Thought I’d lighten things up a bit this week with a cozy mystery. Cozies are an easy read that can be gobbled up without any uncomfortable feelings, whilst still offering satisfying twists and turns. Digging Up Dirt also includes a splash of simmering romance.
Nothing like the builder digging up bones to halt the work on your renovation. TV researcher Poppy McGowan needs to find out if the bones are human or animal so she can get on with finishing her house. When archaeologist, Dr Julieanne Weaver, whom Poppy doesn’t like, interferes and slaps a heritage order over the property because she thinks the bones a significant Poppy is really annoyed. But then Julieanne is found murdered onsite, face down in the excavation dressed in heels and an evening frock, and things get really complicated.
Pamela Hart is a prolific author who has written more than 35 books and successfully crosses the genre divide. She is best known for her historical fiction (The Soldiers Wife, The War Bride, A Letter from Italy and The Desert Nurse).
Hart has also penned speculative fiction (Ember and Ash)and children’s books under the name Pamela Freeman as well as being an accomplished scriptwriter for ABC kids. I’ve done a few of the online courses she has written for the Australian Writers Centre as well, which have all been of good quality. She’s no slouch!
Digging Up Dirt is Hart’s first mystery novel and it’s a fun Australian read (or listen to the audio book).
I used to love old British cop shows like The Bill, Inspector Morse and Taggart. British crime shows are memorable for slow-moving mystery plots and complex characters. Belinda Bauer’s crime novels are similar.
Despite sounding like a juxtaposition, Bauer’s most recent novel, Exit, is a hilarious crime thriller.
Amanda was at his shoulder now. ‘What is it?’ she said, but Felix couldn’t speak because all the words he’d ever known seemed to be whirling around inside his skull like bingo balls. The ones he needed finally dropped slowly from his numb lips. ‘We killed the wrong man.’
Seventy-five year old widower Felix Pink is a member of the Exiteers, a secret group that supports the right to die by baring witness to the suicide of terminally ill patients then disposing of any evidence to ensure their deaths appear natural. Everything goes horribly wrong when Felix and new young Exiteer, Amanda, accidentally help the wrong patient to die.
The second voice in the story is PC Calvin Bridge, a small town policeman, and in his own eyes a failed detective. Calvin has no confidence in his own abilities. He also hoards a shameful secret past.
Even now, if she spotted Calvin from any distance, Shirley made a point fo glowering at him. And if she were with somebody else, she’d turn to them and say something, and then that person would glower at him too, which made him feel like a bad person – which he knew he wasn’t – so if he ever spotted Shirley before she spotted him, he always just hid.
A comedy of errors unfolds as Felix tries to find out whether he is guilty of murder or something more sinister is afoot, and Calvin finds himself doing the detective work he’s been avoiding.
According to British author Bauer, crime novels are about how the stories of our lives can be suddenly changed by the misdeeds of others. Life is a river and crime the rocks – it is when our lives hit a rock that we find out if we are life’s swimmers or sinkers. Bauer’s novels focus on survival and recovery after a calamity.
Baur has a knack for crafting original, oddball characters that endear the reader to them. Exit is a delightful, hilarious and farcical look at life and death, the invisibility of ageing, friendship, morality and loyalty.
Exit is Bauer’s ninth crime novel. I have written about the author before. See my review of The Shut Eyehere
I woke up to a startlingly beautiful sky filled with hot air balloons this morning. After doing some writing I set out with the hound on a long walk. It is a stunning Autumn day. Already I have been squawked at by some cheeky galas and said hello to an echidna going about its day.
Now, I have stopped for a moment and I am squatting on a rock looking at the river scene in the the photos include in this blog post as I write it on my phone. The intermittent sound of birds play a tune over the background base of the swollen Yarra River waters spilling across rocks on their way to the city. It is peaceful and soothing and my mind turns to my writing.
My current manuscript is a crime fiction novel with a backdrop of the environmental movement. One of the underlying themes is climate grief and I have taken much inspiration from my local environment as well as from a period living in East Gippsland.
The idea for the story came to me during a writing workshop I attended with Angela Savage, former CEO of Writers Victoria, at the Terror Australis Readers and Writers Festival (TARWF) in October 2019 and I commenced work on the manuscript in November that year (TARWF will run again this year in November and I hope to go again as it was a hoot last time – I delivered spoken word piece at their Noir at the Bar event. You can listen to that here.)
The story for my current manuscript is set in 2018, before the Victorian bushfires and the pandemic. Whilst the premise pre-dates our recent disasters, the story has certainly been shaped by them. It is a lament to Victoria’s beautiful disappearing landscapes and humanities seeming collective inability to do what needs to be done to save them from the impacts of climate change. There have been moments when I considered abandoning the endeavour, particularly after the terrible bushfires in Victoria that consumed much of the landscape in which the story is set. Instead I made some changes to include a foreboding of disasters such as the fires and the pandemic so that the story does not seem dated.
I entered the first few chapters into a competition for a Varuna Fellowship last year and was chuffed to be shortlisted. I hope to take up the opportunity for a supported residency later this year.
My writing has been interrupted a bit over the last year, but I have now crossed the half way mark of the first draft at just over 40,000 words and am feeling inspired to forge on into the home stretch so I can set myself to editing.
For now, I must continue on my walk as the hound is getting restless.
Writing courses can be a great way to learn new techniques, think more deeply about your writing, and motivate you to keep putting ink on the page. Here I review a couple I have completed recently.
Kill Your Darlings: Mastering Emotional Honesty with Lee Kofman
One of the main pieces of feedback I’ve had from editors has been ‘put more emotions and/or drama into your work’. I took this online course to focus a bit of energy on that feedback.
Dr Lee Kofman, who delivers the online course, is a Russian-born Israeli-Australian author of five books and editor of two anthologies. Kofman unpacks the complex and hard task of writing with emotional honesty and helps you discover the rewards of making your writing more prolific and productive.
In the introduction to this course, Kofman suggests a writer should be ‘like a firefighter whose job it is, while everyone else is fleeing the flames, to run straight into them.’ Intellectually safe writing is easier to do, but does not engage readers as effectively – if you want to touch their hearts you have to take risks.
The exercises in this course challenge you to tap into personally emotive events to develop and challenge your writing. It covers concepts such as moral outrage, internal contradictions, sentimentality, nostalgia, emotional complexity and creating emotionally rich complex characters.
Example texts identified in the course include fiction works like Gustave Flaubert’s Madame Bovary; Hanif Kureishi’s Something to Tell You; and memoir including Ann Patchett’s Truth and Beauty and Alice Pung’s Her Father’s Daughter.
KYD courses are good value, well structured short courses with a mix of audio/audiovisual, text, and exercises. Once you purchase a course it is available to you in perpetuity. The learning platform is easy to navigate, so if you are a bit of a luddite you shouldn’t have any trouble.
Australian Writers Centre: Anatomy of a Crime: How to Write About Murder with Candice Fox
I’m a big Candice Fox fan and she’s written about fourteen crime fiction novels so she knows a bit about the genre. I love her bold characters and unpredictable, and sometimes outrageous, but still believable plots.
There is a lot of content in this course. The course has eight modules estimated to take eight hours of study time. However, if you go through all the available resources provided you can go a lot deeper and further than the estimated time to complete.
Candice’s great character writing comes to the fore in the course as she explores the psychology of crime, what makes people kill and what happens after they do. Topics covered include premeditation; types of murder crimes; writing crime scenes; looking for suspects and the killer; making the arrest; trials and prison life.
AWC produces quality content using a mix of audio, audio-visual, and practical exercises. Each course is accessible for 12 months from the date of purchase and AWC has regular specials that make them more affordable.
Melbourne’s been back in lockdown, so a post on locked-room mysteries seems appropriate.
Locked-room mysteries are a sub-genera of crime fiction in which a seemingly ‘impossible crime’ is committed. The circumstances surrounding the crime make it implausible that the perpetrator committed the offence at all, or if they did, it seems unlikely they could evade detection. The crime scene is sealed from the inside with no way out (unless they were Houdini).
These stories usually involve a closed circle of people with a limited number of suspects and a whimsical detective to keep us guessing as they investigate. The solution is always right there, if only we could lay our eyes on the sleight of hand that plays on our curiosity. They are great mysteries for lovers of puzzles and a world away from gritty police procedurals or thrillers about psychopaths and the more brutal side of humanity. They are more cosy-supernatural-gothic.
Think a group of acquaintances getting locked up together on a remote property. They are caught out when the weather turns bad, making leaving impossible and bringing communications down. Keith, who had been driving everyone mad, is found dead in the garden shed. The garden shed has no windows and is locked securely from the inside. When the group break the door down they find Kieth lying on the floor with a bullet wound to his head. Strangely there’s no gun in the shed…Lucky one of the group is also a brilliant detective.
Locked-room mysteries were hot in the Golden Age of detective fiction between the two world wars. Agatha Christie perfected the genera, but Edgar Allan Poe is credited with invention of its long form in 1841 with The Murders in the Rue Morgue, although some say John Dickson Carr pre-dated him with The Hollow Man in 1935.
Casting even further back, the style was evident in short stories. In Dashiell Hammett’s Continental Op story Mike or Alec or Rufus that appeared in the January 1925 issue of Black Mask, the action takes place in an apartment building and the private investigator tries to solve the crime through interviewing suspects; Wilkie Collons’ The Moonstone (1854) is also credited as contributing to development of the sub-genre. Elements can even be found in the Old Testament story of Bel and the Dragon in which an idol who eats food offerings from a sealed room is worshiped. The stories hero Daniel, exposes the secret entrance used by the priests who are taking the food for themselves.
In a Guardian article from 2014, Adrian McKinty nominated his top ten impossible murder novels, ranging from The Moonstone by Wilkie Collins (1868) to La Septième Hypothèse by Paul Halter (1991). Interestingly there are a lot of locked room mysteries with a French origin.
Contemporary novels in this sub-genre are dominated by women writers and include Ruth Ware’s In a Dark, Dark Wood (2016), The Hunting Party by Lucy Foley, They All Fall Down by Rachel Howzell Hall, The Last by Hanna Jameson, Nine Perfect Strangers by Laine Moriarty, The Last Resort by Susi Holliday, and One by One by Ruth Ware who must like four walls, a ceiling and a floor.
Locked room mysteries are concerned with psychology and relationships between people in high pressure environments. They study what can happen when we are forced to spend more time with other’s than we would choose to. When we see one another more clearly that we ever have before and it becomes claustrophobic and uncomfortable because we are cut off from the outside world. Under these conditions our masks and defenses fall away and our true selves are revealed, warts and all. The evaporation of the veneer of civility creates a perfect environment for a mysterious crime. And of course there must be a brilliant detective to keep everyone contained until they solve the case.
I hope your lockdown was less dramatic, but if you can’t get your fill of a locked-rooms in lockdown try one of these:
The Black Lizard Big Book of Locked-room Mysteries by Otto Penzier – collection of 68 of the all time best
Miraculous Mysteries, edited by Martin Edwards – anthology
Locked Room Murders by Robert Adey – a bibliography of the problem and solution to 1,280 locked room crime novels and short stories
This pulp fiction novel bleeds desperation, anxiety and struggle and takes place during a relentless New York summer whilst a madman called Trump is in the White House.
Maggie Terry’s life is a mess but she’s been given a second chance. It’s her first day on a new job as a private investigator at a small law firm run by a guy who’s son she tried to save and failed. Now he’s saving her following the loss of her job as a cop after her partner was killed and 18 months in rehab after being sectioned by her now ex-partner who won’t let her see her child anymore.
Whoever had thought up date night for long-term couples should have been shot on the spot. It was all about creating pressure and then shining a light on everyone’s inadequacies. There was pressure to prove that one was loveable, pressure to keep up her end of the conversation, to show she was interested, to ask the right questions, to try to get the fucking discussion going in a way that would bring them closer. Not to fall into old traps of unresolved conflicts and problems that never went away, that was not the goal of date night.
All Maggie’s emotional energy is exhausted by being angry at her ex, missing her daughter and trying to stay sober by attending 12-step meetings intermittently throughout the day. She struggles with simple day to day tasks like buying teabags whilst trying rebuild her shattered life and take stock of all the changes in New York.
What was she supposed to do? Find a way to get foolish bravado out of mint tea, or find a way to be terrified all the time and let that be okay?
Famous actress, Lucy Horne, turns up at the law firm on Maggie’s first day seeking the discrete investigation of the murder of a strangled minor actress. Horne identifies the actresses famous novelist and boyfriend as a potential suspect.
That was the problem with taking responsibility, Maggie remembered. Everything becomes deeper. It is not a way out of life, it is only a way in.
The novel explores police brutality, addiction, queer love and New York nostalgia. I found it an easy, enjoyable and fast read.
Traffic is a contemporary crime fiction story set in Melbourne and is Robin Gregory’s debut novel.
Private Investigator, Sandi Kent’s ex-girlfriend hires her to scout out and plan the rescue of a sex slave from an inner-city brothel. Simultaneously a lawyer friend hires her to seek out angles to defend a Colombian immigrant charged with murdering another sex worker.
Sandi struggles with a sense of loneliness and finds it difficult to resist her manipulative ex-girlfriends advances, making it appear that she is helping Cassy out for all the wrong reasons. Sandi’s desires, and her deep empathy for the vulnerability of others, weaken her professional boundaries and she soon finds herself in much deeper than she ever intended to go.
Gregory explores difficult themes in Traffic but manages to do so with enough humour to make the story an easy read. Issues such as domestic violence, the underbelly of human trafficking, the sex trade, and drug trafficking are traversed against a backdrop of cosmopolitan Melbourne. The story sets a good pace and Gregory’s voice is quintessentially Australian. I found it to be an enjoyable and entertaining read despite the very serious themes embedded in the story.
Tippy Chan’s mum goes on holidays and her Uncle Pike and his boyfriend come to Riverstone, the small town in New Zealand where she lives, to look after her. When Tippy’s friend has an accident and her school teacher is murdered, the three bond over a common love of Nancy Drew and set out to investigate. Uncle Pike’s boyfriend Devon is a clothes designer and runs out a series of prototype matching Nancys T-shirt’s for them to try. The novel has subplots on grief and fashion and is brimming with quirky characters.The Nancys is a light, fun, queer romp told through the eyes of an eleven year old.
Uncle Pike’s plane was late and, and my hair was a sweaty mess thanks to the crimson anti-kidnapping jacket and hateful Santa hat mum had made me wear.
The Nancys is RWR McDonald’s debut novel and it was highly commended for an Unpublished Manuscript in the 2017 Victorian Premier Literary Awards. It’s unusual to find adult fiction told from an adolescent point of view and McDonald does an excellent job creating the voice of Tippy who narrates the story in first person point of view.
To create a convincing young voice, writers need to describe life from a developmentally appropriate context and keep their adult knowledge and experience from intruding. The mind of a teenager moves quickly from one idea to another and leaves little room for reflection. Adolescents can make perceptive observations untainted by extended life knowledge and they experience the world with literal immediacy. Tippy’s adolescent understanding of adult concepts and informal diction makes the narrative jump around in the way young people do and ads to the authenticity of the character. Random observations and snippets of thought to give the narrative a slightly jolty feel and insight into the randomness of Tippy’s inner life. There’s also a good dose of youthful humour and fun subplots.
The next morning Uncle Pike gave me a choice, I didn’t have to go to school if I didn’t want to. It was a no-brainer. Finally I was living the Nancy Drew life-with a mystery to solve and no annoying classes to get in my way. After breakfast Devon made us go to the driveway for a runway show. He modelled a new tight Nancys T-shirt. ‘Tada!’
The novel doesn’t roll at your traditionally fast crime fiction pace – it starts quite slowly and picks up pace as the story unfolds driving you to race through the final chapters. It’s small town expose, family saga and detective story wrapped up in a blend of teen and gay laugh out loud, slightly bawdy humour and is filled with the genuine warmth the characters have for one another.
The author was also interviewed on The First Time Podcast last week if you are interested to hear him talk about his book.
Each winter Melbourne hosts Rare Book Week which delivers a program of free talks and events across the city to celebrate the importance of books, literacy and literature. Twice this week I fought my way through the dark, windy and desolate streets of Docklands to Library at the Dock, which is a fabulous library and community hub if you are ever in the area.
The events I attended were The Knife is Feminine about Australian mystery writer Charlotte Jay, and Portraits of Molly Dean in conversation with author Katherine Kovacic on her true crime book about the murder of Molly Dean in St Kilda in 1930. This blog is about those two events.
The Knife is Feminine
A dagger…it had a curious hilt shaped like a woman’s torso, with wings, only she had no face, just a visor like a knight.
The knife is feminine, Charlotte Jay
I’d never heard of Charlotte Jay, but as it turns out she was one of Australia’s best crime and thriller writers and I will certainly seek out some of her work to read now. Panel members for this event were Carmel Shute (one of the founders and national convener of Sisters in Crime), author Katherine Kovacic (The Portrait of Molly Dean and Painting in the Shadows), Abbe Holmes (actor) and Chris Browne (convener of Rare Book week, former academic and a book collector with 12,000 books and counting).
Charlotte was born Geraldine Mary Jay in Adelaide in December 1919, she chose the author name Charlotte because she thought it sounded literary. She married Albert Halls, an Oriental specialist who worked for UNESCO, and she spent much of her adult life traveling the world with him. Initially she worked as a stenographer for twelve “terrible years,” according to an interview Carmel Shute did with her in 1992. When she realised she had a talent for frightening people and telling a good story so became an author. Carmel observed that in life Jay had a liking for gin and tonic and a habit of snorting when she found others ideas ludicrous.
The author wrote seven crime novels as Charlotte Jay between 1951 and 1964, one as Geraldine Mary Jay in 1956, and seven as Geraldine Halls between 1967 and 1995. The stories in her novels included exotic settings like Papua New Guinea, Pakistan, Japan, Thailand, England, Lebanon, India, the Trobriand Islands, as well as Australia.
One of her books, A Hank of Hair was so risqué that Harper Collins refused to publisher it. The book was later picked up by Pan Publishing and released in 1964. Another novel, The Fugitive Eye written in 1953 was filmed for television and stared Charlton Heston. Her first novel, The Knife Is Feminine is out of print and there are only a handful of copies still in existence worldwide. We were lucky enough to get a couple of readings from one of those copies.
She wrote in the Gothic tradition and hearing her work, Charlotte Jay had a talent for the weird . She used slow, creepy build ups and detailed observations to tell cracker stories. She was the first winner of the Edgar Allan Poe Mystery Writers of America Award for Beat Not the Bones set in Papua New Guinea, which has some fascinating commentary on racism and colonial power in the 1950s. The following year Raymond Chandler won the award with The Last Goodbye.
The writer eventually returned to Adelaide and her last book was published in 1995, she died in October 1996. I for one shall look forward to reading some of her works, which are listed below.
Charlotte Jay novels
• The Knife Is Feminine (1951)
• Beat Not the Bones (1952)
• The Fugitive Eye (1953)
• The Yellow Turban (1955)
• The Man Who Walked Away (US Title: The Stepfather) (1958)
• Arms for Adonis (1960)
• A Hank of Hair (1964)
Geraldine Mary Jay novels
• The Feast of the Dead (US Title: The Brink of Silence) (1956)
Geraldine Halls novels
• The Cats of Benares (1967)
• Cobra Kite (1971)
• The Voice of the Crab (1974)
• The Last Summer of the Men Shortage (1977)
• The Felling of Thawle : a novel (1979)
• Talking to strangers : a novel (1982)
• This is My Friend’s Chair (1995)
Portraits of Molly Dean
Mary (Molly) Winifred Dean (1905–1930) was brutally murdered in Elwood on 21 November 1930 near her home after walking home late one night. Author of The Portrait of Molly Dean, Katherine Kovacic first came across Molly when studying the art of painter and sculptor Colin Colahan and became fascinated by her life which seemed to have been reduced to a single sentence in a Colahan’s biography. Molly had been Colahan’s lover and one of his models.
The historical mystery fiction, The Portrait of Molly Dean, was written to shine a light on Molly’s life, which along with her death feature in a number of other works. She was the subject of non-fiction A Scandal in Bohemia: The Life and Death of Mollie Dean by Gideon Haigh, and appeared in fiction works My brother Jack by George Johnston, and The Eye of the Beholder by Betty Roland, as well as the play Solitude in Blue, written and directed by Melita Rowston.
Molly Dean trained as a primary teacher and showed great promise for the profession but aspired for journalism and writing. She had had one long blank-verse poem titled Merlin published in a Melbourne publication called Verse.
Young Molly had a strained relationship with her widowed mother, Ethel Dean, who didn’t approve of Molly’s involvement with the Bohemians – the Meldrumites (followers of painter Max Meldrum) who Molly met when she became intimately involved with Colin Colahan, a well-known sculptor and painter of nudes.
On 20 November 1930 Molly went to the theatre to see Pygmalion with friends. She arrived at StKilda station on the way home, but missed the last tram, apparently due to stopping to make two phone calls to Colin from a phone box, so walked the two kilometers to Elwood along the tram route to the corner of Mitford and Dickens Streets. There were a number of sightings of her as she walked, but no witnesses to her attack. She was discovered early on Friday 21 November severely injured in a laneway less than two hundred meters from her home. She was rushed to hospital but she died of her injuries.
The police believed that due to the nature of the crime, Molly probably knew her attacker and the motive was most likely jealousy. An intense and exhaustive police investigation followed her death. A family friend, who was suspected of having an affair with Ethel Dean was investigated then dismissed. A man called Arnold Karl Sodeman, who confessed to four other killings, was also considered. His involvement was dismissed primarily due to his other attacks having very different profiles, and that he swore he wasn’t Molly’s killer. Sodeman was executed in Pentridge Prison in 1936 for the crimes he admitted.
The Crown Prosecutor did not proceed with the case and conspiracy theories abounded about Molly’s unsolved murder over the years. One theory suggested it wasn’t solved because she’d crossed paths with very powerful people in Melbourne, and they had shut down the investigation.
Katherine Kovacic’s fictionalised account of Molly’s story is a fascinating tale of art, intrigue and murder, and Melbourne’s history. Her melding of fact and fiction patches together a coherent and sensitive narrative to re-tell a victim’s story and shine a light on her young life. It’s told from the perspective of a fictional art dealer called Alex who buys a painting in 1999 believed to be the last portrait of Molly Dean. Kovacic has released a second book Painting in the Shadows that also revolves around Alex, and a third is due out next year.
For the section of this blog on Molly Dean I have drawn on Kovacic’s talk at Rare Books Week and a piece published on the Public Records Office website by Dr Eric J Frazer about her murder.
Main image: Charlotte Jay and The Knife is Feminine
Last week I attended a crime writing masterclass as part of the Emerging Writers Festival held at the Wheeeler Centre in Melbourne.
The day opened with Angela Savage, author and Director of Writers Victoria, delivering a keynote on Conventions of Crime. Angela took us on an engaging and entertaining gallop through the history of crime fiction. Then she explained the breakdown of crime genres from cosy mysteries like Alexander McCall Smith’s The No. 1 Ladies Detective Agency, hard boiled crime such as Raymond Chandler’s The Big Sleep, Australian noir including Peter Temple’s Jack Irish series and the social thrillers – think The Girl with the Dragon Tattoo by Stieg Larsson.
And here’s a couple of ‘did you know’ fast facts from Angela’s talk:
• Agatha Christie is the best-selling fiction author of all time with an estimated two billion copies of her books in print. Her work has been translated into more than 70 languages and she is outsold only by the Bible and Shakespeare. Not bad considering her first book was rejected by six publishers.
• Tart noir (originally called slut noir) is a branch of crime fiction characterised by tough, independent female detectives, who are also yielding enough to love a man with rough edges. Go girrrls.
• Mysteries, where the antagonist is revealed at the end to both the reader and the protagonist, are considered easier to write than thrillers, which require tight plotting to maintain suspense.
The second session had Mark Brandi (author of Wimmera and The Rip) and Anna George (The Lone Child and What Came Before) chatting about plotting and pacing and how they approached these in their own writing. It became clear that each book is different and your approach to plotting and pacing might need to be adapted to work for the project on hand.
Angela recommended Ronald Knox’s Ten Commandments of Writing Detective Fiction reproduced here by cosy mystery author Elizabeth Spann Craig.
In session three, Gala Vanting, Nayuka Gorrie and Queenie Bon Bon discussed the notion of Representing Criminalisation, a feminist perspective on writing socially aware crime fiction. This session wasn’t for everyone (a couple of blokes walked out), but I found it a fascinating discussion on the realities of criminalisation and how we might use our crime writing to look differently at societal power structures and the politicisation of marginalised communities. They challenged us to unpack our notions of ‘the criminal’ and ‘the victim’ and what we interpret as ‘good’ and ‘bad’.
Their discussion lent itself to activist crime fiction, or radical noir. Think Eva Dolan, This is How it Ends, Gary Phillips, The Underbelly, Kate Raphael, Murder Under the Bridge and John le Carré, The Constant Gardener.
After a bite to eat at the Moat for lunch, I settled in to listen to Anna Snoekstra (Spite Game and Mercy Point) and Lindy Cameron, Sisters in Crime President and founder of Clandestine Press, talk about to agent or not to agent, the importance of a good synopsis, and thinking beyond our own shores for publishing. They said all crime novels need a good sense of place, a twisty mystery, and engaging characters to attract the attention of publishers.
One of the most memorable suggestions was to try different elevator pitches with every person who asks you about your book to see which is the best one…lookout friends, is all I can say to that.
Here are some resources they recommended to assist with your publishing journey:
•Query Tracker – an international agent database, that is free to join.
•The Australian Writers Marketplace – a guide to the writing and publishing industry in Australia and beyond, it has over two thousand active listings in the directory. AWM is free to join for basic use of pay a one off $24.95 for complete access.
The final session, Killing your Darlings, was delivered workshop style by Kat Clay. We talked cliches about killing people in fiction, understanding the moral argument and symbolism of murder in fiction, and thinking about what death means to our characters in terms of their development – it’s a very different matter if they are afraid of their own mortality than if they live for the thrill of being close to death.
Kat’s resource tip was Anatomy of Story by John Truby