It's about the writing...and the gnarly bits by Cathy Ace

Business - What is the best advice you received from an agent, editor, publisher, writer, or florist? For bonus credit what was the worst? 

 Personally, I prefer to focus on the positive, so here goes:

 

Best advice from a writer: Thanks to Ann Cleeves

Best advice from a writer

Context: I’d been dumped by a publisher, who wouldn’t sell me back all my rights (they eventually allowed me to buy them all, except the print rights, which puzzled me, but there you have it). My other publisher had been bought up, and they’d sent their new standard contract to my agent, which I didn’t like, but she said I should sign it (I didn’t, in the end, and walked away from them, and her, too).

Where & when: At Bouchercon in Toronto, 2017. I was Chair of Crime Writers of Canada at the time; one third of our members were attending the convention and I was organizing a LOT of events…and I was on antibiotics, due to a head/chest thing. Feeling awful, hardly sleeping, trying to do my best. Pretty low all round (though I hope no one noticed this at the time). I was sitting at a table having a moment (not a happy one) and Ann Cleeves asked if she could join me, as she hung around between her own “bookings”. She’s a talented, supportive, and sympathetic person, and I told her what was going on as we chatted.

The advice: It’s all about the writing (we chatted for ages, but this was the essence of it).

How it’s helped: In 2018 I set up my own company to publish my own writing, and haven’t looked back. Still haven’t got an agent, still enjoying the writing. There’s an awful lot about earning a living as an author that isn’t “about the writing”, and whenever that’s getting me down, I remember what Ann said. Given her current fantastic success it’s hard to believe she, too, has faced uphill struggles in terms of being published. Her first book came out in 1986, 26 years before my first was published; she’s seen so many changes in the business that her advice really resonates.

Thank you, Ann Cleeves.

 

Anna, on the left 

Best advice from an editor

 Context: I’d had one substantive editor, and three different proof editors, at my first publishing house, then met a new editor at my second publisher.

Where & when: at a lunch my publisher set up, in London, so my new editor and I could get to know each other before we worked together.

The advice: You write you, and I’ll sort out the gnarly bits.

How it’s helped: shortly after we’d met, this editor left the publishing house, but was still used by them as a freelancer on my books. She’s now edited all ten of the books I’ve published through my own company. I still write me, and I always hope there’ll be fewer gnarly bits.

Thank you, Anna Harrisson.

 

Worst advice?

Publisher: Set your books in the Cotswolds, not Wales.

Agent: Just sign the boilerplate contract.

Florist: Keep the vase in a sunny spot.

My 7th WISE Enquiries Agency Mystery 

THE CASE OF THE CURSED COTTAGE

 (which is set in Wales, not the Cotswolds, and edited by Anna, through my own publishing company) 

is AVAILBLE NOW in hardcover, paperback, and for ebooks.

https://www.cathyace.com/wise-enquiries-agency-mysteries

 

Existential angst? by Cathy Ace

Q: Publishers and agents usually ask you to compare your book to somebody else’s and want to know that you are up to date on what is popular at the moment. How much importance do you place in writing for the market?

Okay – three questions here, really – who am I “like”, and what’s popular – two very different questions, with a third, overarching query…

What other author’s works are my books “similar to”? I admit it, I’m HOPELESS at this game! Yes, yes, I know every author believes their work is utterly unique (and it is) but I also understand (because I’m a reader as well as a writer) that it’s helpful to be able to tell someone “if you enjoy ‘that’ then you’ll probably enjoy ‘this’ too”, so I try my best to be helpful (that’s the kind of gal I am!) when called upon to be so.

But…and it’s a big but…I also know as a reader that what appeals to me isn’t necessarily what a book's about, or where it’s set, or even what type of sub-genre it is (procedural, sleuth, spies, thriller etc.) but the VOICE that appeals to me. If I listed my favorite authors here – authors whose works I will read whatever sub-genre they’re writing in (and several of my most favorite authors write across different sub-genres) – you might be perplexed, because they seemingly have nothing in common with each other, except that I enjoy those voices. Indeed, I’m one of those for whom the “helpful” amazon “People who bought this also bought…” section is worse than useless: 100% of those books listed have never ended up in my little cart. Ever.

"As" Agatha Christie

Thus, I’ve relied upon others to help me in this task when I need to undertake it myself. Professional reviewers, as well as non-professional reviewers, and readers, have proposed the following: my Cait Morgan Mysteries will appeal to those who enjoy books by Agatha Christie (Poirot fans), Lyn Hamilton, Sir Arthur Conan Doyle, Ngaio Marsh, Sue Grafton, and any number of “Golden Age” British traditional mystery authors; my WISE Enquiries Agency Mysteries will appeal to those who enjoy books by M.C. Beaton, Alexander McCall Smith, Jeanne M. Dams, and Agatha Christie (Marple fans); my book The Wrong Boy will appeal to those who enjoy TV suspense like Broadchurch, Hinterland, and Shetland (based on the books by Ann Cleeves), or books by Gillian Flynn. I’m not going to argue – but will add that – despite the fact I write traditional puzzle-plot mysteries (Cait Morgan), cozier, character-driven tales (WISE women) and psychological suspense (DI Evan Glover) I am thrilled to say many readers enjoy them all when they try them – venturing beyond their initial “reason-for-buying” to discover a new-to-them sub-genre…YAY!

Now, onto the second part of the question – do I know what’s “popular” at the moment? Well, yes, I do, thanks, but that doesn’t mean it’s what I want to/am able to write. Besides, what’s “popular” today (ie. topping the sales charts) might not be what folks want to read by the time my book is published, so I think chasing the ghost of popularity is a fool’s errand…

All of which, I suspect, allows you to work out for yourself that my answer to the final part of this week’s overarching question – do I write for the market? – is, in all honesty, no. I write books I like to read, and hope my “voice” reaches people who enjoy it, across the board. All I can do is keep doing what I’m doing, and hope enough of the market likes what I write that I can afford to keep doing it!  

By the way...you can help with that last bit *wink, wink* - all my books are listed on my website: CATHY ACE CRIME WRITER

Giving it all away... by Cathy Ace

BUSINESS: If a major producer/production company wanted to option or buy your book…but wanted to change it in major ways, as often happens in Hollywood, would you still sell it? Explain your reasons and your limitations. But remember, once you sell something to Hollywood, except in extremely rare instances, you lose control over the film property.

This is an interesting question, and one I believe I would have answered differently a few months ago. This is a topic which has led me to many hours of pondering recently, and I have sought counsel from several authors I know who have already been through the process of having their work produced for the screen, be it of the large or small variety.

With author Ann Cleeves and Brenda Blethyn, who brings Vera Stanhope to life on-screen, at Malice Domestic 2018

What I have discovered is that the right response to having work “taken over” is different for different people, and that a certain amount of soul-searching is required to come up with the right answer for oneself. Do you want to focus on writing books, and let the production pros get on with their version of your books and characters? Was your deepest desire always to become a screen writer so you’ll grab the chance to be 100% on-board and take your novel as just the starting point for an on-screen adventure that you oversee completely? Or are you somewhere in between those two extremes? 

With James Runcie, at CrimeFest UK 2016

Linwood Barclay recently wrote the screenplay for the movie based on his book “Never Saw It Coming”, whereas Peter Robinson was absolutely hands-off the British TV productions of his DCI Banks novels. Ann Cleeves has an excellent, informal relationship with the company bringing Vera to our screens, while Maureen Jennings writes one script per season for the Murdoch Mysteries. James Runcie is an Executive Producer (but chooses to be informed of decisions, rather than giving input to them) for the Grantchester series, whereas MC Beaton is a script editor, often on-set, for the Agatha Raisin series. 

With Maureen Jennings, Bloody Words 2014

I’m thinking that, for me, it would be best to stand back and let the pros get on with what they want to do, but to keep the relationship with the production company lively and interactive. Ultimately, I see myself as a storyteller, not a film maker, so I can continue to tell my stories, while film makers interpret them for the screen. All that being said...any of these scenarios is still a dream for me, so you know...take it all with a handful of salt.

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

Perfect reading choices for...by Cathy Ace

With Thanksgiving coming up in the USA – please take the chance to give us five titles or criminally good books you think would make great gifts…and tell us for whom they’d be suitable.

For lovers of cozy mysteries: THE MARSH MADNESS by Victoria Abbott. This book is the fourth in the book collector series by mother and daughter writing team Mary Jane Maffini and Victoria Maffini. The book won the 2017 Bony Blithe Award for best Canadian Light Mystery, and I’ve had it since then…but have only just got around to reading it. Light, bright and using the Ngaio Marsh canon as frequent reference points (I love Ngaio Marsh!) it’s a fast, fun read. 

 

For those who enjoy police procedurals: THE SEAGULL by Ann Cleeves. The not inconsiderable figure of DI Vera Stanhope has inhabited the world of crime fiction since Ann’s first book in this series (THE CROW TRAP, 1999) and she’s far from done (thank goodness). Ann’s writing style makes me a) want to try harder and b) give up writing altogether…pretty much in equal measure. A joy to read (you experience the book, rather than read it) and an excellent story, well told. I enjoy all the Stanhope books, this is the most recent…but you might want to treat yourself by starting with the first book and reading from there (this is the 8^th in the series). 

 

For those who enjoy anthologies: MOTIVES FOR MURDER edited by Martin Edwards. This anthology was put together to celebrate the 80^th birthday of one of my favourite authors, Peter Lovesey. From the blurb: Members of London's famed Detection Club have joined together to honor Peter Lovesey, winner multiple times of the Crime Writers Association Gold Dagger and Silver Dagger, and Cartier Diamond Dagger for Lifetime Achievement. He has also won the Mystery Writers of America Edgar for Best Novel, as well as Grand Prix de Littérature Policière. He is the creator of Victorian sleuths Sergeant Cribb and Constable Thackeray, Inspector Peter Diamond, and the almost true-to-life Bertie Prince of Wales. Honestly, there isn’t a bad story in the entire collection, and that’s saying something!

For those who like a bit of international terrorism: DEATH BY DESIGN by Barbara Nadel. This was published in 2010 and is the 12^th in what is now a 19 book series featuring Çetin İkmen, a member of the Istanbul police force whose chain smoking and heavy drinking don’t seem to impact (usually!) his ability to grapple with complex cases. Always an interesting read, this particular title takes İkmen to London – a trip I probably enjoy more than he does. Excellent plots, well-drawn characters, and never a dull moment. 

 

For those who want a change from crime: MASTERING THE ART OF FRENCH COOKING (2 volumes) by Julia Child. I love to eat, thus I love to cook. This boxed set was a Christmas present years ago, but it doesn’t matter how you get your hands on these two volumes, just get them, and read them. There’s so much inspiration, so many useful tips, and such wonderful recipes you and all those for whom you might ever cook will be grateful you did! 

Cathy Ace is the Bony Blithe Award-winning author of The Cait Morgan Mysteries and The WISE Enquiries Agency Mysteries.  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/

No books, please - I'm writing

Do you avoid reading mysteries when you're writing them?

Are you kidding? I'd never have any time to read them! I'm on the second first draft of the year, which means I've been writing since Christmas and I've read fifteen crime novels in that time  . . . because I had to.

I had to read some because I said I'd blurb them if I liked them.
I read, liked, and blurbed:

• Judy Penz Sheluk's Skeletons in The Attic because what's not to love about a book with a dead-or-alive hook and an old house that's getting gussied up too.
• Susan Spann's The Ninja's Daughter: which I might not have, because I'm Rumsfeldian in what I don't know about Japanese history. Boy oh boy, I'm glad I did. I can still smell the food.
• Tammy Kaehler's Red Flags which I absolutely would have because when I had to read Simon Woods' Aidy Westlake motor-racing books  I found out I loved this theme. And I loved this book.
• Cynthia Kuhn's The Semester of Our Discontent. An accurate enough portrayal of academic life to give me flashbacks to the bad old days of working in a university, but worth it.

Others I had to read because I was moderating the authors on a panel:

• Nancy West Smart But Dead Best. Title. Ever. And a masterclass on putting hard stuff (genetics) in a lighthearted story.
• Terry Shames The Necessary Murder of Nonie Blake. I would have read this anyway; I've read every word Terry has written but this way I got to call it working.
• Triss Stein Brooklyn Graves. As above. Every word. And Triss's description of the next book sent me straight to the dealers' room.
• Carla Buckley The Good Goodbye. You know how you love Lisa Scottoline and Joy Fielding and yet somehow you manage not to have read an author who writes those books and does it so well you kind of hate her? That.

Or I had to because I was interviewing the author:

• Ann Cleeves Silent Voices
• Ann Cleeves The Moth Catcher
• Ann Cleeves (re-read) four of the Shetland novels.

Guess who I was interviewing.

Yet others I had to read because we were all on the Mary Higgins Clark shortlist together and ...well, I had to:

• Frances Brody A Woman Unknown
• Hallie Ephron Night Night, Sleep Tight
• Susanna Calkins Masque of a Murderer
• Lori Rader Day Little Pretty Things

And the rest I had to read I had to read because I'm breathing: Robert Galbraith Career of Evil,
Karin Slaughter Pretty Girls, and Harlan Coben Fool Me Once.

That leaves just one:- Charlaine Harris's Night Shift. I had to read it because what's the point of having it in your mitts two days before it's even published (because you bought it at Malice) if you don't show off on the plane home?

The woman in the seat beside me didn't care but one of the cabin crew was filled with envy. That's all I ask. I think Night Shift might be my book of the year so far. I'm in deep denial that this third installment is truly the end, though.

What have you read so far in 2016 that's made a big impression?