Elemental balance by Cathy Ace

When it comes to your writing, what is the most important element to you: plot, theme or something else?

This is one of those questions I always find it difficult to answer…because I could go on, and on, and on about it! I’m deep into a WIP at the moment (a new Cait Morgan Mystery); for those of you who are regulars here, you’ll know I am a detailed outliner, so – before I sat down to hit the keyboard to create the first draft – I had already worked on this title for some time. So, I suppose I’m as well placed as I’ll ever be to give a succinct response.

But I still can't because...

I always have/need a theme.

I always have/need a specific and general location.

I always have/need a thorough understanding of not just the physical reality, but also the psychological profile, personal and family histories of all my characters, as well as a comprehensive understanding of how all my characters interrelate.

I always have/need a precisely timed and planned story, with all the little plot points worked out to the minute.

I always have/need a detailed chapter by chapter outline.

Each element is critical. Each carries equal weight. Each has to be right. They all have to fit together to form a book with the right DNA.

The plot couldn’t work anywhere but the place I have set it. 

The story wouldn’t exist without the characters involved. 

The thematic framework is both created by and affects (and effects) the story and the nature of the setting.

This book? It all began with…Cait Morgan and Bud Anderson, Captain Morgan (the person, not the rum), pirates, an enigmatic skull carved from rock crystal, Jamaica, Ian Fleming’s Goldeneye, and a vision of an eccentric Englishman who likes to sing God Save the Queen from the top of a tower at sunset and sunrise every day. Is that a theme? An idea for a plot? Just a handful of characters? Too much gin whilst on a Caribbean cruise? I honestly cannot say. 

What I can say for sure is that the ninth Cait Morgan Mystery – THE CORPSE WITH THE CRYSTAL SKULL – will be published later this year. I dare say you’ll hear a lot more about it in the months between now and then, because I am hoping it will appeal to all those who have read at least some/one of the first eight books. I am thoroughly enjoying spending time with Cait and Bud again – and hope you do the same. Yes, I know this post has morphed into a bit of Blatant Self Promotion, but I am the only person who can do that, and I feel I have to speak up 😊

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Writing is Hard

What question do you wish that someone would ask about your book or your career or you, but nobody has?

I have had so many odd questions asked of me that it’s hard to believe there are any left.  A few favorites:

1)     Do you write mysteries because you think you aren’t good enough to write mainstream novels? My answer to that was that I thought there was a mystery at the heart of every good novel. But I have a NEW answer! If I had a good enough imagination, I’d be writing science fiction. Every time I read a book of sci-fi, I’m amazed at the kind of imagination it takes to write it.

2)     Is Samuel Craddock ever going to “get any?” Always asked by a middle-aged woman. I finally answered that question. If you don’t know the answer, read the books.

3)     How long did it take you to write (insert name of book)? The answer is that it doesn’t take me long to do the actual writing of a Samuel Craddock novel. I always feel like I fall into it and swim like crazy and then it’s done. But that doesn’t count the years of writing novels that never saw the light of day, learning the craft, getting rejections, etc. Which leads to the answer to today’s question.

Here goes: The question nobody has asked me that I would like to answer is (tada):  “You wrote for a long time before you got published. How come it took you so long? (Subtle question: Are you stupid, or what?)

I wrote six complete books and a few bits of books before I got published. I’m not the only person who wrote that many. In fact, I’ve heard that’s about average. If it’s average, that means some people wrote a lot more than six books before they were published. I know one person who wrote nine—and she is a highly successful author now!

But that was a few years ago. Now, I think it’s probably fewer on average, because if people have trouble getting traditionally published these days, they turn to independent publishing (which used to be called self-publishing). Still, even people I know who published independently and are successful often have a few books “stuck in a desk drawer” never to see the light of day.

That means I’m not the only person who could be asked the question, “what took you so long?” For me, the answer is that I thought all I had to do was write a book that was “good enough.” It turned out that good enough wasn’t good enough. That doesn’t mean I haven’t read books that I don’t think were “good enough.” I have. But the book was good enough to get the attention of an agent, a publisher, or readers.

Every time I realized that the book I was trying to get published was not going to succeed, I felt let down. But each time I wrote one, I leaned something more about writing. I envy those writers who not only know how to tell a story, but seem to have known how to get it onto the page as soon as they sat down to write for the first time.  But I think that’s rare.

My learning process hasn’t stopped just because I’ve published eight novels. 

I’m trying now to write something outside my comfort zone and it’s as if I’m starting for the first time. The story is written. It’s 80,000 words. But just because it has a lot of words doesn’t mean it’s done. I keep having to go back and zero in on character development and plot line. I’ve struggled with the beginning and the back story. The hook has eluded me. How to factor in the back story has eluded me. (Finally I wrote out the back story out in a separate file, which helped me figure out which parts really needed to be in the book, and which could be jettisoned.) I’ve changed the beginning again and again, and I suspect that I will find holes in the story once I start looking at it as closely as I’ve looked at the beginning.

So, in answer to the question: I took me so long because writing is hard. In fact, I’ll quote Philip Roth on this: “Writing isn’t hard work, it’s a nightmare.” Or William Styron: “Let’s face it, writing is hell.”

Going rogue...COVER REVEAL! by Cathy Ace

The photograph was taken by Emma Mugford, born and raised on the Gower peninsular, South Wales

This post will appear on the day I travel to, and arrive in, Florida for Bouchercon 2018, and it’s also the day I am choosing to show off the cover of my forthcoming novel THE WRONG BOY. The book will be released on 9^th January 2019 – so if you’re a Brit that’ll be 9.1.19, if you’re in the USA it’ll be 1.9.19, and if you’re in Canada…well, take your pick!

I promise to let you know when it's available for pre-order. It will be published in hardcover, trade paperback, and as an e-book.

The book will soon be available as an ARC, and the cover art is still, therefore, susceptible to detail-changes, though the overall vision will remain. I hope you like the look of it, and that it’ll whet your appetite for what is something of a departure for me. I’ll do my best to respond to comments as I traverse the continent! Here’s the cover blurb:

THE WRONG BOY by Cathy Ace

Perched on a Welsh clifftop, the ancient, picturesque hamlet of Rhosddraig has its peaceful façade ripped apart when human remains are discovered under a pile of stones. The village pub, The Dragon's Head, run by three generations of women, becomes the focal point for those interested in the grisly find, and it’s where layers of deceit are peeled away to expose old secrets, and deep wounds. The police need to establish who died, how, and why, but DI Evan Glover knows he can’t be involved in the investigation, because he's just two days away from retirement. However, as the case develops in unexpected ways, it becomes irrevocably woven into his life, and the lives of local families, leading to disturbing revelations – and deadly consequences ...

(Pronunciation note: Rhosddraig is pronounced: Ross as in the man's name; th as in the; ri as in ride; g as in gag, so ross-th-ri-g = Rhosddraig)

I'd be honoured if you'd consider reading my work - you can find out about it, and me, here: cathyace.com

 

Making money and spending time

Authors are increasingly expected to shoulder the time and expense of book marketing and promotion. When was/is enough finally enough? Where do you draw the line and why?

by Dietrich Kalteis

The way I see it, promotion is part of effective marketing. Along with the marketing efforts that my publisher puts in, there are the promotional things I do: speaking engagements, writer events, interviews, podcasts, book launches and tours. Updating my website, writing blogs, soliciting reviews and keeping a presence on social media are all part of it. I haven’t tried book marketing services so I won’t talk about them. And I haven’t tried building a list for newsletters, but I think it could be a good way to update and inform readers. Paul D. Marks has a good one that he sends out regularly.

Attending crime fiction conventions and festivals can be costly, but what a great way to network with writers and readers alike. It’s always fun chatting with readers of the genre, and what a fun and supportive bunch those who write about the most heinous things can be. 

Sometimes it’s hit or miss, and the efforts to promote a book don’t pay off like expected. I’ve taken part in some successful book events with great turnouts, but it’s often hard to predict the outcome. Last year I traveled with a carload of author buddies to a reading engagement several hours away, and when we arrived there were more authors than audience. Okay, we didn’t sign a lot of books that day, but we had a great road trip and a lot of fun, and if there’s ever a chance to do it again, sign me up. 

While some things should be obvious — begging readers and stalking agents is out. And nobody needs to tell me to avoid those marketing gimmicks like websites where, for just a few dollars, somebody will sing praises about my book while hula hooping in pasties and a G-string. Other things may be less obvious, like checking that a book’s metadata is right. It’s what internet search engines use to list entries. 

Where do I draw the line on marketing and promotion? That’s easy. It’s not just about making money, but of spending time. If too much of my focus is on marketing and promoting then who’s writing the books? So, while I do my bit, I avoid becoming distracted by anything that keeps me from writing. And that’s the best effort of all, writing a book worth marketing and promoting, earning some good reviews, building a body of work and gaining an audience. 

And while we’re on the subject of marketing and promotion, I’ll mention the German version of The Deadbeat Club, called Shootout, will be out on May 7th through Suhrkamp, translated by Susanna Mende. Also, my sixth novel Poughkeepsie Shuffle will be released September 11th by ECW Press. Then I’ve got a short story called “Bottom Dollar” in Vancouver Noir, a crime anthology by Akashic Books, edited by Sam Wiebe and coming November 1st. Oh, and if you’re in the Vancouver area, our next Noir at the Bar has a great lineup of authors and is set for May 2nd.

Satisfying Shorts for All Tastes...by Cathy Ace

This week’s challenge is tough, and I have wrestled with it for days. 

"Write a review of your own work," they said. 

"Oh good," I thought, "that’ll be fun." 

But it’s not. It’s really difficult.

My hat’s off to those who write meaningful reviews, as opposed to pithy blurbs; thank you for taking the time to read my work, and for the countless hours you must put into crafting well-thought-out pieces that satisfy readers looking for insights that will help them decide if the book you’re reviewing will appeal to them, and prove engaging.

Here goes....

Satisfying Shorts for All Tastes 

 Cathy Ace’s new anthology: 

MURDER KEEPS NO CALENDAR

 

“Life is like a box of chocolates.” Forrest Gump’s oft-quoted belief could be applied to Cathy Ace’s new anthology MURDER KEEPS NO CALENDAR, which contains a variety of soft centered shorts, chewier novellas, and even a few tough-nut surprises. Having been shortlisted for the Arthur Ellis Award for Best Short Story in 2017, I am pleased this author has decided to pull together a wide selection of her short, and longer, stories in this volume, providing readers with the perfect companion for a rainy, snowy, sunny or just any day.

In this collection of twelve murderous tales – each one associated with a different month of the year – fans of Ace’s two successful series finally get answers to the questions: “How did Cait Morgan and Bud Anderson first meet?” and “Why did the women who work at the WISE Enquiries Agency decide to become private investigators?” I also predict that for those who haven’t yet met Ace’s series characters, this satisfying-in-itself volume will make them want to read more of her work, and I urge them to do so.

The anthology opens with a short story entitled DEAR GEORGE, one of two tales that have already been produced for BBC Radio 4, and the first short story Ace ever had published. It’s got quite a twist in the tale/tail, something Ace manages to deliver time and time again in this book. This is possibly most in evidence in the short story “Shannah’s Racecar” – which should come with a “Whiplash is Possible” warning. 

Welsh Canadian professor of criminal psychology Cait Morgan features in three stories, one of which allows for some of the niftiest ratiocination I’ve read outside Conan Doyle’s. The WISE women feature in just one, but it's the one which explains the dark truth behind why they came together, and stick together. In each case the characters Ace’s readers have come to love in her – to date – dozen novels have a brighter light thrown upon their backstories, something I found made me want to revisit some of her early Cait Morgan books, which I first read five or six years ago. 

A recurring character readers meet for the first time in this collection is Detective Inspector Evan Glover, for whom I developed a surprisingly rapid respect. Glover’s an endearing chap, thankfully lacking the perturbations that seem to plague most fictional DIs, and his DS, Liz Stanley, is a diligent Bristolian, whose main challenge is getting used to living and working in South Wales where her accent causes great amusement. I liked them, and I think Ace’s existing fans will also warm to them, along with Glover’s intelligent wife, Betty.

Other standalone stories offer a variety of laugh-out-loud moments, a slow-burn example of domestic suspense, a fast-paced thriller, historical cogitations on the value of human life, and a smattering of surprising serial killers. None of these stories are likely to alienate Ace's current body of readers, but they do suggest the author's recently announced plan to work more in the realm of domestic suspense/thriller/procedural is likely to be based upon a firm foundation.

Ace’s signature ability to transport readers to the places she’s writing about is on display – stories are set in diverse locations including Florence, Shanghai, an Oxfordshire country tea shop, and both Wales and Canada. As always, I could not only see her settings, but enjoyed the sounds and smells that accompany them, always lifting her descriptions from the page and transforming this readers’ own surroundings. 

VERDICT: A satisfying selection of stories which reward the reader with puzzles solved, cases cracked, friendships formed, and killers caught, which should be on your bookshelf in case you find yourself with anything between fifteen minutes and several hours to spare.Will appeal to those who enjoy sleuths, procedurals, thrillers, domestic suspense, and even laugh out loud mysteries. Link to view, click here.

5 stars *****

You can find out more about Cathy, her work and her characters at her website, where you can also sign up for her newsletter with news, updates and special offers: http://cathyace.com/