospital chaplains see death so often and in so many forms, they are often able to find moments of levity, beauty, poignancy, and transcendence within the processes of dying and grieving. I think a lot of us feel, or want to feel, this way about death–that it would be better to treat it as another part of life rather than as “that which cannot be named”. To that end, I commend to you the heartbreaking and hilarious series of tweets recently put out by comedy writer Laurie Kilmartin, whose father passed away a few days ago. Check it out. If you don’t laugh AND cry, I will eat my hat.

p.s. This post is dedicated to my friend, Ida Jarron, who passed away late last week. I went to visit her recently in the nursing home she moved to after her condition took a turn for the worse. As ever, she offered me a gin and tonic, which (as ever) she poured with a very heavy hand and almost no mixer. I suspect that I am one of the few people who can say that they’ve walked out of a nursing home at 4 o’clock in the afternoon steaming drunk. RIP, Miss Ida.