What We're Writing--Debs Does Interior Design

DEBORAH CROMBIE: Rhys's post this week on researching the details of her book-in-progress got me thinking about what I need to see in real life versus what I make up out of whole cloth, or a combination thereof. Since I write about actual places, I usually stick pretty close to the real thing when I'm describing exterior settings, and I do my best to see the settings in person. I'm a big proponent of boots-on-the-ground.

But interiors are a different story! There is so much freedom there! I love writing about rooms, and I've often said that my fantasy job is to be a set designer for films or TV--what fun to bring characters and time periods to life through their spaces and belongings. Think about the new version of All Creatures Great and Small, for instance--I would watch that just to see the rooms in Skeldale House. They are so perfect, and they tell us so much about the people living there. 

We had parts of a movie shot in our house once and that was such an interesting experience. The film was low budget so I'm not sure they had an actual set designer, but whoever was in charge of sets brought in odds and ends of things, which they mixed with our stuff. In one scene in our living room, the actors drink tea from our Blue Calico porcelain, which I thought rather an odd choice for these particular characters, and it was bizarre to see our living room not looking quite like our living room! Our guest room became a teenage boy's room--amazing the transformation wrought by a few bits of sports memorabilia.

Some of my interiors are based on places I have been in person. The B&B in Now May You Weep, for example, with its over abundance of purple tartans, was based on a place I stayed (alas, now closed) in the village of Boat of Garten in the Scottish Highlands.

I'm addicted to British home magazines and I get ideas for rooms and houses from the feature spreads and even the ads. I wish I could show you the room that served as the inspiration for the gorgeous blue and pink sitting room in A Bitter Feast's Beck House, but I'm afraid I might get us in trouble for copyright violation.  (Also, I can't find the magazine!)

Sometimes, there's a fun inspiration within an inspiration. This is the corner of our sunporch. The poster features artist Stephanie Woolley, whose lovely work I attributed (with her permission) to artist Julia Swann in Leave the Grave Green. But it's also a nod to the sucession of gray tabbies in our lives--we seem to be magnets for them. (And please excuse my sad plant--that one is not doing the poster justice!)

And sometimes I just have a room in my mind, a place I've never been or seen in a photo, but that seems so real I can't believe it doesn't exist. Here's a very rough snippet from a scene in the book-in-progress (Kincaid/James #20) where we find Melody Talbot waking from a sleep in Hazel Cavendish's sitting room.

Hours later, it was sound that began to filter into her awareness first. There was the soft murmur of a radio, BB4, she thought, which made her think of her dad. Was she in the Kensington townhouse? No, the gentle clink of crockery brought it back. She was in Hazel’s bungalow, and there was the scent of something delicious baking—was it bread? And beneath that, something savory, perhaps a soup or casserole, that smelled of garlic and unfamiliar spices.

Tendrils of some pleasant dream still flickered at the edge of her consciousness, and her body felt heavy and languorous in a way she had almost forgotten. With an effort, she forced her eyes to open a fraction. The light in the room had changed, golden now rather than green-tinted as it had been in the morning, when it had been filtered by the potted lemon trees in the courtyard.

God, how long had she slept? What time was it? Was that the evening news on the radio? As her heart began its familiar racing, she struggled to sit up. Hazel had covered her with a red tartan throw blanket and the black cat had moved to the far end of the rose-patterned sofa, where he slept half on her feet. Tentatively, Melody extricated her right foot and flexed it—numb. No wonder it had felt so odd.

Edging free of cat and blanket, she swung her legs down and felt the rough texture of sisal matting beneath her bare feet. When had she taken off her shoes? Blinking her sticky eyes, she took in more of her surroundings. She saw now that Hazel had placed large potted plants either side of the tiny blue-tiled fireplace, a touch that made the bungalow feel as if the garden had been transported inside.

As if alerted by some sixth sense, Hazel came into the room. “Ah, you’re awake. I’ve just put the kettle on.”

Hazel's rose-patterned sofa I saw ages ago in an Ikea catalogue (most of Hazel's furniture came from Ikea) but the rest is purely from the depths of my subconscious.

Fellow writers, where do you get the ideas for the interiors you describe?

Readers, do you pay attention to these details? Do you feel they give you a sense of the characters?

The Cover Fairies

LUCY BURDETTE: In general, I have been very lucky with the book covers developed by my publishers. My agent refers to these as the good book fairies. Though I don’t have final cover approval, my contracts usually include some initial input. (I’ve talked about how the artwork has changed from the ideas I’ve sent here and here.) they’ve not always turned out exactly as I imagined, but I do expect that the publisher people know more about sales and marketing than I do so unless I really hate it, I go with it. This fall I got word that A SCONE OF CONTENTION, and DEATH ON THE MENU had been selected for Harlequin’s book club. I would get a small royalty and they would put out a new addition with a new cover. That all sounded good! last month the publisher sent the cover for SCONE:





Of course I knew what this was: a Heilan coo, a Scottish breed of rustic cattle indigenous to the Scotland Highlands. However, these animals have a very small cameo in Scone—think background wallpaper. This was cute, but I wasn’t sure this artwork would draw new cozy mystery readers. Ps, what has the animal gored? I think it’s supposed to be scones or baked goods, but I hope it wasn’t… The victim.) in this case I did not have any cover consultation rights so all I could do is think that it would make for a great blog!

RHYS BOWEN: These days I have complete cover input and approval. For my big stand-alones, there is a lot of back and forth and haggling between me, who knows what my book is about and marketing (who are all twenty-something computer geeks who only go by algorithms) but in the end we come up with a good compromise. Sometimes it’s brilliant right away. The Tuscan Child we all loved instantly. The upcoming book, The Rose Arbor, has had many title changes and thus covers before we are all satisfied.

In contrast the Royal Spyness series has had the same illustrator since day 1. I know him. He lives in San Francisco. He asks me what I want and voila. There it is. Perfect.





My very first series, Constable Evans, when I had zero clout, was the artist’s impression of Wales and all the covers had sheep or goats on them. Perhaps this is a requirement for a cozy mystery in the UK. Cozy fans love cats, therefore also have a soft spot for sheep, goats and highland cattle!

HALLIE EPHRON: I got sent two possible cover illustrations for two DIFFERENT books that were nearly identical - a massive steam-punk-looking padlock on a field of blue/black. Perfect if I’d written Bluebeard. The first cover sent me for my updated writing books was a murky green forest. (I said to them, it’s a WRITING BOOK!)

“Please, start over.” And they did.

But I confess I do love Highland cows and if they’d sent me a book cover with one of them, even though my books have none, I’d have been tempted to rewrite the book to shoehorn one in.

Rhys’s book covers are a good study in how the different subgenres are telegraphed by the cover styles. Very effective.

HANK PHILLIPPI RYAN: Oh, gosh, Lucy, I am still laughing over that creature–which I will admit when I first saw it, I thought: WHY does Lucy have a buffalo on her cover? Okay, I get it now, but I am distressed by its nose. And the things on the horns. I would ONLY (but instantly) buy this if I knew it was YOUR book.








This is the UK cover of TRUST ME. It’s so UK! First, the publisher did not want me to be Hank Phillippi Ryan, and wanted a more instantly female name. Okay, so much to discuss about this, but here it is.

What I am fascinated by is the cut line. “She may be a bad mother, but is she a killer?”

I’m not sure that’s the way I would have gone with it, but I always try to remember that publishing execs in other countries are aiming for THEIR readers, not for me.

(I did get a wonderful email from the woman who posed for the cover–which is somewhere in my photos and absolutely unfindable.)

As for my current covers, it’s a wonderful collaboration, and truly fun and rewarding and fascinating, and my publisher’s art department is genius. AND I am allowed to say no. So that’s great.

JENN McKINLAY: I am fortunate that I have never had a bad cover, not one, not ever. Like Rhys, I am fortunate that the publisher asks me what I want and then the art department delivers something that’s so much better than my wildest expectations. Now I am going to burn a candle to the cover gods because I don’t want to jinx myself. LOL.

DEBORAH CROMBIE: Lucy, the more I look at your Highland Cow, the more adorable I think it is. (He? Do the girls have those horns, I wonder?) But I'm not sure that I would instantly get that this is a food-themed cozy mystery.

I've had such a checkered career with the Cover Fairies. I had NO say with the first few books. While the first two were charming, they looked like English historical cozies, not contemporary procedurals. But #3, LEAVE THE GRAVE GREEN, was absolutely awful. Where would you say this book was set?





Not in Henley-on-Thames, where a body is found in a lock. Or in the gorgeous green and mysterious Chiltern Hills, or in the world of the English National Opera, where part of the book takes place. Sigh. I feel fortunate that anyone bought it.

I do have cover approval these days, thank goodness, but it's very much a collaborative process. For a while my publisher used my photos, which was great fun, but then they went for a "bigger book" look. I know we always love our most recent books best, but I do think that my latest cover is my absolute favorite of all of my books.

JULIA SPENCER-FLEMING: I’ve been blessed by the cover gods in that none of my published books has had a clunker. After the first book, Minotaur settled on a “vaguely foreboding rural scene” theme which has worked well.

However, when ALL MORTAL FLESH was in the process, someone had the bright idea to rebrand the cover to emphasize the obviously popular romance angle, and I got a couple artists’ concept mock-ups that I refer to as “my vampire covers.” One has the face of a beautiful woman in her twenties, staring toward an off-screen sunset, with a gorgeous guy in his thirties, also in profile, right behind her. This, I understood, was to represent Clare, a 36 year old with a “plain face” “all points and angles”, and Russ, a rugged 50 year old with graying hair and glasses. Huh.

The second one was even worse, if you can imagine it: it took the male model away and had the woman’s face, still in profile, hovering over a very pointy church spire, giving the effect of a giantess about to suffer a horrible injury to her soft palate.

Lucy, I swear, I looked everywhere for these pictures; I think I must have deleted them in horror. The cover they eventually used was based on a sketch I did, after a fairly heated discussion, seated at the St. Martin’s booth at the old BEA (How I miss it! Yes, the Javits Center was awful, but still.)

Question of the day: Reds, tell us about your most unusual (or other adjectives) cover.

Readers tell us about a cover that particularly drew you in or repelled you from reading a possible book.

What's We're Writing--Debs on It's All in the Execution

DEBORAH CROMBIE: It's What We're Writing week here on JRW! On Monday Jenn McKinlay gave us a snippet from the Library Lovers book she's finishing, in which the victim is electrocuted, and I thought, "I haven't electrocuted anyone since the very first murder in my very first book!" That got me thinking about how weird that must sound to people who don't write (or read!) mysteries. What a bloodthirsty bunch we are, always trying to come up with inventive ways to get rid of our poor victims. 

I have used, as we go through my Duncan Kincaid/Gemma James series; electrocution, blunt intrument, poison, drowning, blunt instrument, poison, poison, drowning (the last three all in one book!), strangulation, drowning, hit by car, knifing, knifing, shotgun!, blunt instrument, blunt instrument, drowning, blunt instrument, hit by car (two victims again! And there's a stabbing in that one, too), blunt instrument, blunt instrument, drowning, strangulation, a bomb!, victim pushed in front of train (ick!), strangulation, gunshot, poison, and stabbing!

You can see that I'm not very inventive--I work on the theory that most murderers use the easist/most accessible means, especially if the crime is spur of the moment--and also that I have favorites in my murderous arsenal! Drowning and bludgeoning, obviously, are high on the list, but which one is it in the book in progress, Kincaid/James #20? (Working title is some iteration of The Long Cold Sleep, but we shall see...it may end up something altogether different.)

Just for fun, check out the poor drowning victim in the ridiculously awful original hardcover art for my third book, LEAVE THE GRAVE GREEN. 

The British poet Stevie Smith's poem "Not Waving but Drowning," comes to mind. Does that setting look anything like Henley-on-Thames to you? Or even remotely like a British mystery??

Here's a snippet from K/J #20 (which will hopefully have a much better cover,) in which Gemma, the detective inspector on the case, consults with our dashing favorite pathologist, Dr. Rashid Kaleem.

Raising an eyebrow, Rashid said, “Nothing like jumping back in the deep end, then. Let’s see what we’ve got.” Pulling up his hood, he crouched beside the body and began his examination. “The victim appears to be a Caucasian male, in good physical condition. Probably, judging by his clothing, a runner.” He manipulated the fingers of the corpse’s right hand, then the left. “Rigor is established, as you can see, but from the flexibility in his digits, I’d guess it’s still advancing. However,” he glanced up at Gemma, “immersion in water can play havoc with all our usual indicators, as you know. There’s some bloating and discoloration, but not much sign of marine predation yet.”

“Why is he curled like that?”

“Drowning position. Back to the surface, arms and legs dangling. Normally bodies sink in this position and may show abrasions on fingers and toes, and even the face, from scraping the bottom, but I’m not seeing that here.”

The features were distorted enough that Gemma couldn’t get a clear idea of the man’s looks, or even his age. He’d been clean-shaven and his hair, although still wet, looked dark. He wore running shoes, and above them loose-fitting jogging trousers and a gray t-shirt in some sort of moisture-wicking material.

 Rashid, who’d been examining the clothing, held up an unmarked set of keys. “Zipped in the key pocket. House keys, I imagine. There’s also a mobile phone pocket at the back of the trousers, but it’s just a slip-in type. If he had a phone, it’s come out.”

“Do you think he went in the water here?” Gemma asked. “If that’s the case, the divers may find it.”

“There’s virtually no current in the canal, so in all likelihood, I’d say the body didn’t move far.”

“And time of death?

Rashid flashed a smile at her. “You’re not pinning me down on that until I get him in the lab. But I’ll schedule the postmortem as soon as possible. Bodies that have been in water start to decompose very rapidly once they’re exposed to air.”

“So, this guy was running, fell in, and drowned?” Frowning, Gemma added. “He did drown, right?”

Rashid had moved from the victim’s torso to the head, and was now running his fingers gently over the skull. His hand went still. He looked up at Gemma, all levity gone. “He very well may have. But that would have been after someone bashed him over the head.”

This week's other exciting news, other than writing progress and a blunt instrument or two, is our new REDS & READERS private Facebook group! It's a great place to make friends, find new authors, and of course keep up with the REDS. We'll be doing live chats and LOTS of giveways! I'll be giving away a copy of Kincaid/James #19, A KILLING OF INNOCENTS, so click here to join the fun, and leave a comment there to be entered for the contest!

Readers, do you like your murders complicated, or straight up?