What We're Writing Week: Julia's Tied Up In Knots

 JULIA SPENCER-FLEMING: I had really hoped I'd be posting a video of the Hallelujah Chorus and  telling you all AT MIDNIGHT COMES THE CRY is done, but I've hit two, shall we say, bumps in the road.

The first is: the whole action-packed, (hopefully) thrilling finale, gathering together the entire group of good guys versus the baddies, take place in a very real location in upstate NY.  A place I last visited about a decade ago - and I wasn't thinking of setting the most important part of a novel there. 

Now, I've written about places I haven't been to before, or about places I haven't been for a while. Or I've made up locations based on the same.  But there's a difference when you're using a location for a setting, aka background, and when you're using it to choreograph an action scene. (More than one scene! Practically the whole last act!)

To illustrate the difference, imagine you're setting a book in Boston. Your characters are walking and talking on Boston streets, riding the T, and eating at restaurants. Honestly, if you can recall some of the sounds and smells, or the way the wind blows in the winter, you can get by writing all of those character interactions with a street map and a bunch of Google images saved in a file.

Now imagine a sniper is shooting at your characters, who have to snag a car and careen through the streets to the waterfront. Where can the sniper set up? How far away? What's the angle? Can cars park there, or will your heroes have to run? How fast does the traffic move? One way? (trick question: it's all one way in Boston.) When they get out of a car, what things can they hide behind? Where would the bad guys have set up, anticipating our heroes next move?

Maybe other authors do it differently, but for me, producing a fast-paced, can't-catch-your-breath, slam-bang action sequence depends on meticulous planning and a deep understanding of all the physical elements involved. (This is why I think I would be VERY good at committing elaborate heists, btw.)

Even when I've made up the whole location, I still need a clear mental picture of geography, distances, structures. And it's SO MUCH WORSE when it's a real place. A real place tens of thousands of people see every year. I can already see the torrent of emails and Goodreads reviews taking me to task for my sloppy research.

 

So I'm ushering in the finale by constantly referencing maps, charts, photos, etc. etc. All while trying to write in such a way that the eventual reader has a seamless, emotional, and exciting time once the book is out in the world. Needless to say, it's slowing me to a crawl.

Oh, and the second thing. Stress/bad ergonomics/overwork has given me a burning muscle spasm running from beneath my scapula right up the side of my neck and down to my left bicep. It's been bothering me for a week now, and yesterday I finally took action by downloading Microsoft's free voice-to-text app. I trained on it, and trained it, and my first day's word count using it is... not good.  I can tell this is going to be a steep learning curve for both of us. It doesn't help that it thinks my main characters' names are Ross and layer.

I'd like to get to the point where I can comfortably compose by voice, at which point I'd be willing to invest in Dragon, which everyone seems to agree is the bomb-diggity. I know I can change the way I interact with words and the page: I did it when I trained myself to do an initial draft on the computer keyboard, instead of longhand on paper. Of course, that was back in '86. I guess this is a chance to see just how much my brain has fossilized since then.

 I guess I have two questions for you, dear readers: How do you like your action scenes to flow? Is authenticity important to you?

And I'm welcoming suggestions to get my back muscles to calm down...

What We're Writing: The Perfect Setting by Ingrid Thoft

"What are you writing these days?"

It's the question that can elicit either dread or elation, depending upon where you are in the process.  These days, I'm somewhere in the middle of that continuum, although the constant is that I never feel I'm writing enough.  I remind myself that is a common affliction among writers!

I always consult the best reference books!

To answer the question, I’m writing a stand alone suspense/thriller, a departure from my Fina Ludlow series.  I still can’t tell you much about it, but I can tell you that the process has been daunting at times, but mostly exciting.  It’s been liberating to create a new universe populated by an original cast of characters.  I don’t have to worry about adhering to the rules of Fina Ludlow's world, which gives me a lot more wiggle room.

The new book is entitled SUBMERGED, and it’s set in an idyllic town on the New England coast.  Two families, who are neighbors, are bonded through friendship and time, but they find their charmed lives shattered by a violent event.  I look forward to telling you more in the coming months!Like my Fina Ludlow books, I’ve set this one in Massachusetts, where I was born and raised.  Many people have asked why I don’t set a book in Seattle, my home for the past ten years.  As much as I love my adopted hometown, I don't feel quite ready to use it as a setting.  Not yet.

Many of the Reds write about far flung destinations, but I admit to feeling intimidated by the prospect of writing a book where the action unfolds in an unfamiliar location. There’s something about the place where you grew up—where you learned to drive, had your first kiss, cheered for the home team—that would be challenging to replicate.  Obviously, writers do so with great success, and perhaps once I get this stand alone under my belt, I’ll feel inspired to choose a brand-new setting!

For the writers out there, how do you choose your setting?  Is it a place you’ve lived or visited or do you branch out to the unknown?

And for everyone, where would you set a book if time and money were no obstacle in the research process?

When in Rome…or Mexico…or Napa with Marla Cooper

JENN: I was lucky enough to meet Marla Cooper at a Left Coast Crime conference in Portland (it was Portland, wasn't it, Marla?) a few years ago. We met in the audience of a cozy-noir panel and bonded over our love of the traditional mystery and our own stellar abilities at cuss words. Marla is sassy and funny and a delight to chat with so when she mentioned she had a book coming out, I offered to read it for an endorsement because I figured it had to be good. I was right because the book was TERROR IN TAFFETA which was nominated for a Lefty for best debut novel! As expected, it was terrific and it kicks off her series about a destination wedding planner (genius!). So, here is Marla to talk more about destinations...

MARLA: One question I get asked a lot — second only to “Where do you get your ideas?” — is: “Do you actually visit the places you write about?”

The short answer? Absolutely! When you’re trying to evoke a sense of place, you owe it to yourself to visit in person, because there are some things you just can’t learn on the internet. And besides: vacation!

See, my heroine is a destination wedding planner, so each book is set in a different location. And instead of creating a fictional small town, like any reasonably sane person writing a series would do, I chose to write about real places that lots of people have actually visited. I know I couldn’t do justice to the settings without going there in person, and readers would totally bust me if I even tried.

I won’t lie: I don’t feel put upon that I “have” to do all that research. And invariably, I learn things that not only go in the book, but actually affect the plot. When it was time to decide where to set the second book in my series, Dying on the Vine, I picked the Napa and Sonoma wine country. And boy, did I ever take my research seriously!

It all started with a visit to Domaine Carneros, which looks like this:

I was there tasting sparkling wine with my husband and my friend Brian (my real-life Brody), and there was a wedding party celebrating on the patio. (Excuse me, terrace. A place this grand doesn’t have a mere patio.) Of course, that immediately got me thinking about my protagonist Kelsey and what would happen if she were to plan a wedding there.

However, Kelsey doesn’t usually book venues that are quite so grand, so that got me thinking about what kind of wedding planner would feel right at home there. She’d probably be a bit of a diva. Larger than life. A little pushy and grandiose herself. And thus was born Babs Norton, the Queen of Wine Country Weddings.

In the book, Babs Norton is a preferred vendor at Higgins Estate, which bears a striking resemblance to Domaine Carneros. (I’m sure they’d like me to insert a disclaimer here that there are absolutely no dangerous goings-on or sinister plots there, and that everything except for the setting is 100% a work of fiction.)

So where would Kelsey like to plan a wedding? I think she’d prefer someplace like Preston Farm & Winery, which by some stroke of coincidence just happens to be my favorite winery. Preston has a 100-year-old farmhouse, picnic tables, cats lolling about in the sun, vegetables for sale from the garden, and of course great wine.

I love Preston so much that I decided to give them an old barn that Kelsey thinks would make a great wedding venue, and thus a subplot was born. Since they don’t actually have a barn, I turned to Pinterest, and … voila! (I love what Kelsey did with the place.)       

But perhaps the most inspiring thing of all were the wine caves. I knew that some wineries had started digging caves into the hillsides for underground wine storage, and some of them even had event rooms. That sounded promising, so I found one and took a tour. The caves are dark, they’re chilly, and they lack cell reception. (Ooooooohhhh…..)

I knew I had to use it in my book. And just in case I needed a sign, well, there was this:

(I’m assuming that’s just cabernet sauvignon, but still, it got my attention.)

After seeing how inextricably my plot and my setting became intertwined, I realized that visiting the locations is about more than just getting the details right. It’s about finding my story.

Also? Pretty much anywhere I travel these days, I’ve got my eye out for the scene of the crime.

So, what about you, Reds? How do you pick your setting? And is it as integral to your story as a character in the book?

ABOUT MARLA: Marla Cooper is the author of TERROR IN TAFFETA, an Agatha and Lefty finalist for Best First Mystery Novel and book one in the Kelsey McKenna Destination Wedding Mysteries. Her second book, DYING ON THE VINE, is set in the California wine country and is now available from Minotaur Press. Originally hailing from Texas, Marla lives in Oakland, California, with her husband and her polydactyl tuxedo cat. Learn more at www.marla-cooper.com.

Marla's latest release is DYING ON THE VINE:

When wedding planner Kelsey McKenna goes to the Wine Country Wedding Faire, the last thing she expects to do is take on new clients. After all, she’s just there to help out her friend Brody and maybe score some free cupcakes. But when a young couple in a pinch asks for her help, she just can't say no.

There’s only one problem: they’d been working with Babs Norton, the self-proclaimed Queen of Wine Country Weddings—and things did not end well. Kelsey wants to make sure there are no hard feelings, but unfortunately she never gets the chance. When she goes to Babs’ office, she finds the wedding planner dead on the floor.

Babs' high-strung assistant Stefan knows exactly who killed Babs: Kelsey. At least, that's what he very publicly accuses her of at Babs' funeral. When Kelsey decides to do a little sleuthing to clear her name, she uncovers a myriad of secrets and lies. And when a second wedding planner is attacked, Kelsey begins to wonder if she might be next.