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Archive for July, 2012|Monthly archive page

A VIEW ON HISTORICAL CRIME by T.D. GRIGGS

In crime on July 31, 2012 at 6:57 am
When it comes to writing about historical crimes, I’m in good company. C.J. Sansom, Lyndsey Davis, Ellis Peters….actually, I was thinking more of Shakespeare. No, seriously. We get all elevated about it nowadays, but the groundlings at the Globe weren’t interested in literature. They paid their measly groat to see Macbeth’s dastardly deed unmasked. You couldn’t have a more classic crime thriller plot than that very play.  An essentially loyal man driven to murder his boss by an insanely ambitious wife. The only reason the groundlings didn’t lounge about in taverns devouring this story as well-thumbed paperbacks was that the printing press had only just been invented. There wouldn’t have been much of a market anyway: few of these churls could read. Hence the stage. But that’s another blog.
            With such precedents it’s no surprise that historical crime fiction today is an important genre in its own right. But why? Is a murder victim in 1893 any more or less dead than if they were topped last week? Isn’t a robbery in Foyle’s War just a robbery?
            One answer is that we like to think we’re learning something about history from these tales. Our modern (accurate) picture of Henry VIII as a gross, lecherous, diseased monster owes more to Mantel and Sansom than to our school history books.
            The flipside is that we do already know something about history. Hence that pleasant frisson of familiarity when we open an historical crime novel, the sense that we’re on secure ground, that we already know our way around this landscape. If we’ve got any sense – and readers of crime all do – we know from the get-go that this comfortable rug is about to be ripped out from beneath us. The WW2 French Resistance will turn out not to have been so very heroic (see my last book THE WARNING BELL, under my pseudonym Tom Macaulay). Victorian ladies will prove not to be modest, and officers definitely not gentlemen (see DISTANT THUNDER, my latest). The trap is already set, and waiting to be sprung.
            There are dangers in this. People don’t always like their cherished myths exploded. THE WARNING BELL outraged a number of people, though it is accurate to the nth degree, and incidentally it doesn’t spare the British either. The reaction to DISTANT THUNDER has been more complex. That’s because we all secretly love the glamour and action and confidence of the British imperial project at the end of the 19th century – but, obviously, none of us is allowed to say so, ‘empire’ being a dirty word. It’s been amusing to hear people tell me how much they loved the book, whilst carefully adding the regulation earnest caveats about the evils of colonialism. (They don’t need to: these caveats are in the book too).
            Walking this line isn’t easy for the writer. How much can we invent when we’re dealing with real events? Personally, I don’t. If I write about an historic incident I keep to the facts. If you don’t, some trainspotter will certainly find you out; but there’s more to it than that. We need to have respect for the past – not for mythologies and stereotypes, but for our best knowledge of how things actually happened.
            That’s a constraint which writers of contemporary crime fiction do not face. They don’t need to research Victorian underwear or the breech mechanism of Snider rifles or the wild tribes of the arid Goz . But there again, all this stuff has its own mystique.
            Go on, admit it. You’re dying to know what the Goz is.
Check out Tim Griggs’ website at www.tdgriggs.co.uk and follow him on Twitter @TDGRIGGS1

T.D. GRIGGS SPOTLIGHT

In crime on July 30, 2012 at 6:05 am
T.D. Griggs has lived and worked on four continents as a novelist, corporate writer and journalist.
His latest novel DISTANT THUNDER (Orion Books, 2012) is a Victorian epic, the story of two young people caught up in the machinery of the British empire at its height, but just trembling on the brink of collapse. THE WARNING BELL (Orion, 2009, under pseudonym Tom Macaulay) is a tense modern day father-son mystery, linking back to WW2. His earlier novel REDEMPTION BLUES, soon to be reissued, was a million seller in Germany and elsewhere in Europe.
Griggs holds British and Australian citizenships. For about three hours he was a member of the volunteer Bush Fire Brigade outside Sydney. He was once stung by a jellyfish and hardly complained at all.
A native Londoner, he studied English and archaeology at Leeds University and University College London. He then worked as a truck driver, labourer, and teacher before breaking into journalism. He spent several years working in Africa and Asia as a science writer and editor before migrating to Australia. There he met his wife Jenny, moved to Oxford, and lived happily ever after.
He has no children but does have a half share in a black Labrador called James.
‘About the only form of writing I haven’t tried is ransom notes,’ Griggs says. ‘Maybe that’s next.’
Check out his website at www.tdgriggs.co.uk and follow him on Twitter @TDGRIGGS1

JILL YESKO SPOTLIGHT

In crime on July 29, 2012 at 7:49 am

In person, Jill Yesko doesn’t look like she would hurt a fly. She’s short and thin, wears glasses, and dresses in jeans and clogs. When she’s not writing, she teaches yoga classes, eschews alcohol and meat, and rarely stays out past 9 pm. So you’ve got to wonder, from what deep, dark corner of her imagination did she dredge up Jane Ronson, the foul-mouthed, .357 magnum-packing, semi-alcoholic part-time geologist and ass-kicking private investigator who is the protagonist of her debut novel Murder in the Dog Park? Turns out that Jane was inspired by that other bad girl with great computer hacker skills, Lisbeth Salander, the terminally pissed-off protagonist of Stieg Larsson’s Scandinavian crime opus The Girl With the Dragon Tattoo. “After reading Larsson’s trilogy, I was totally captivated by Lisbeth’s character,” says Jill.  “I thought: ‘what would Lisbeth be like in ten years?’ She’d have to grow up a bit—you can’t sustain that level of rage past your 20s—and she’d probably have to have some kind of real job, maybe even a steady boyfriend. So I transported a Lisbeth-like character to Baltimore, my adopted hometown, and turned her loose. The result is Jane Ronson.” While Jane and Lisbeth do share some key attributes—both are kickboxers, drink like fish, disdain authority and have exceptional analytic skills—there are some marked differences. “Unlike Lisbeth, Jane has just enough self-awareness to understand that she’s intentionally choosing to be difficult,” says Jill. “At the same time, she’s incredibly torn because a part of her wants to care; she just has no idea how to deal with her emotions. For Jane, feelings are as alien as moon rocks.” Jill understands that readers often think that writers embody their characters. “People ask me all the time, do you really go around beating people up?” continues Jill. “I guess it’s a form of compliment that people confuse you with your protagonist. But if people are going to confuse me with Jane, I’d rather they compliment me on my computer and math skills, something I absolutely do not share with Jane.” Readers of Murder in the Dog Park sometimes say that Jill “doesn’t write like a girl”—a comment that puzzles her. “I guess that means that I’m not afraid for my characters to act in nonstereotypical ways for their genders,” says Jill. “There are many female authors who don’t “write like a girl.’ Look at Suzanne Collins, who created the very nongirlie Katniss Everdeen of The Hunger Games. In my mind, Katniss is the flip side of co-dependent Bella Swan of the Twilight series. I’d like to think that I write honestly about men and women. For instance, how many authors would include a detail like Jane getting her period while trying to seduce her love interest Don? That’s the kind of realism I strive for.” After solving the dog park murder, what’s next for Jane Ronson? “Jane is going to go through some life changes,” says Jill. “She’s turned 30, and her adolescence is ending. In the next book you’ll see Jane struggle with her deepening relationship with Don. Remember, love is an alien concept to Jane. Her mother will reveal a dark family secret that sets in motion the structure of the next book. I’d tell you more, but I’’m still figuring it out!” Author “Murder in the Dog Park. Bad Girl. Good Cop. Bad Dog” http://murderinthedogpark.blogspot.com Visit Jill on her blog http://murderinthedogpark.blogspot.com

Author “Murder in the Dog Park. Bad Girl. Good Cop. Bad Dog”
http://murderinthedogpark.blogspot.com

Visit Jill on her blog http://murderinthedogpark.blogspot.com

WHAT IS A CRIME NOVEL? – AN AUTHOR’S PERSPECTIVE by DAVID GRACE

In crime on July 24, 2012 at 6:54 am

I used to say that I wrote “mystery” novels but I had to stop doing that because it implied that my books were about a detective who figures out who killed a particular victim and my books have a wider scope than that. Don’t get me wrong. I like mystery novels but they constitute only a portion of the crime novel spectrum.

For example, my previous book, Shooting Crows At Dawn, centered around three escaped killers who were running for the Mexican border and the small-town Texas sheriff who was determined to catch them before he lost his badge in the upcoming election. The book contained episodes of home invasion, murder, chases, gunfights, etc. but it wasn’t a mystery in the sense that a crime had been committed and it was the hero’s job to find out who did it. Everyone knew who the bad guys were and the focus of the story was on Sheriff Jubal Dark and how or if he would catch them.

I like to have a wider scope of stories to tell than just a whodunit. If you think about it structurally, a standard mystery has a pretty basic set of components: a victim, a detective and a killer. Yes, the victim in one story might be a concert violinist and in another a retired general and in another a famous scientist long-thought dead but now returned from the dead to be, well, dead again. And you can make a list of various types of detectives: cops, private detectives, lawyers, insurance investigators, military police, etc. But, in the end, it’s basically the same sort of story. Victim found. Hero engaged. Clues, plot twists, blind alleys, brilliant discovery, confrontation. Again, there is nothing wrong with that kind of a story but if I’m going to write a book every year, I don’t want to be writing the same book every year. Also, I like to have a strong emotional component in the story.  A purely intellectual exercise might be fun for me to read but it is not all that much fun for me to write. I want to write emotional scenes. I told some female friends of mine that if they did not cry at least once while reading The Concrete Kiss then I would have failed. So far, I have not failed.

If you take a wider view of crime novels than that they are just a whodunit sort of a mystery you get to change-up not only the characters but the basic structure of the story. And there are several kinds of stories you can pick. Sometimes you feel like writing a “chase” story. That’s one where the hero is chasing the villain or the villain is chasing the hero, or both the hero and villain are searching for the same lost or hidden “thing.” They can be exciting if done right.

But you can go wider than those plot structures. One of my books, True Faith, revolved around a group of terrorists who had taken over a courtroom of immigrants being sworn in as new citizens and followed the efforts of a lone police officer, whose diabetic mother was one of the hostages, to rescue her before she died from lack of insulin. Certainly that’s a crime story but it is not a mystery story.

In another book, Stolen Angel, a man finds a kidnapped child whose abuser is the brother of the small-town chief of police. Her real family lives only a three-hour drive away and he decides that the safest thing is to take her home before the chief’s brother can grab her and make her disappear permanently. Of course, things go terribly wrong. Again, this is certainly a crime story but is not a mystery.

How about this story: The Secretary of State discovers that the President is a traitor and he commences a plot to have the President assassinated before he can betray the country again. And he succeeds. Five years after the President’s apparent accidental death the hero stumbles onto a murder that leads him on the trail of evidence of the plot and the true nature of the President’s death. That is not really a mystery, is it? But it is a crime novel – The Traitor’s Mistress.

The point of this is to say that you might want to consider a wider choice of plots than merely dead body, dogged detective, wily killer, got him! Widen your horizons to any kind a story that involves a crime. The focus could be on a crime that has happened, that will happen, or the people who committed, or will commit, the crime.

Second, it needs to be a story that interests you, the writer. If you aren’t excited about telling this story then it is unlikely that you will craft a book that will excite the people who read it. You need to enjoy or at least feel satisfaction in telling the story. If you view writing your book as a chore, something equivalent to work, then forget it. Get a real job. It will pay better.

Third, don’t expect everyone to react to your story the same way you do. People are very specific about the kinds of stories they like to read. The things that excite you about a particular story may leave someone else cold. If you loved The DaVinci Code and you’ve written a book with that kind of a story structure, someone who loves cozy mysteries may not like your new book no matter how good a job you’ve done. So, when you are choosing the type of story you’re going to tell, and if there are several ones that you could write, all other things being equal, you may want to give some thought to which of those structures has the biggest potential audience.

Fourth, if you want commercial success as a crime novelist, figure out the best set of characters you can with the widest range of possible plots and write book after book after book with those same characters. The strongest, most reliable path to success as a crime novelist is to write a series of books with the same characters and similar plots. Too late for me, but maybe it’s not too late for you.

Having just released my latest crime novel, The Concrete Kiss, I am already thinking about the next one. This time it may actually be a mystery.

DAVID GRACE SPOTLIGHT

In crime on July 23, 2012 at 6:49 am

I have 13 ebook novels ($4.95) on Amazon, Apple bookstore, Barnes & Noble, etc. Today, eleven of the thirteen are also available as trade paperbacks ($7.99-$8.99) from Amazon and Wildside Press. Wildside will be releasing my latest book, The Concrete Kiss, as a trade paperback ($8.99) within the next six to eight weeks.

My favorite book is The Concrete Kiss and my second favorite book is Shooting Crows At Dawn.

Collections of my crime short stories and science fiction short stories are available for $.99 each on Amazon, Apple, Smashwords, etc.

I like the work of Martin Cruz Smith, Michael Connelly, Lee Child, Robert Crais, Lawrence Kellerman and John Connolly. Two of my favorite novels are The Godfather and The Silence Of The Lambs.

For a free ebook copy of my latest book, The Concrete Kiss

Go to:  http://www.smashwords.com/books/view/175650

Click “Add to Cart”

Enter the coupon Code HD53B  (Coupon expires on 07-31-12)

Click “Checkout”

Scroll down to the “Download” choices and then download the ebook in the file format appropriate to your reader.

My Author Page at Amazon is: http://www.Amazon.com/author/davidgrace
My web site is: http://www.DavidGraceAuthor.Com

JOYCE NANCE – ESCAPING THE ARROYO – BOOK SIGNING

In crime on July 20, 2012 at 9:38 pm

Saturday July, 28 2012 from 12-4pm     

 

GRUET WINERY

8400 Pan American Frwy NE
Albuquerque, New Mexico 87113
Tel: 505-821-0055 | 888-857-9463
505-857-0066 (fax)

 

Joyce is also one of my guest post for the week of August 4. Don’t miss it!

Escaping the Arroyo - true crime – Albuquerque, New Mexico, April 5, 1981.