Hi everybody!
I’ve got a real busy Friday and Saturday planned—and will be putting the finishing touches on Memphis book 3 before sending it to my agent on Monday. I’ll be back Sunday with my Twitterific post for the week, though. Hope you’ll have a great weekend!
It’s pretty much just one of those things. The truth is that I never consciously decided to become a crime author. Back in the eighties, working for magazines, the editors needed someone to cover sensational cases. I was the new kid, the one who needed to please, so my hand went up at a lot at meetings. You need someone to cover that? I’m your gal. Of course, I’ll do it! No problem!
Before long, I gained a reputation for digging into cases, not being afraid to knock on doors and ask questions. So for twenty years, that’s what I did, writing articles for hometown then national magazines, much of the time on murder and mayhem. It’s perhaps only natural then that when my gaze turned to books I focused in on crime writing. We’ve all heard: Write what you know. What I knew are cops, killers, and lawyers.
At first, I wrote true crime books, six of them so far. It turned out it was quite an education. There’s nothing like sitting across a desk for a homicide detective as he explains how he tricked a bad guy into confessing, or across a counter from a killer describing in stark detail how he cornered his prey and pulled the trigger. When that happens, it leaves an impression, and over the decades, my mind filled up with memories of squad rooms, courtrooms, and crime scene photos.
So, about six years ago, when I decided to write fiction, the truth is I had a lot to draw on. My research, to some extent, was done before I sat down at the computer. Still, there were so many decisions to make. I needed a main character, a protagonist to build my mystery series around. Before long, because I wanted her to travel my home state, I decided on a Texas Ranger. I made her a profiler simply because I find psychology fascinating.
The result is Lieutenant Sarah Armstrong, my heroine and my constant companion for the past few years. I believe she lives somewhere in the back of my brain, waiting to take over if I give her the chance. She’s a pretty powerful personality, more so than I am, I’m afraid.
What I gave Sarah to play with are all those memories from my past, my encounters with real life good guys and bad guys, victims and prosecutors. When I sit down to write, they’re all at her disposal, and so far, she hasn’t run out of material.
My days are fairly regimented. I walk past the laundry and the dishes piled up in the sink, sit down at my computer, and stare at the most frightening of all sights, a blank page on a computer screen. Before long, the germ of an idea pops up, a barebones plotline or a character, and slowly I start to write. I carry with me all Sarah has done in the past: her adventures in the first book, Singularity, when she hunted a serial killer; the day she nearly died protecting a teenage pop star from a stalker in Blood Lines. Along with Sarah comes the family I gave her, a mother, Nora, who bakes when nervous, copious amounts, and a daughter, Maggie, who mourns her dead father and studies the stars.
Once I’m writing the ideas come at a steady pace. Characters pop up before I understand why they’re there at times. Somehow, as the book develops, they always seem to have a purpose. If I get stuck, I walk around the block. If I’m really stuck, I take a nap. Along the way, I’m looking for those twists and turns to propel Sarah through the pages of the book, ways to speed up the clock and build the tension. In the third Sarah Armstrong mystery, The Killing Storm, a hurricane puts on the pressure. A child has been kidnapped. He’s in the hands of a madman. And Sarah knows she has to find the boy before the storm hits, or all will be lost.
So that’s my tale, that of a girl who grew up wanting to write, one who became a crime writer mostly by accident and discovered she loves every minute of it.
Kathryn Casey is an award-winning journalist, the author of six highly acclaimed true crime books, and the creator of the Sarah Armstrong Mystery series, published by St. Martin’s Minotaur. The latest book in the series is The Killing Storm (November 2010). Her Web site is: www.kathryncasey.com
Thanks so much for coming by today, Kathryn! I read a great review for “The Killing Storm” and it’s on my TBR list. :) Thanks for sharing your writing process with us.
I do a lot of skimming as I’m looking for blogs to tweet on Twitter.
Sometimes I stop and read the post carefully—and that was the case with a blog post on Work Awesome that I came across the other day.
The article’s author, Oleg Mokhov, made a great point about starting the day out with good momentum. He recommends leaving the last task of the day unfinished so that you can quickly pick up where you left off the next day and polish the task off quickly—thus racking up a speedy ‘win’ to set your day in motion.
He recommends outlining each step needed to complete the task the day before—so there’s no ambiguity that could lead to procrastination. He calls that procrastination start paralysis.
I’ve always used this idea with my writing—I never leave off the day with a scene that I’m not looking forward to writing (a complex scene, a scene with lots of characters, etc.). I try to end my writing time by leaving off at a spot where I’m excited about picking up the next day. Then I sketch out a really quick mini-outline of what I’m planning on writing the following day. This means that I’m eager to pick up my book the next day and don’t put it off.
But it seems to me that it would also help my productivity to quickly complete off a non-writing-related task the next day. Some mornings I wake up already feeling deflated, thinking about all the work I have in store for the day. It would probably help my writing out if I completed a task I started the day before—I’d feel encouraged by my progress right at the beginning of the day.
I have a suspicion that one of the things that grabbed me about this article, when I was skimming it, is the Hemingway quotation at the bottom. :)
The best way is always to stop when you are going good and when you know what will happen next. If you do that every day…you will never be stuck.
Hemingway’s quotation was parsed by another blog, The Second Act, some time back. They listed the benefits to this method:
You :
Again, this seems to work just as well with non-writing tasks as much as meeting our daily writing goal.
I like the idea of starting out the day with a win. How do you build momentum at the start of your day? Or are you finding it later on?
Never has food and wine been so popular among American culture. Cable and network TV is filled with cooking, wine, and travel shows. Food and drink play very important roles in my books. I think of them as inanimate, yet intimate characters in supporting roles. They have the power to define, distinguish, and differentiate characters. They give characters character and offer cultural insights into who they are.
Example: Six misguided M.I.T. grad students form the group of antagonists, led by Nicholas Fischer Jr. and his girlfriend Staci Bevere. Nicky is a health food nut, Staci, a junk food junkie. Staci’s basic food groups consist of refined sugar, processed carbs, and coffee. Nicky won’t touch any of the three. Minor conflict is introduced just sitting down to eat together.
Food, beer, and wine make their appearance throughout Breakthrough. I can add coffee and tea to the mix too. There is usually something significant occurring in the plot when characters are eating together.
Visiting Real Restaurants and Ordering Off Menus: if you are using real establishments like I do in your books, take the time to perform your due diligence in research. Not only do I incorporate existing restaurants into my books, I also visit them to eat and drink the same meals my characters. It’s a tough job but somebody has to do it.
Example: The protagonists are made up of six southern Californians led by Chase Manhattan and his girlfriend Susan Anderson. They meet at a couple of local hangouts in Laguna Beach, Hennessey’s Tavern and the Marine Room Tavern. Hennesey’s is where Chase, Susan, and the rest put the pieces of the puzzle together, identify the players from M.I.T., and decide to follow through with a plan to destroy this breakthrough discovery rather than walking away.
There is an advantage to using actual establishments. My book takes place in two setting; metropolitan Boston and Orange County, CA. People who live or vacation in these places may recognize the establishments. There is a sense of familiarity that engages the reader.
Get a Feel for the Ambiance: There are numerous ways to capture the ambience of a restaurant. Eat there. Visit their Web site. I like to read actual customer reviews from the Internet. Set the ambience before the characters enter the establishment. I took this information from Ti Amo’s Web site:
“Modeled after an authentic Italian villa, the restaurant featured stone tablet menus, faux and fresco artisan-plastered walls, heavy fabrics, candelabras, and soothing lighting. Chase had made reservations for six thirty p.m.—just enough time to get a good seat by the fireplace upstairs before the restaurant filled to capacity.”
Have characters order food and wine right off the menu. Example: Chase paired Farfalle con Pollo Affumicato with sun-dried tomatoes in an oven-roasted tomato brandy cream sauce with a bottle of Tenuta dell’Ornellaia Bolgheri Ornellaia.
After fine dining at Ti Amo, Chase balances out the night with his girlfriend Susan Anderson at a not so great yet very popular Marine Room Tavern for more drinks and live music. Again, set the ambiance before they enter:
“Chase didn’t have to spend much time looking for parking in Main Beach since it was still February—off-season for tourists. He found a spot two blocks north from Marine Room Tavern. They walked arm-in-arm to keep warm as the temperature dropped to the mid-sixties. Chase led Susan up to a row of choppers, all Harleys.
“The crowd sounds loud and raucous,” Susan said as they approached the bar.
“No worries – fights are rare here. This crowd consists mainly of lawyers, doctors, accountants, and heads of companies. By day they’re successful in the business world. But after hours, they’re living a dream they’d longed for since they sat on their first motorcycle. Let’s go in.”
Pairing: You can pair restaurants with characters. If you introduce minor characters at restaurants, have them contribute in some way. Otherwise, you might end up with character clutter. Example: The waiter Antoine at Ti Amo provides Chase the one vital piece of information that helps him identify the players at M.I.T.
Caveat: DO NOT portray a real establishment (or real living person for that matter) in a negative light. We live in a very litigious society and you may be sued. Example: I originally wrote a scene were Nicky and Staci had a lousy meal served by a washed up waitress with a bad attitude at a Denny’s. I changed the name to a fictitious Jimmy’s Diner to avoid potential conflict.
I use meal time throughout Breakthrough (and Opening and Escalation) to let the characters come together, plot their schemes, attacks, and counter attacks. This is where they discover important things that help them make decisions and move forward. Whether they are eating in their kitchen, a sit down restaurant, or going through In-N-Out drive through, restaurants, food, and wine can help define characters, introduce conflict, and move the story along.
Please join me tomorrow as I visit Karen McGowan at Coming Down From The Mountain as we talk about Marketing and Promotion. As always, thanks for stopping by.
Stephen Tremp is author of the action thriller Breakthrough. You can visit Stephen at Breakthrough Blogs.
Thanks so much for coming by today, Stephen! You know how I love my food and drink in a book. I’m looking forward to reading my copy of Breakthrough.
I heard from a few folks regarding the fact that there wasn’t a post from me on Saturday. Which is nice because y’all know I always post, every day…unless I say I’m not going to. It’s really great to be missed!
But I was planning on posting on Saturday (I’d already loaded the blog post for yesterday, but Saturday’s I was planning to upload on Friday evening.) Our family went to the mountains, though, for the weekend. It was gorgeous up there at the cabin—but it wasn’t on WiFi. And we had to have actual directions from the owner of the house because the location wasn’t on GPS.
Yes, I started having heebie-jeebies because I’m apparently an internet addict. My smart phone had an intermittent connection, but not for very long.
I was a big girl and dealt with it. I ended up playing lots of ping pong and air hockey (poorly) with my husband and kids, sitting by a roaring fire, watching the night sky with a telescope, and hiking. We had a really fun, unplugged time.
It’s funny, though, how easy it is to forget that you’re not wired. We were heading to South Mountain State Park with our corgi and I said, “Hey, let me check real quick and make sure dogs are allowed.” Of course, I went right to my computer—which wasn’t online.
Back at home last night for trick or treating, my husband and I were watching the zombie movie Dawn of the Dead. There’s a moment where they’re at the mall and the cop in the movie communicates with another non-zombie on the roof…with white boards.
It bothered me. Wouldn’t you maybe exchange cell phone numbers on the white board and then call or text each other? I know the cell phones go dead after a while, but still. Where were all the cell phones?
It bothered me enough to look up when the movie came out—2004 was the release date. We were definitely all texting and cell phone addicted six years ago. I could see a movie set in the 90s not using cells…but the lack of mobiles in the film really bugged me.
I do use technology to a certain degree in my books, but I’ve been very reluctant to do it. I felt like social media was still possibly on the trendy side when Pretty is as Pretty Dies came out, but it’s going to be mentioned in Finger Lickin’ Dead—briefly. Facebook has a slightly more significant role in Memphis book 3 since I’ve decided that Facebook seems like a pretty solid format.
I’ve always been really conscious about dating my books. That’s because they’re at libraries and I don’t want someone to pick them up in a few years and roll their eyes over the reference to something that no longer exists (VCRs, etc.) that will date the book.
But now I’m starting to get concerned the other way, too. Won’t it date my books more if technology is ignored completely? Hasn’t it become such an integral part of our lives that it needs a mention—even in a vague way? So maybe I won’t refer to an iphone (the trendiness factor), but I’ll definitely refer to a cell phone (generic mention).
If I can go to the top of a mountain and assume, without even thinking about it, that I can get state park information on my laptop or smart phone…then technology has really integrated into everything I do.
I’m going to try to reach a balance where the technology in my books is also integrated—where it doesn’t stand out for being outdated and where it doesn’t stand out in its absence.
How do you approach technological references in your books?
And please join me tomorrow when Stephen Tremp will be joining me with a post on “Food, Wine, and Drink.” Hope you’ll pop by. :)