by Tracy Kiely
To fabricate or not to fabricate; that is the question.
Quite literally, it seems!
At the risk of sounding like I’m trying to avoid a twelve-step program (“Hello, I’m Tracy and I fabricate.”) I answer with this – sometimes, but I can quit anytime.
My first book, Murder at Longbourn, is set in a quaint town on Cape Cod. I specifically did not name the town because – as I told anyone who would listen – I did not want to get “tons of letters” from people telling me that I got some small geographical detail wrong.
(HA! “Tons of letters.” What was I thinking? I’d be thrilled with tons of people doing anything with my book.)
For my second book, Murder on the Bride’s Side, the setting was in Richmond, Virginia; however, much of the “action” took place in a house outside of the city. It was a lovely, large house that overlooked the James River and was a hodgepodge of various real plantation homes I’d seen in a book aptly titled Virginia Plantation Homes. I created similar realities for my other books as well. I placed my heroine, Elizabeth, in real cities (Georgetown and Bath), but the house or hotel she stayed in was of my own creation.
|Stanley Ford in action|
|"Frank! I'm getting one of my sick headaches!"|
Sorry, I got carried away. Where was I? Oh, yes. Fabrications.
There is a certain element of it in all mystery novels – there has to be or else there would be a horrific number of bodies strewn about the world all in the name of “research.” In my books, I try to create a certain atmosphere – and that atmosphere is usually housed in a building of my own creation, where I can control the action without the prying eyes of Mrs. Kravitz.
But dear God, it really would be hysterical to see her face.