Writing a novel is like a car trip with a whiney inner child demanding, “When are we going to get there?” For me, the beginnings are easy. The trip is planned, the car is packed and the excitement about a new experience is growing. My planning usually involves a lot of “think time” imagining the story in my head. After I have the concept, I write a synopsis long-hand to give me a sense of where the story is going. Now I’m set.

Except, like a journey to places unknown, often the road isn’t quite clear. For years I’ve struggled with the middle part of the book. Tina de Bellegarde, a Level Best author, put it so well in a recent podcast when she called it “the messy middle.” It’s those chapters that drive the reader to the climax of the story.  They need to be vivid enough to keep the reader drawn in and have the details and clues to make the story real. For me, a good middle is like the difference between traveling for miles and miles over flat, boring prairie, or driving the curving highway through the mountains. One will put you to sleep and the other will keep you anticipating the next bend in the road.

Recently, I’ve been stuck in the middle. The first chapters of the newest Cabin by the Lake mystery moved quickly. I had my death (was it an accident or was it murder?), my main character pursuing it and the momentum growing. Somewhere mid-manuscript, my writing car drove straight into the ditch and got stuck in the mud. It felt like I was trying to move the story in one direction and the story itself wanted to go somewhere else—somewhere way too complicated for my writing skills.

How to get unstuck? In my case, the first thing I did was try writing through it. I kept on the same track with scenes I’d conceived at the beginning of the book. After several days of getting myself mired deeper and deeper into a place that whiney little voice in my head didn’t want to go, I stopped and let it sit. I worked on revising a short story instead.

Next, I sat down with my original written synopsis and wrote out a new one. By this time, the story had changed and new characters had popped in. I needed to decide to keep the changes and the new characters or stick to the old road map.

With a new synopsis and a better sense of where the story might go, I deleted the most recent chapters. Oh, I admit, it was painful but necessary. Didn’t someone once talk about the need to kill your darlings? Well, I sent them off a cliff.

Was I renewed? Was the car out of the ditch and on its way again, the kid in the back happily occupied with the new landscape? Not exactly. The story still felt flat and a little lifeless. As I told my husband on one of our daily walks, “It’s blah, blah, blah. I’m bored with it.”

Perhaps the admission out loud to someone else was the key for me. When we returned from our walk, I realized I needed action to get it going again. I wrote several chapters that included another murder, a wildfire and a daring rescue. The kid in the backseat cheered me on.

I’ve reconciled myself that on writing journeys, the middle will often be messy. Here are  a few lessons I’ve learned:

• Ask yourself if every chapter propels the story forward. If not, be willing to delete.
• At the end of the chapter leave the reader wanting more.
• Take a break if you’re stuck. Write something else completely different. Read an author you respect and pay attention to how they handle the middle of the book.
• Allow yourself “think time.” That’s the meditative time inside your head where you can work out plot lines, characters, beginnings, middles and ends. My best think time is when I’m out for a walk.

Despite my best efforts, I know the car might still go in circles, get lost or hit the ditch once again. Fortunately, as a mystery writer I can always add another body, another cliff or maybe a wildfire to get it back on the road.


Linda Norlander is the author of A Cabin by the Lake mystery series set in Northern Minnesota. Books in the series include Death of an Editor, Death of a Starling, Death of a Snow Ghost, and Death of a Fox. Norlander has published award-winning short stories, op-ed pieces, and short humor featured in regional and national publications. Before taking up the pen to write murder mysteries, she worked in public health and end-of-life care. Norlander resides in Tacoma, Washington, with her spouse.

Writers, especially beginners, are often advised to “write what you know.” Everyone has a story to tell––maybe two or ten––and for many people, writing a book isn’t quite so daunting if you can draw on the huge body of knowledge and experience you already possess. Although that’s good advice, I find it much more interesting to write about what I don’t know. In the process of researching my books, I dig up a wealth of unexpected booty that fills my stories with riches I never imagined.  
 
I write traditional, historical mysteries in the Agatha Christie vein, set in the mid-1920s. I confess, I never liked history when I studied it in school because most of it centered on rulers, wars, and politics rather than the lives of ordinary people. But once I started researching this colorful period for my Lizzie Crane mystery series I got hooked. I realized how much I didn’t know, and I was determined to rectify that deficit.
 
For example, while doing research for my second novel What the Walls Know, I discovered that the first automatic gate was invented by an Egyptian guy named Heron about 2,000 years ago. He also invented a coin-operated dispenser for holy water. How cool is that? I also learned that some of the world’s great pipe organs have more than 30,000 pipes and seven keyboards, and this incredibly intricate instrument dates back to ancient Greece. Because the book features a cast of mediums and other occultists, I also delved into the Spiritualist movement at the early part of the 20th century––séances, Ouija boards, tarot cards, etc.–which turned out to be fascinating.
 
For my third, recently released book The Goddess of Shipwrecked Sailors set in 1925 in Salem, Massachusetts, I had to bone up on the clipper ship trade between New England and the Orient. In the process, I found out that these beautiful sailing vessels not only brought precious tea, spices, teak, ivory, and silk to the U.S. in the mid-1800s, but also opium (which was legal at the time). The Chinese goddess Quan Yin, sometimes considered the Buddha’s feminine counterpart, is said to have protected seafarers and ferried shipwrecked sailors to shore––hence the title for my book. Many of the ship owners whose clippers made it home safely didn’t want to pay taxes on the valuable goods they’d risked bringing from halfway around the world, so they slipped them past the revenuers via a series of smuggling tunnels built beneath the city of Salem by the country’s first National Guard unit.
 
Because my series is set in the Roaring Twenties and my protagonist, Lizzie Crane, is a jazz singer from New York City, I had to familiarize myself with the jazz musicians of the period. Before I began writing this series, I wasn’t a big fan of jazz but that’s changed as a result of hearing the greats such as George and Ira Gershwin, Bix Beiderbecke, and Louis Armstrong play. YouTube is a valuable resource for this. If you’ve never listened to “Davenport Blues” or “Rhapsody in Blue” I urge you to do so. For my fifth book in the series, When the Blues Come Calling (not yet published), I learned about the rapidly developing music recording industry, how records were made in 1926, and even a portable record player called a Mikiphone that could spin a 10-inch disc yet folded up small enough to fit into a good-sized purse.
 
For me, every day is an exploration into worlds unknown. During my journey, I’ve learned about jigsaw puzzles, merry-go-rounds, rose windows, ladies’ undergarments, Jell-O, New York’s subways, voodoo veves, and so much more. I never know what tidbits of trivia or historic fact I’ll stumble upon and how they’ll influence the direction of my stories. It’s so much more fun that simply recapping what I already know.


Skye Alexander is the author of more than forty fiction and nonfiction books. Her stories have been published in anthologies internationally and her work has been translated into more than a dozen languages. In 2003, she cofounded Level Best Books with fellow authors Kate Flora and Susan Oleksiw. The Goddess of Shipwrecked Sailors is the third in her Lizzie Crane mystery series. Skye is also an astrologer and tarot reader, and has trained as a medium. She’s best known for her many metaphysical books including Magickal Astrology and The Modern Witchcraft Book of Tarot.

We've all read hundreds of times of the importance of exercise, especially as we grow older. Who isn't familiar with the expression "sitting is the new smoking?" I won't go into the nitty gritty details of why sitting is so bad for us, except to mention it has been implicated in many conditions, from heart disease to nerve damage. And while our society is more sedentary these days, I think those of us who are writers have to pay special attention to the matter.
 
I don't love to exercise and won't initiate an exercise session on my own, which is why I take aerobic and yoga classes, either in person or via Zoom, three to five times a week. And I go for a walk occasionally. Luckily, there are many forms of exercise available to us, so we can choose those we really like. There's swimming, Pilates, dancing, skating, bike riding, various sports and working out in a gym to mention a few.
 
But the benefits of working out and staying in shape are significantly lost if we sit in front of a computer for hours at a time. It's essential that we get up and move every twenty minutes or so.

Just get movin'.

Go downstairs.

Get a drink of water in the kitchen. (And bypass the chocolate)

Walk around your office for a few minutes.

Do a few stretching exercises.
 
Having a pet helps keep us moving. I remember how my cat Sammy used to make his special sound, telling me he wanted a few treats or some attention. But now that Sammy's gone, I need to remember to get up and move on my own.
 
For those of us who get so involved in the creative process and forget to come up for air, you can set your alarm to remind you to get up and stretch. Or move. Sometimes moving around helps inspire new story ideas. Some of my plot problems are solved as I walk around my community.
 
When I sit too long, rising to my feet can be painful. There's no question that I feel better after exercising and moving about. If only I didn't have to do it so often! But that's the way the cookie crumbles, as they used to say. Moving and exercising are as essential to our well-being as eating a healthy diet and getting enough sleep.


A former Spanish teacher, Marilyn Levinson writes mysteries, romantic suspense and novels for kids. Her books have received many accolades. As Allison Brook she writes the Haunted Library series. Death Overdue, the first in the series, was an Agatha nominee for Best Contemporary Novel in 2018. Out of Circulation, the eighth book in the series, will be published in August, 2024. Other mysteries include the Golden Age of Mystery Book Club series and the Twin Lakes series. 
Her juvenile novel, And Don't Bring Jeremy was a nominee for six state awards. Rufus and Magic Run Amok was an International Reading Association-Children's Book Council Children's Choice and has recently come out in a new edition as the first in a series of four books. Rufus and the Witch's Drudge, the second in the series, will be published in 2024. 
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Marilyn lives on Long Island, where many of her books take place. She loves traveling, reading, doing crossword puzzles and Sudoku, chatting on FaceTime with her grandkids and playing with her kittens, Romeo and Juliet.

A rabbi, a priest, and a minister walk into a bar. Hearing someone speak that line, you might lean in, anticipating a good laugh. Maybe your stomach muscles tense, fearful you’re about to be offended. Your anxiety could be from wondering why you're failing to get the joke while everyone else rolls with laughter. Being funny is risky, but when you flop, the embarrassment subsides as soon as you leave the room. Writing funny, however, is more hazardous for a reputation because if it offends, it’s forever in print.

A number of years ago, I created a character named Nic Knuckles, a caricature of noirish crime-solving protagonists like Philip Marlowe or Sam Spade. Nic twice starred in published short stories and once won me a hundred dollars in a humor contest. I didn't consider myself a writer of humor until my then-editor at Level Best Books (LBB), Harriette Sackler, commented on the subtle drollness in my first LBB book, Do It for Daisy.

Perhaps Harriette was onto something, I thought, but I didn’t pursue the possibility. I had other fiction to write, and I wasn’t sure a character like Nic Knuckles could go 80,000 words and not grow tiresome.

It wasn’t until I realized that my fellow Besties were just too darn good at writing crime and mystery stories that I changed my mind. I mean, come on, how could I stand out against so many talented writers of fantastic novels? I needed a niche, and perhaps I really could find a bigger audience by writing humorous crime mysteries. I pitched a series to LBB with Nic Knuckles as the continuing protagonist, and Harriette was all in, giving me a three-book contract in late 2022.

(While it is suspicious that Harriette left Level Best Books soon after performing the developmental edit on the Nic Knuckles manuscript, I genuinely believe it was for the dogs.)

Not that Nic wasn’t problematic from the start. The style I was emulating was dated and prone to misogyny. A few years ago, when I was workshopping a Nic Knuckles short story, a younger female member of my critique group pointed out that Nic’s use of the word dame to describe women was offensive. I made the change but wondered what my friends at Dames of Detection would’ve thought. That was a lesson learned. Humor is often generational, and yesterday's funny gag might be today's cringe-worthy faux pas.

I’d always taken pride in my progressive politics and history of supporting the social causes of women and minorities. But I’m also an old white guy from the Midwest who has stuck his foot in his mouth more than a few times trying to be funny. Therefore, after I finished writing the first draft of Big Scream in a Small Town, employing a diversity of editors and beta readers was essential to keep me from unintentionally causing hurt.

My developmental editor for the novel was a young woman with a great sense of humor who just as quickly pointed out gags that fell flat. My editor at LBB, Ms. Sackler, with her broad view of the current publishing environment, provided another defensive layer against tactlessness. Before submitting my final draft, I hired a sensitivity reader and asked the woman to scrub the manuscript again.

The sensitivity reader was a good investment, and she identified a few remaining offenders. She wasn’t perfect, however. In the story, I mentioned that Nic Knuckles was a proud graduate of Bernie Madoff High School. The sensitivity reader thought I was disrespecting high school graduates and suggested I change it up. After I pointed out that having a school named after one of history’s greatest fraudsters was the gag, did she realize she missed the joke.

Another lesson learned. Humor can be easily misconstrued, so be prepared to defend or defuse.
The comedian and podcaster James Creviston talked about the difference between blue and clean comedy, pointing out the multiple variations of each. Although his experience was as a stand-up comedian, his observations were relevant to writing funny.

“Clean comedy is a type of comedy that is free from profanity, sexual content, and other topics that may be considered inappropriate for all ages. It is often referred to as family-friendly comedy. Clean comedy can be further divided into four types: club clean, TV clean, church clean, and squeaky clean. Club clean is something that would not offend most people, with no cursing or sexual references. TV clean is comedy acceptable on network television, where innuendo is acceptable. Church clean is tight with no innuendo or hint of obscenity. Squeaky clean are jokes grade schoolers can tell each other.”
 
I’d have to say the first draft manuscript of Nic Knuckles spouting his observations about his experiences was probably club-clean. After three layers of review encouraged me to kill several of my darlings, Big Scream in a Small Town now reads TV clean. Church clean, it’s not, and I'm good with that. Otherwise, Nic Knuckles would have no unique identity and not be humorous, just odd.
 
Another thing I discovered in bringing Nic Knuckles to life was that some people would prefer to avoid mixing humor with their favorite genre. Big Scream in a Small Town is faithful to Richard Chandler's Ten Commandments of the Detective Story, and Nic Knuckles is the prototypical noir investigator, but presenting him as an American cousin of Inspector Clouseau was off-putting to some early readers.

That awareness created a new concern. How do readers, thinking they just bought a classic crime noir, not feel cheated when I fail to deliver on that expectation? I hoped that authoring the book as Nic Knuckles would be sufficient a clue that the story was a parody. My promotional campaign is built around social media using short, funny videos underscoring Nic’s peculiar approach to solving crime. If that doesn’t do it, caveat emptor will have to be my defense.

If you're going to write funny, write what you think is funny, but be aware of the risks. There’s a good chance there’s an audience with a similar sense of humor who’ll become loyal readers. Although I suspect the less clean or quirkier you are, the smaller the likely readership.

How well will my sense of humor play with readers? I don’t know. Check with me in a year, and we can compare book sales. Then we’ll see whether I’m laughing or not.
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Hey, did you hear the one about the writer of cozy mysteries who didn't like cats or dogs? Yeah, I know. The premise is too unbelievable to be funny.

William Ade was born and raised in a large family in small town Indiana during the fifties and sixties; an experience that strongly influences his writing. While attending graduate school at the University of Illinois, he met and married his wife, Cindy and following graduation, they headed to the East Coast. After settling in Northern Virginia, they raised two children into adulthood. Those years of love and life also influences many of his stories. 
Ade’s latest novel, written as Nic Knuckles, is Big Scream in a Small Town and is the first in the Nic Knuckles Collection published by Level Best Books (LBB). LBB also published his crime novel, Do It for Daisy in 2021. Other novels by the author includes, The Man Who Fixed Things (2023), Art of Absolution (2019), and the serialized The Inevitable Failure of Jonathan Golding (2022). His short story collection, No Time for His Nonsense was released in 2019. His short stories have appeared in Mysteries Unimagined, the Rind Literary Magazine, The Broken Plate, Black Fox Literary, Mindscapes Unimagined, and the 2018 and 2019 Best New England Crime Stories. His short story, Punch Drunk, will be part of the 2023 Chesapeake Crimes: Three Strikes – You’re Dead anthology.

What’s your writing process? This is what works for me. If something resonates with you, give it a try. If it doesn’t work with your schedule and lifestyle, stop and try something else. With this method, I can usually write three mysteries a year.

My first novel took five years to write and another two to get published. I edited each little paragraph and chapter, and I did hundreds of rewrites. The revision focus was good, but I never got around to finishing the book. I also read every writing book I could get my hands on. I finally picked the ones that spoke to me and donated the rest of them to the Friends of the Library. It was time for BICFOK. I learned this from the amazing Alan Orloff. BICFOK is butt in chair, fingers on keyboard. Tune out the distractions and write.

Writing is a business, and most readers read a lot. For me, seven years of prep was too long. I knew I had to find a way to speed it up if I wanted to be a published author with more than one book credit.

I write cozy mysteries, and they’re generally between 71 and 75k words. I write a series, so I try to think about the next book, and I also make sure to mention something that happened in a previous book to remind readers of past adventures or to peak their interest if they haven’t read the earlier books.

Getting Started - I spend about 2-3 weeks doing a summary outline for each book. This helps me see plot holes. It helps me know where to add clues and red herrings. It also lets me plan out the murder or caper. I know who does it and why. It also keeps me from getting stuck in the saggy middle of the writing process. I know what goes in each chapter. This summary also helps me write the dreaded synopsis later. It is the plan or roadmap when I have to pick up the project on different days.

The Outline - When it’s done, I look over each chapter to make sure there’s enough suspense. Sometimes as writers, we want to move on to the next thing, but you need to slow down the action to build tension. I also highlight the comic events and the romance to make sure they’re sprinkled throughout the story. I also check to make sure there are enough motives for some of the other characters, so it might be plausible that they are the guilty party.

The Characters - I have a spreadsheet for each book in the series. It has a column for each book. I list basic facts for each person to make sure I keep important attributes consistent. Examples include what kind of car they drive, personality traits, hair color, eye color, etc. I also have a second chart to list key places in the book.

The First Draft - When I sit down to create the first draft, I just write. I don’t go back and edit and revise. I just write. This is what the great Mary Burton calls the “sloppy copy.”

During the writing time, I set a word count goal to keep me on target. I usually do 1k on days I have to work and 3k on weekends and holidays. If I stick to my schedule, I can usually have a rough, first draft in a little over two months. Life does get in the way sometimes. When that happens, I try to write ahead of my word count goal. If I can’t plan ahead, I don’t beat myself up over it.

I also don’t stop to research or verify things while I’m writing. I make a note in the manuscript and highlight it. That way, I know to go back and check on it during revisions. Keep writing.

Time for Revisions - When I finish the first draft, I let it sit for a couple of days. Then I jump into revision and editing mode. I usually do three or four full revisions on the entire book. I print it out and proofread on paper. I run spell check each time there is a round of revision to catch any little typo gremlins that found their way into the story.

Beta Readers and Critique Group - When I think I’m done with the revisions, I let critique or beta readers give it a whirl, and they always provide good feedback. When I get their suggestions back, I do more revisions and proofreading.

Editors - I am so fortunate to have a fabulous agent and great editors, so I don’t pay for an independent editor anymore. But before I had these amazing resources, I did hire an editor to go through my manuscript. You often get one chance to pitch to an agent or publisher, and I had to make my work the best it could be.

Each round of editing leads to more revisions and proofreading. (Spoiler alert: When the publisher gets the manuscript, there are several more rounds of revisions and proofs to check.)

The Agony of Deadlines - One book in each of my three cozy series comes out each year. I don’t write well under a lot of pressure, especially of a looming deadline. I try to write ahead of my deadlines, so I have time for the hours of revisions ahead of my contract deadlines.
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Flexibility and Grace - I create my outlines and daily word counts as tools to keep me on track. If I need to add or remove a chapter to make the book better, I just make a note on the outline and write on. And if I don’t make my word count one day, it’s not the end of the world. Life happens. I try to get back on track during the next writing session.
This is what I’ve found works for me. Try pieces and parts that appeal to you but know that your style is your own. If something doesn’t work, try another technique.

Through the years, Heather Weidner has been a cop’s kid, technical writer, editor, college professor, software tester, and IT manager. She writes the Delanie Fitzgerald Mysteries, The Jules Keene Glamping Mysteries, and The Mermaid Bay Christmas Shoppe Mysteries.She is a member of Sisters in Crime – Central Virginia, Sisters in Crime – Chessie, Guppies, International Thriller Writers, and James River Writers.

Originally from Virginia Beach, Heather has been a mystery fan since Scooby-Doo and Nancy Drew. She lives in Central Virginia with her husband and a pair of Jack Russell terriers.

It’s hard to believe it’s already the end of 2023, and the new year is only a few days away. Time has passed quickly, and while that’s a cliche, it seems especially true this year.
It’s been twelve months since I wrapped up my cancer treatments, having spent all of 2022 going back and forth to Baltimore every week until I finally turned the corner at Thanksgiving that year. While some memories are beginning to fade around the edges from that traumatic time, much of it still feels like it just happened, even though I now have the whole of 2023 under my belt without anyone poking me or pumping me full of chemo yuck.
My focus this year has been on rebuilding, repairing, reevaluating, restoring, and reassessing every aspect of life and work.

It’s been a lot of hard work to catch things up, get back to normal, and rebuild every aspect of life from zero, all the while dealing with the small whispers in the back of my mind I could be called back down to Baltimore any minute to start treatments up again. But after each checkup, I gained more confidence that I was truly done with all that and out of the woods. PTSD is common among survivors, and I’m here to tell you, it’s a thing.
As a former runner, it was such an achievement, both mentally and physically, to simply start walking every morning. I could only make it to the corner and back at first, then around the block, and now I can go as many miles as I want.

That training came in very handy when I made it to Bouchercon in San Diego, where I connected with over forty “Besties.” I was fit and ready to meet with so many of you for one-on-one meetings on multiple days. Our “selfie” photos were so popular I had people messaging me when they hadn’t seen one of you yet (I even had one person ask if I could do one with Rhys Bowen….not a Bestie…). We went “mystery world viral” at Bouchercon! It truly was a magical trip and a highlight of my year, spending time with so many of our authors. We’re so proud of you. Seeing so many of you in one place was amazing. 

In November, I was invited to be the keynote speaker at an oncology/hematology conference in Hershey, Pennsylvania. The attendees were all healthcare professionals, everyone from medical staff to insurance firms to legislators who advocate for cancer patients and research funding on Capitol Hill. The theme of my speech was staying positive through cancer treatments. It was my first time giving an hour-long speech, an experience I’ll never forget. The audience consisted of people who have dedicated their careers to helping people like me, people who deal with this devastating disease on a daily basis and I had them laughing and crying at different points during my speech. But the main point was they appreciated hearing about my experience and what things are like from a patient’s perspective, especially a patient who remained positive through some of the worst medical experiences you can imagine. The title of my speech was “What Kind of Life Do You Have?” and my answer is I have a pretty great life, regardless of everything that’s been thrown my way from the very beginning to today. It’s a well-known thing in their line of work: patients who stay positive almost always fare better through treatment than those who don’t. I believe this concept applies to everything we choose to take on in life.

Writing this speech (9,000 words!) wasn’t hard for me. I have always lived a life of gratitude and thankfulness. Every morning, it is my habit when I first wake up to say “Thank You,” and then I list all the things I’m grateful for. My list begins with the new day, my good health, and my loving family, then radiates out to include things like living in a beautiful and safe place, owning a home, having friends I can count on, working in a career I love…the list goes on. Every day on my list, I offer thanks and gratitude for Level Best Books, those of us who own and work at the publishing house, the business we’ve built, the relationships we’ve developed, and the ever-growing list of talented authors we publish.

Verena and I could not have predicted what this year would look like eight years ago when we decided to take on this press that was ceasing operation. I saw a post on Facebook, and for some reason, I knew we had to have it. A few weeks later, I was on my way to Boston to sign the papers to take ownership. Acquiring LBB was one of the luckiest and best decisions ever.
Each year, we grow by learning, improving, and refining, all while remaining grateful for all those stages of growth. It’s a business, so there are some days that are less fun or more challenging than others, like everything in life, but overall, we are so proud of where we are right now. Most of all, we are incredibly excited about the future. 

This was also a year of transition and change. We went from three partners to two and reassigned those affected authors to new primary editors. I am so grateful to be working with my newly acquired writers, and now the LBB workload is evenly distributed. In May, right after the convention, with a full year’s notice, I resigned from my paid position at Malice Domestic, at which time I turned over all duties, passwords, assets, sites, platforms, etc., and had multiple meetings, zooms, and calls to help ease the transition to my replacement(s). It was a difficult decision to leave a position I’d held for so long, but once you’ve been through what I have, things become very clear in the aftermath. While giving up a regular salary, I was stretched thin workwise, and the workload on the Malice board was nowhere near evenly distributed. I decided my focus going forward will always be on my health (physical and mental), my family, my writing, and our publishing business. That’s more than enough for anyone to manage well.

My “retirement” from convention planning didn’t last long, however. Two months later, Bouchercon recruited me to join their board, and I will co-chair Bouchercon in Washington, D.C., in 2027, along with Cheryl Head. I’m honored to have been asked and am excited to be working with a professional group of mystery convention planners—with an evenly distributed workload! 

In 2023, Level Best published 138 books. Each was read multiple times: to be acquired, for developmental edits, line edits, and proofread. Each book was formatted for publication in multiple formats by our wonderful production editor, who will always and forever remain nameless and anonymous. Cover art was created in-house for all but a handful of our titles (by me!).  In most cases, two to three designs per title were created for consideration (400 or so cover designs!). While, as the publisher, we have the final say on cover art, we like to see what our authors think and offer a variety of choices. Advance Review Copies were created, printed, and shipped to assist our authors in the promotion of their titles. We submitted our titles for review and award consideration and kept our fingers crossed for you all.

We were so proud this year to have had titles nominated for the Agatha, Lefty, Silver Falchion, Shamus (winner!), and Anthony Awards (I hope I’m not missing any!). We are thrilled by every nomination and good review our books receive. We are so excited every time we hear something has gone well for one of our authors, that they’ve had a new success, found a new fan, or gotten some well-deserved recognition, local press, or shout-out for their hard work. Our daily focus is to maintain the good energy going forward and keep the tide rising, the one that’s lifting all of the boats.

All of this is possible due to the dedicated staff at LBB. Verena and I are very grateful for Deb, the rest of our staff, and our wonderful in-house agent, Cindy Bullard. They all work hard daily to move the business forward, keep things under control, maintain editor sanity, and all matter of other things that may come up, no matter the situation.
We’ve been working on things behind the scenes to ensure 2024 is our best year yet. We’re very excited about the new marketing initiatives we’ve been developing, and as always, we are seeking new opportunities for our authors. More to come on all of that.

Now, when anyone asks me what kind of life I have, I do not hesitate. I’m grateful for everything that has happened, good, bad, and otherwise, and I’m very excited to see what this new year brings us all. 

Here’s to a happy and healthy 2024!

All the best and big love,
​
Shawn
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Shawn Reilly Simmons is the author of nine novels in the Red Carpet Catering mystery series featuring Penelope Sutherland, chef-owner of a movie set catering company. She’s also written several short stories which have been published in various anthologies, including “Burnt Orange” in Passport to Murder: the 2017 Bouchercon Anthology; “The Prodigy” in Mystery Tour, the Crime Writers' anthology.

In addition to her own writing, Shawn is President and Managing Editor at Level Best Books, a crime fiction press with a roster of roughly two hundred authors. She hosts a weekly podcast, Five Compelling Questions with Shawn, where she chats with writers across all genres about writing.  She is also a co-host of the YouTube series We Are What We Read, which features authors highlighting books that have inspired and influenced them and their careers.

She is a member of Sisters in Crime, Mystery Writers of America, the International Thriller Writers, and the Crime Writers’ Association in the UK, and a founding member of The Dames of Detection. Shawn served on the Board of Malice Domestic for over twenty years (2002-2023), where she welcomed hundreds of mystery writers and fans to the Washington, D.C. area each spring to celebrate the genre of Traditional Mystery and Agatha Christie. 

Shawn lives in historic downtown Frederick, Maryland, with her husband, son, and Dino, their very huggable French Bulldog.    

As I write this, I still can't believe my first cozy crime just published this December.
 
I love mysteries and always wanted to write one myself.
 
At the beginning of the pandemic, I had a lot of time on my hands, as many people did.
 
So I got to writing. Three and a half years later, Death in the Ozarks will be published by Level Best Books December 12.
 
So how did I get here?
 
My writing journey began with a novel idea way back in March 2000. That book became my Jewish LGBTQ historical fiction novel Caged Time I self-published with Mirador Publishing in February 2021.
 
From my research, I realized to get a literary agent and a publisher could be a bit easier if I already had something published, even self-published.
 
In June 2020, I self-published my business book, The Accidental Change Agent, a curated series of essays on a wide range of topics from communications, digital transformation, living abroad and more.
 
As the pandemic began, I sat down to write a murder mystery/cozy crime. I love reading mysteries and always wanted to my hand at my own. I did outline the basic story and the characters before I began writing. In a cozy crime, it is important to be clear on who could be the murderer and why and where before you begin. I sketched out several scenarios as I wasn't quite sure. But I also used the ideas to sprinkle clues throughout the book. The mark of a good mystery is allowing the reader to help solve the crime. You shouldn't hide key details or clues from them, in my opinion.
 
I was astounded that I finished the first draft in about 3 months. The writing just flowed, which it doesn't always.
 
So what next?
 
I reworked it myself but I believe it is essential to have an outside editor. You are too close to your writing.
 
I found a great editor through Reedsy and she helped me rework the story dramatically.
 
That's another important thing about writing. Your goal is to tell a great story, not cling to every word in the first draft. You won't be successful. Believe me, I know!
 
The editing and rework took some time, but by the beginning of 2021 I felt I was ready to try and pitch Death in the Ozarks to literary agents and small publishers.
 
I kept an extensive spreadsheet of people I had contacted once I started querying April 2021. In total I contacted 66 publishers or agents. I was so lucky to find my wonderful literary agent Cindy Bullard at Birch Literary. Finding her was really a quirk: it was through PitMad on Twitter (now X). Writers pitch with hashtags and agents and publishers like posts that they want to find out more about.
 
She has been such a strong supporter and was able to sell Death in the Ozarks to Level Best Books (in a three-book deal) in May 2022 and to Blackstone Audio for the audio version in July 2022.

If you want to know if your house is infested with demons, place fine ashes around your bed and in the morning the demons’ footprints will appear like chickens’ footprints, in the ash. If you want to see the demons, take the afterbirth of a firstborn female black cat, born to a firstborn female black cat, burn it in the fire, grind it and place it in your eyes, and you will see them.

That advice might sound like something out of the Brothers Grimm but it’s actually from the Talmud, the ancient, encyclopedic compendium of Jewish knowledge. The sages of nearly two thousand years ago clearly accepted demons—and more—as real enough to be the subject not just of lore, but of law. For example, putting out a light on the Sabbath was forbidden—but exceptions were allowed for one who was fearful of heathens, robbers, or an evil spirit. The distance one could walk on the Sabbath was also proscribed, with a limited extension allowed for one who was forced beyond the standard limit by factors including evil spirits. And one was forbidden to enter ruins because they were often inhabited by demons.

Discovering all this during my continual study of Jewish texts was a revelation. I’d long loved fantasy – I’m old enough to have grown up not on Harry Potter but on The Lord of the Rings – and I’d also long identified with my Jewish faith. But the idea that these two, fantasy and Judaism, might mix seemed to me as unlikely as mixing chocolate and peanut butter (which is why I’m not today a multimillion-dollar candymaker). Of course, they do mix. Publishers have recently given us The Golem of Hollywood by Jonathan Kellerman and Jesse Kellerman, The Golem and the Jinni by Helene Wecker, and The Frozen Rabbi by Steve Stern, for example.

Armed with this insight, I continued to read Jewish folktales (Howard Schwartz is the master reteller of these tales, if you’re interested) but in a new way: as rich ground upon which I might build a modest contribution of my own. That’s how my novel of Jewish fantasy, The Hidden Saint, came to be, inspired by bits of Torah and Talmud, rabbinic legends, folktales, and more.

I knew I wanted my novel to be something other than a typical fantasy clothed in a veneer of Jewish characters and settings. That would have been mere costume Jewry. So I first had to answer another question: what makes Jewish fantasy Jewish? That took me back to those ancient Sages.

What makes their acceptance of evil spirits, ghosts and demons so remarkable was that theirs was not a pagan world with competing supernatural forces, but a monotheistic world. They had to find a way to make a world governed by an ethical, benevolent God consistent with a world of demons and evil spirits. So did I. It’s a puzzle quite similar to the question of why evil exists. A traditional Jewish answer is that the presence of evil is necessary for man to choose good—and that free choice is central to the tradition. Demons and evil spirits also can be looked upon as a mechanism for evil, much as are disease, hurricanes, and wild animals.

But the Sages didn’t just tolerate these supernatural creatures. They used them to validate principles that are linchpins of Judaism (and, in many cases, have become universal values). For example, the Sages say that one is not permitted to allow the ritual fringes of his shirt to drag along the ground in a cemetery, so as to avoid insulting the dead, who can no longer honor God by performing the commandment to wear them. That in turn leads to a discussion as to whether the dead are indeed aware of the living.

To prove that they are, the Talmud relates a series of ghost stories. But these aren’t horror tales. The most elaborate of the set validates the important Jewish values of justice, care for orphans, and honor to parents. A trustee of orphans’ money has died and the money can’t be found, leading to accusations that the dead man stole it. His son goes to the cemetery to ask his father’s spirit what happened. The father assures him that he didn’t steal the money; he buried it for safekeeping and tells his son where to find it. The son also learns that his childhood friend, also deceased, has been denied entrance to heaven because of sins committed in this world. When the proud father tells his son how highly the son is regarded by heaven, the boy replies that on the strength of that regard, heaven must allow his friend to enter. And that’s what happens. It’s a ghost story, but a very Jewish one.
​
It also inspired one of the set pieces of The Hidden Saint, a scene in a cemetery about spirits with very earth-bound grief to overcome.
 
******************************
 
Mark Levenson is the author of The Hidden Saint (Level Best Books, 2022). His Jewish-themed fantasy writing has won honors from The National Foundation for Jewish Culture and the American Jewish University, as well as a Union Internationale de la Marionnette-USA Citation of Excellence, an award founded by Jim Henson.

Everyone who reads Charles Dickens’s unfinished novel, The Mystery of Edwin Drood, inevitably finds themselves wondering how the story would have concluded had the author lived to complete it.  Did John Jasper, the sinister choirmaster of Cloisterham Cathedral, strangle Edwin, his rival for the hand of the delightful Rosa Bud, dump the body in the Sapsea Family Tomb and dose it with quicklime to hide his crime?  Did the ruby-and diamond engagement ring in Edwin’s breast pocket survive the power of the corrosive and lead to the decomposed body’s identification and Jasper’s capture?   
 
Dickens steers the reader towards believing that the answer to both questions is ‘yes’.  Sir Arthur Conon Doyle, however, someone who should know what he’s talking about, claimed that the mystery writer’s task is to conceal the key idea and emphasize everything which makes for a different explanation.  Was Dickens, then, ladening his text with red herrings to put the reader off the scent, so to speak?  Did he have in mind an ending that would turn everything on its head?
 
Of course, we’ll never know.  Dickens died and the novel was never finished. That, though, has not stopped the speculation.  Quite the opposite, in fact.  The number of attempts in the one hundred and fifty years since his death to discover the ‘true’ ending is mind-boggling.  A 600-page bibliography published in 1998 lists almost two thousand articles and books seeking to unearth clues in the text, decipher how the plot might evolve, and, of course, discover Edwin’s fate.
 
And it was not just Dickensian scholars who were consumed with finding the Drood Holy Grail.  A PBS Masterpiece production, airing in 2012 and featuring Matthew Rhys (The Americans) as John Jasper, presented its own ending to the novel, while the Robert Holmes Broadway musical, Drood, which began its second run in 2012, invited the audience to choose the ending.  Most surprising of all, though, was the mock trial of John Jasper for the murder of Edwin Drood held in King’s Hall, Covent Garden, in 1914. The jury, under the foremanship of George Bernard Shaw, returned a spineless verdict of manslaughter, at which point the judge (G. K. Chesterton of Father Brown fame) promptly fined everyone, except himself, for contempt of court!
 
The half-finished story enticed, begged almost, anyone who read it to come up with their own ending, and I was no exception.  I donned my deerstalker, lit my meerschaum pipe and settled down to see what I could discover in the completed half of the novel.  Nothing probably.  After all, this vein of Drood gold had surely been panned to extinction by this point.  But hold on!  What was that on page 151?  My blood racing, I reread the passage.
 
In a touching scene, Edwin and Rosa decide to separate, and the engagement ring, intended for Rosa’s finger, remains in Edwin’s breast pocket.  And that is the problem.  The young man would never leave such a priceless treasure in his coat pocket.  He’d lock it away in his lodgings for safekeeping.  How then, could the gold and precious stones – that weren’t in Edwin’s pocket – be found on his body and cause the murderer’s downfall?  Suddenly, the vast majority of proposed continuations collapsed to dust!  I’d struck gold!     
 
Once the euphoria of spotting this flaw in the plot had worn off, I had to decide what to do next.  Publish it.  That’s what I would do.  To my delight, my finding was published.  To my despair, it appeared as a two-page comment deep inside a periodical where I knew it would be lost and forgotten as soon as the type was set.  It deserved more.  But what?
 
The shift in location of the ring from pocket to lodgings opened up a raft of new possibilities for the ending to Dickens’s novel.  I determined to find the most plausible.  The one I finally fastened on is fully consistent with the first half of the Drood story (a must for any continuation), avoids the unconvincing placement of the ring in Edwin’s pocket, and reflects Dickens’s approach to storytelling as evidenced by his other novels.  A promising start, perhaps, but was this enough?
 
Having never written a novel before, the idea of transforming my continuation into a fill-blooded work of fiction seemed far fetched.  But the thought prayed on my mind, and at two o’clock one morning, I had my Eureka moment.  Dickens didn’t just die before completing the Drood story; he was killed to prevent him from completing it.  An intriguing premise, but now I needed a motive for the author’s murder and a protagonist clever enough to find something in the Drood continuation to expose Dickens’s killer.
 
The more I read about Dickens, the more I became aware of a darker side to his life.  In the space of a year, he met Ellen Ternan, a London stage actress, half his age; made her his mistress; and separated from his wife of fourteen years and ten live births.  It’s even rumored that he fathered an illegitimate  child with his young paramour.  Fertile ground here, then, for secrets and motives, more than enough for me to embed my Drood continuation in a broader mystery surrounding Dickens himself. 
 
As for my protagonist, I wanted someone who was far from fiction’s stereotypical detectives, neither a Sherlock Holmes nor a Sam Spade.  I settled on a diffident, middle-aged, retired bookkeeper (think of a latter-day Mr Pickwick).  Dunston Burnett, as I named him, does, however, have two sleuthing talents.  He has the uncanny ability to join the dots in new ways, and even conjure up as yet unseen dots to create a picture invisible to everyone else.  Unlike Sherlock’s always-correct deductions, Dunston’s ‘pre-ductions’, as his policeman friend calls them, are usually wrong but on the odd occasion when they are right, they are breath-takingly so.  And he can be determinedly stubborn.  Once he gets his teeth into something, he has the perseverance of King Bruce’s spider.
 
The Drood continuation, the motive behind Dickens’s murder, and my amateur sleuth are the building blocks that underpin my debut novel, Immortalised to Death.  The glue holding them together is the tension running throughout the story between Dunston’s limited detective skills – pre-ductions and tenacity – and the apparently perfect crimes confronting him.  How does he fare?  It’s mixed.  His envisioned conclusion to The Mystery of Edwin Drood takes him a long way to solving the bigger mystery surrounding the death of Dickens, but not all the way.  It’s not until the very last chapter that an unexpected event reveals to Dunston who really took the life of England’s foremost novelist.
 
Immortalised to Death was released on September 26, 2023, and is available on Amazon.com and Bookshop.org.  To learn more about Immortalised to Death and the other two books comprising The Dunston Burnett Trilogy (Fatally Inferior, forthcoming September 2024, and The Séance of Murder, forthcoming September 2025) please visit my website: lynsquiremysteries.com. 
 

 
Lyn Squire was born in the UK and educated at Cambridge University.  He now lives in Springfield, Virginia.  During his career as a development specialist, he served as Director of the World Bank’s Research Department and was the founding president of the Global Development Network, an organization dedicated to promoting scholars from developing countries.  He now writes mysteries.    

​When I wrote “Nick Of Time,” a Nick Donahue Adventure, I created my character as an intelligent, suave, and good-looking guy who works as an International Blackjack player. If it sounds sexy and a little bit risky, it is. Nick, a good guy, often finds himself caught up in circumstances that have more to do with danger than with Blackjack—like coming to the aid of a beautiful woman in distress, Marina DiPietro, and getting kidnapped for his trouble, or helping his brother, Alex, a banker at Suissebank, avenge the death of a co-worker, or taking on the New York mob, and it’s capo, Tommy B Bonnanniao. As I said, professional gambler, not an action hero. And the settings, Venice, Zurich, and Monte Carlo, make things more exotic and intriguing.
 
Hmmm, I thought like so many authors before me, with all this swirling around Nick, this story would make a great movie. I believed these characters could jump right off the page and onto big screens, and small ones, everywhere. What director or producer would want to pass up such an opportunity?
 
With that in mind, I decided to make it effortless for any one of them to just pick up “Nick Of Time,” and go with it. And, to make it even easier, I did my own pre-casting for the main characters.
 
--Tom Hiddleston as Nick Donahue, a professional Blackjack player who travels the world playing the game. Nick is tall, dark, and handsome, as well as a little bit quirky, which is part of his charm. Impeccably dressed in a black tuxedo and bowtie, Nick brings a sense of humor to the table, until that is, he has to go all in in a high-stakes game to save Marina’s life.
If Tom isn’t available, although I can’t imagine he’d turn down the role, there’s always Luke Evans who could fill in nicely.
 
--Gal Gadot as Marina DiPietro, a tall, willowy knockout, and an insurance recovery agent, Marina entices Nick to help her to retrieve a package of gems stolen by an infamous gang of jewel thieves. As you might imagine, things don’t go as planned, and after a worldwind of missteps,  Nick winds up having to rescue Marina. If Gal is otherwise engaged, Elizabeth Debicki could step in. And, she has a history working with Tom Hiddleston.
 
--Chris Pratt as Alex Donahue, Nick’s younger, handsome brother. Alex, a banker working for Suissebank in Zurich is at a loss as to what has happened to his former boss and colleague who has disappeared. He believes the bank has had him killed and not transferred as they claim. When Alex asks Nick for help, things spiral out of control as Nick blows the whistle on the bank and its money-laundering scheme for its biggest client, the New York mob. Chris Pine would do nicely in this role, as well.
 
--Kevin Costner as Tommy “B” Bonnanniao, Capo of the New York mob, Tommy B expects Nick to win at a high-stakes Baccarat game in Monte Carlo and make good on the money he lost in a money-laundering scheme because of Suissbank’s downfall. If Nick doesn’t come through, Marina could lose her life. Rough around the edges and used to getting his way, this character could also be played by Stephen Baldwin or Arian Moayed.
 
The option is open, so if you’re interested in a high-octane project, let me know.
 

When life gives you lemons…

Turns out there’s a lot more to lemonade than juice and sugar, which is part of the reason historian Christian Shaw likes a glass after doing yard work in The Stuff of Murder. Christian, the director of the Unity, Connecticut, Historical Society, finds herself in the middle of a murder case when a fading movie star drops dead on a shoot in town – and ends up tracking the killer with her knowledge of historic household items. And the occasional break for lawn mowing and lemonade.

It’s a good choice for this household historian.

While people have been enjoying cold citrusy drinks since at least the tenth century, lemonade has picked up surprising resonance for a simple beverage.

Starting with the lemons. First, life hasn’t been giving us actual lemons all that long. We know there were citrons, and other kinds of citrus in Greek and Roman times…but there’s nothing that’s verifiably a lemon until the 12th century. The treat from the tenth-century, enjoyed by the Jewish community in Egypt, was probably a citron slushie. Yum.

There’s no record of the person who actually took lemons and made lemonade, but we can verify that it was first sold as a soft drink in Paris on August 20th, 1630. It was made with sparkling water, sweetened with honey (the New World cane sugar industry wasn’t in full swing yet) and sold from tanks on the vendors’ backs. It was such a hot property that the vendors unionized into the Guild of Limonadiers!

Peak Lemonade came in 19th century America. The first U.S. recipe for lemonade was published in 1824, in the Virginia Housewife, and included egg whites. Egg whites or no, for most people it was an exotic treat. Remember, in most places, the lemons had to be shipped in or grown in a hothouse, so it was expensive and exciting.

That might add a little context to the whole temperance lemonade frenzy.

As hard as it is to imagine anyone seriously thinking a workingman would give up his nightly snort for a soft drink, it might be slightly less off the wall if the substitute were something seen as a treat. Maybe.

Still, by the late 19th century, the temperance movement was doing its best to make the case, pushing the slogan: “Goodbye to liquor, here’s lemonade!” It may not have worked for the guys at the corner bar, but it was the rule at the White House, where First Lady Lucy Webb Hayes (inevitably known as Lemonade Lucy) poured out the soft stuff. When she and husband Rutherford B. left, temperance went with them, until Prohibition made it mandatory.

By the end of the 19th century, just plain lemonade wasn’t all that exotic any more. Fortunately, there were new variations. “Portable lemonade” was what we recognize as drink mix: powdered lemon juice, sugar, and citric acid, useful for the frontier and even the military.

And then there’s pink lemonade.
            
There are two origin stories: one is fun and one is icky. The fun one is that someone at a circus accidentally dropped red cinnamon candies in the vat of lemonade and eureka, a cool new drink was born. The icky one? One of the trapeze girls accidentally rinsed out her red tights in the water meant for lemonade, and nobody had time to go get more water…so they made it into lemonade and sold it anyway. Another version of that story is even worse: it’s the clown’s socks!

However we ended up with pink lemonade, it still fits perfectly with the idea of making the best of a setback. So, when life gives you lemons – and wet clown socks! – make lemonade!


Kathleen Marple Kalb likes to describe herself as an Author/Anchor/Mom…not in that order. An award-winning radio journalist, she currently anchors on the weekend morning show at New York's #1 news station, 1010 WINS. She’s the author of several mysteries, historical and contemporary. Her short stories appear in anthologies and online and have been short-listed for Derringer and Black Orchid Novella Awards. She grew up in front of a microphone and a keyboard, working as an overnight DJ as a teenager in her hometown of Brookville, Pennsylvania…and writing her first (thankfully unpublished) novel at sixteen. When her son started kindergarten, she returned to fiction, and after two failed projects, some 200 rejections, and a family health crisis, found an agent for the third book—leading to a pandemic debut. In hopes of sharing what she’s learned the hard way, she’s active in writers’ groups, including Sisters in Crime and the Short Mystery Fiction Society, and keeps a weekly writing survival tips blog. She, her husband, and their son live in Connecticut in a house owned by their cat.           

​I do not know you. But if you’re attempting to write a novel in 30 days, I know a couple of things about you. One is, you’re insane. The other is you love books, writing, and words. And for this I think you’re a good person, and worth a bit of my time.

But I won’t kid you. What you’re trying to do is very difficult. Especially if you want to create something good. Perhaps these few hints of mine will help.
​

• First, writing is a job, like emptying porta potties. This means you won’t like it every minute, but after it’s done, you’ll have something to show for it. Unlike the aforementioned job, this one probably won’t pay you, but will have other compensations. If it didn’t, this might as well be National Porta Potty Emptying Week.
• You probably know your daily goal – 2500 words or whatever. If you don’t have one, don’t bother reading any further, because without a daily goal you just won’t make it. You’ll start to fall behind as it gets more difficult, and you’ll end up with a chunk of a book at the end of the month. What fun is that? Chunks of books are kicking around everywhere, in drawers, attics, and on hard disks in folders marked “The Further Adventures of Moby Dick – Chapters 1-6.”
• A time to write is important. If it’s every evening from five to eight, then it’s every evening from five to eight. For this month, cancel your Zumba class and postpone your dialysis.
• You're allowed a day off, but it must be a designated day off. The porta potty guy doesn’t get to stop work when the inspiration isn’t there.
• A place to write is also a big help - one without distractions such as phones, Internet connections, humanity. Writing is not for the gregarious. Sorry, you didn’t know that? You’re probably confusing the writer who’s chatting with Stephen Colbert with the writer who’s sitting in a quiet room banging his head against his Ikea desk until those crappy screw fasteners come loose. The former is an off-duty writer. The latter is, sad to say, your role model for the month.
• Finally, write as if the earth is about to fall from its orbit and fly into the sun, where it will vaporize in an immense fireball, erasing all of human civilization and achievement, and the only thing that is keeping the planet on course is your writing routine and the promise of the words “The End” at the close of a 50,000 word novel.
• Because that is the truth.

​

Sure, it’s a big responsibility. But if you’re not up to it, the porta potties are filling up fast.

​

Charles Philipp Martin grew up in New York City's Greenwich Village. His father was an opera conductor and both his parents well-known opera translators and librettists who never uttered the word "parenting" but knew enough to steep their family in music and literature. After attending Columbia University and Manhattan School of Music, Martin took off for a six-year paid vacation in the Hong Kong Philharmonic Orchestra.

While in Hong Kong he hung up his bow and turned to writing, spending four years as a Sunday Magazine columnist for the South China Morning Post, and writing for magazines all over Southeast Asia. His weekly jazz radio show 3 O'Clock Jump was heard every Saturday on Hong Kong’s Radio 3 for some two decades.
​
Neon Panic, his first novel featuring Hong Kong policeman Inspector Herman Lok, was published in 2011. The second Inspector Lok novel, Rented Grave, will be coming out from Level Best Books in the summer of 2024. Martin now lives in Seattle with his wife Catherine. 
​
​Photo: Lincoln Potter

Writing is a business. You, as a writer, need to treat your work that way. Also, writers need to understand that publishing is a business.

Book stores get hundreds of requests for signings. They have to outlay time and money for events for staffing, stocking books, and promotion. Many are choosy or reluctant to host unknown authors. Some will not host authors whose unsold books are not returnable. Find ways to sell your proposed signing (e.g. book talk on a subject that their shoppers would be interested in, providing a group of authors who can bring readers to the store, a marketing campaign for publicizing the event). Find out if they will let you provide the books on consignment.

Agents, editors, and publishers sign authors that they think they can sell their work. Sometimes, it’s not your writing. It could be that the topic/subject has been done before, and it will be hard to sell in your genre. Do your research of what is out there before you write the next bookshop or knitting mystery.

Publishers are looking several years ahead to fill their slots, and there are not a lot of openings on the dockets. It takes months/years sometimes for a book to be published traditionally. Make your manuscript the best it can be before you start querying.

Always be professional. It sounds like a no-brainer, but you want to be easy to work with. People tend to avoid the whiners, divas, and complainers.

Make sure that you are polished and that your marketing materials look professional.

• You need a professional headshot (not a selfie).
• Your social media sites, websites, newsletter, and business cards should have the same look and feel. (One shouldn’t be red while the others are pink and mint green.) The similar look and photo let people know that it’s your site.
• Make sure you have business cards with you at all times. You never know when a networking opportunity will appear.
• Have a press kit on your website with short and long biographies, headshots, your book credits, and a way to contact you.

​

Writing is a tough business. Everyone has feedback, and there are a lot of rejections. But there are things you can do to be prepared. Professionalism is key.

Writer’s Block. Such ugly words. Funny how the mere mention of it strikes terror into the hearts of writers. I have to say, I don’t really believe in writer’s block. Get in the chair, turn on your computer, and start typing. Plumbers don’t get plumber’s block, do they? (At least I don’t think they do…)
 
Anyway, there certainly are times when the words don’t seem to flow very well. And sometimes, even when the words are appearing on your computer screen, they seem dull and lifeless.
 
How do you get past “stuck?”
 
Try these tips:
 
Work on a different section of your manuscript. Jump to the end, or skip to a scene where you know exactly what’s going to happen. The words might flow more freely.
 
Do something else. Stop banging your head against the wall and trust your subconscious to sneak up on the problem from a different angle. Watch TV, go to the movies, lace up your jogging shoes and get some exercise. If you’re looking for something a little more torturous, clean your house. After an hour of scrubbing floors, I’m ready to get back to writing.
 
Re-read some of your other work. Pull out some polished examples of your writing and give them another read. You did it once, you can do it again.
 
Read someone else’s work. Find a book by an author you admire. Read it to absorb the flow and energy of something you connect with.
 
Type another author’s work. If just reading a book isn't enough, try typing a few pages of someone else’s work, just to get the creative juices flowing. When you’re done, be sure to delete it all. I’m not coming to visit you in prison.
 
Write something in a different genre. If you are a crime writer, try writing something that’s humorous or autobiographical or features talking goldfish.
 
Write in a different style or voice. Switch from first person to third (or vice versa) to shake things up. Note: Never attempt to write in second person. That’s just weird.
 
Write in a different form. If you write prose, try poetry. If you write novels, try a short story (or a cell phone novel). Or log some serious time on Twitter.
 
Read a book on writing. Stephen King's On Writing or Anne Lamott's Bird by Bird are a couple of my favorites.
 
Mix up your routine. Try listening to music (or a different kind of music) or try writing at a different time of day than usual. Try varying your locations, too. A park, coffeehouse, or deserted alley may get those juices flowing (especially a deserted alley at night!).
 
Bribe your muse. Promise your muse you'll do something nice for him/her after you get a few scenes written. Lunch with a friend, a round of golf, or a box of chocolates have been known to work. (So I've heard.)
 
If these don’t work, I have one more suggestion. Tell yourself that you’re on a tight deadline and your draft is due tomorrow.
 
That’ll get you writing. (So I’ve heard.)
 
 
**************
 
Alan Orloff has published ten novels and more than forty-five short stories. His work has won an Anthony, an Agatha, a Derringer, and two ITW Thriller Awards. His latest novel is SANCTUARY MOTEL, from Level Best Books. He loves cake and arugula, but not together. Never together. He lives and writes in South Florida, where the examples of hijinks are endless. www.alanorloff.com

How do authors select the names of their characters? Some look to lists of popular names. Some hold contests among their fans. Some try to emulate Charles Dickens by selecting names that describe their characters. Readers may assume that writers of historical fiction have an easier time because they pluck their characters’ names from the historical record. Not always.

For my first historical novel, The Murderess Must Die, I established a guiding principle that I continue to use—or I should write aim to use—as I write historical fiction.  When a fact is known, I stick to it. When a fact is unknown, I invent. To figure out the known, I research for months, then I start writing. For that first novel, only well into my writing did I realize I had naming problems.  Many of my characters, the real people who are part of the story, had the same names, or confusing names. If I could barely keep the characters straight, how could readers?

In finishing my third novel, I’ve come to sort my naming problems into two categories: characters in the historical record who have the same name, usually common names for the Gilded Age and the Progressive Age, and characters with names too common to research.

Let me start with the second category, which always produces chuckles. For my newest novel, Inferno on Fifth, I needed to research New York City’s Buildings Commissioner in 1899, a real person named Thomas Brady. Googling him turns up thousands of useless leads to a football player. I’ve also had to research Alfred Pope, an industrialist from Cleveland. I cannot google his full name successfully because newspapers reporters often didn’t know it. During the week that Mr. Pope figures in my novel, American newspapers reported on the serious illness of Pope Leo XIII. You can imagine the results from googling Pope. 

The more common problem I face is common names. They drive me crazy. Were all men who lived around the year 1900 named William or Frank? Two policemen who witnessed the crime scene at the center of my first novel had the name William Maher. I had to give one a nickname. In my second novel, Path of Peril, set in Panama in 1906, I encountered two historical figures with similar names—Elliott Roosevelt, brother of Teddy, and R.B. Elliott, a little-known labor leader. I chose to minimize the role of the labor leader. I encountered two James—valet James Amos and secret service agent James Sloan. I opted to call the valet by his last name.

In writing my third novel, Inferno on Fifth, women’s names become the issue. Two women named Ida figure in my story—Ida McClusky, sister of a detective, and Ida McKinley, wife of a president. I chose to refer to the former as, simply, the sister. I also manipulate three Helens. I allow only Helen Gould, the daughter of Jay Gould, to keep her name. And I grapple with two Alices, a mother and daughter. I’m still pondering how to keep them straight for the reader.

Even less common names cause problems. For The Murderess Must Die, I researched details about the brother of my primary character, a young man with the seemingly distinctive name of Garrett Terhune Garretson, who fought in the Civil War. I found two men with the exact same name, living at about the same time. I spent weeks going down rabbit holes with the wrong man. With that book I also encountered a problem with nicknames. I thought Penelope, my primary character’s mother, was nicknamed Ellen, then it appeared that whether that was right or not, another Ellen was my character’s sister.

In each of my novels I erase the correct names of some of my characters for, as the phrase goes, the good of the story. I choose readability over accuracy. Sadly, and cowardly, I let my more well-known characters keep their names as I weigh how likely readers are to notice errors. In every case, I provide explanations and apologies in my author’s notes. I want to offer a call for action at the end of this little essay—please, parents, chose distinctive names for your children or we will have generations of novelists trying to sort out Rachels, Emmas, Noahs, and Olivers.

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Marlie Parker Wasserman writes historical crime fiction. Her previous books are The Murderess
Must Die and Path of Peril. Her latest book, Inferno on Fifth, is inspired by the true story of the shocking fire that leveled one of Manhattan’s elegant hotels twelve years before the infamous Triangle Shirtwaist Factory fire. When not writing, Marlie travels throughout the world and tries to remember how to sketch. She lives with her husband in Chapel Hill, North Carolina.

One challenge of writing a thriller set in a historic period is that we know what happened. Even if most of your readers are not history experts, they will be aware of the big picture and can quickly dive into Wikipedia to flesh out the facts. We know which US Presidents were assassinated, who won WW2 and are sure the Titanic sank. A reader can anticipate what is going to happen.

Even if we know our history, tension can be created against a historic backdrop that is fixed, for example in the Phillip Kerr books set in 1930s and 1940s Germany. Innumerable crimes and misdemeanours and cunning plots can be fitted into this ‘Golden Age’ with only passing nods to the historic timeline. Much happened that is not in the history books. Even if writing a thriller faithful to a well-known event such as Robert Harris’ Munich a great deal of the dialogue, plot and behind-the-scenes action needs to be made up.

Crucially, although modern readers know how it all turned out, the characters don’t. The writer needs to convey their hopes and fears and plans when the future is unknown. To them the end is not inevitable, and even the historic outcome need not pre-determine their fate as individuals. Characters should not be granted too much foreknowledge and so take actions that in hindsight we know are mistakes; they may invest in the stock market in 1928 because it seemed like a good idea at the time. Even if the reader is not surprised by the outcome of events, they are rewarded by how the protagonists react.

Historic thriller plots are made easier if the lead characters are minor players in the great game; a soldier not a general, a highwayman not a king. Major historical figures are given only walk-on parts, perhaps spouting lines they actually used. Only a little license is needed for our hero to be one of Columbus’ crewman or a Lady-in-waiting to Anne Boleyn. Take a little more license and one of our characters can play a pivotal role, such as being one of the senators who sticks a dagger into Julius Caesar.

Writing alternative history such as Phillip K Dick’s The Man in the High Castle is a bolder step still. It opens up possibilities but requires a suspension of disbelief by the reader. The altered timeline needs to be explained and the bigger the departure from reality, the more thought the writer must put into world-building. Fantastic elements need to be minimised so that once over the initial hurdle everything about this changed world feels logical. The more recognisable elements of the real historic period that are included, the less of a jump it will be for the reader. The history is ‘wrong’, but it should feel plausible.

We are not writing history books so much of the research that underpins a thriller must be set aside, keeping only the nuggets that add richness to the story and provide the context. However, some facts can prove to be inconvenient and box the plot in if not derailing it entirely. Changing just a few of those inconvenient facts raises the reader’s doubts whether we will see history unfold as it should. Perhaps Hitler will be assassinated by our hero, or perhaps JFK will be saved. The character’s uncertainty about what could happen becomes more real if the reader also becomes uncertain. It’s a thriller, and we expect the unexpected.

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Jason Monaghan is an author and archaeologist. Blackshirt Masquerade by is set in 1935 in a Britain under the rising threat of fascism. The fascist bid for power accelerates during the ‘Abdication Crisis’ of 1936 in Blackshirt Conspiracy. Both are published by the Historia Imprint of Level Best Books.

When it comes to old adages, “Write what you know” ranks right up there with, “Practice makes perfect” and, “Have no fear of perfection, you'll never reach it.” 
 
In a recent webinar, Level Best Books author James L’Etoile discussed how our writers’ life experiences influence what we write. His background of many years working in the criminal justice system infuses his murder mysteries with compelling authenticity. I am able to relate to that concept, as my own life experiences have proved to be a goldmine of material for my fiction.
 
My 21 years as a violinist with New York’s Metropolitan Opera have provided a sharp-edged realism to my Julia Kogan “Opera Mystery” series. The first in the series, Aria for Murder, takes place at the Met. My protagonist, Julia Kogan, is a direct clone of myself when I first started out at the company: a gifted young violinist debuting with the Met Opera Orchestra, trying to make her way in a difficult, demanding profession that is in many ways still dominated by men.
 
The people Julia encounters—fellow musicians, conductors, chorus members, stagehands, stage managers and the like—populate this story as reflections of my own relationships with company members. The real-world personality traits of people who were an integral part of my daily life at this home-away-from-home that was the Met Opera formed the basis of many of the characters I created in Aria for Murder.
 
But I also witnessed actual situations that initially inspired me to write this series: a number of nefarious goings-on that sparked my imagination and caused me to embroider and escalate the possibilities of these circumstances into behind-the-scenes murder and intrigue at this venerable institution. Writing this story also gave me a unique opportunity to kill off the people who made my life miserable! (Not all of them…I had to save a few for the sequels, which will thrust Julia into heaps of trouble at different opera houses across the country.)
 
The Met Opera is a unique world: the most prestigious opera company on the planet, where superstars like Caruso, Pavarotti and Domingo have been entertaining the cream-of-the-crop of opera aficionados for centuries. Standards are the highest on the planet; so are the stakes.
 
These elite audiences, however, have no idea what goes on behind all the glamour and glitz. Ultimately, revealing the dark side of the opera world is my rationale for creating these operatic whodunits. Under those crystal chandeliers, behind that “Golden Curtain,” hundreds of people are working in different jobs simultaneously, and always at odds with each other: opera superstars, comprimarios (lesser solo singers), directors, conductors, orchestra, chorus, ballet, stagehands, wardrobe, make up, wigmakers and more. Egos clash, tempers flare. There’s no love lost between any of them.
 
Take the orchestra, for example: 100 neurotic musicians thrown together in a hole in the ground with no air and no light, 7 days a week, days, nights, weekends. You see more of these people than your own families. Sooner or later, someone’s going to want to kill somebody.
 
Aria for Murder.
 
In Julia, however, I have created a protagonist who, unlike myself, is capable of rising above her fears to plunge herself into a murder investigation. I could never be that brave. That is where the beauty of writing fiction can transform “Write what you know” into “Create a character who is the kind of person you’d like to be.”
 
And what could be better than that?
 
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Former Metropolitan Opera violinist Erica Miner is an award-wining author, screenwriter, arts journalist, and lecturer. Her debut novel, Travels with my Lovers, won the Fiction Prize in the Direct from the Author Book Awards, and her screenplays have won awards in the WinFemme, Santa Fe and Writers Digest competitions. Based in the Pacific Northwest, Erica continues to balance her reviews and interviews of real-world musical artists with her fanciful plot fabrications that reveal the dark side of the fascinating world of opera. Aria for Murder, published by Level Best in Oct. 2022, is the first in her Julia Kogan Opera Mystery series. Prelude to Murder, the sequel set at the Sante Fe Opera, was released September 2023.  Book three,taking place at the San Francisco Opera is due for release in 2024.   https://www.ericaminer.com

​Most of us enjoy a sense of the familiar. It’s predictable, comforting, and often preferable, even if lacking in thrill. It allows us to relax and gather ourselves. That’s why adding consistent rituals throughout your series can deepen your readers’ connection to your characters. They experience repeated rituals as an element of series consistency.
 
When I planned my “Nut Cracker Investigations” for Level Best Books, I wanted to develop ways to cohere my PI team. I have three primary and several secondary members, but I wanted the primaries to participate most clearly in closure and commitment. All for one, and one for all, that type of thing.  
 
Annie Hunter, a forensic psychologist, manages the investigation agency; Ayden Scott is her PI, and Natra Gawani her data manager and confidante. My secondary team features a digital expert, a forensic meteorologist, and an attorney. They’re in and out as needed.
 
One ritual I use runs in the background: Annie likes red wine, so whenever the team has an opportunity to brainstorm over wine, they pick a label that matches the situation. Stormy Weather during a tornado, for example. Readers recognize this display of character (and sometimes they buy wine for book club signings).
 
A more important ritual is the case debriefing. Although there are plenty of times when the team brainstorms, it’s the post-case gathering that really unites them. No one else is allowed, no matter what part they might have played. This is a solemn Nut Crackers ritual. Here, they patch holes, lick wounds, plan improvements, and show how much the work means to them. They might tease or toast each other, or even mourn together. For them, it’s the best part of the case.
 
I include a debrief scene in every novel because I want readers to expect it, appreciate it, and watch how Annie responds to their own lingering questions. She might even use the time to set up the next case, whetting readers’ appetites.
 
Like Annie’s wine, rituals pair well with our sense of anticipation and connection. Here are three psychological reasons to develop some rituals for your series:

1. Rituals help us connect as we enter familiar territory together.

 

1. Rituals provide a predictable sense of expectation, a resting point.

 

1. Rituals give shape and coherence to emotions, calming anxiety and promising closure.

 
It’s worth considering rituals that put your characters in motion or reveal their qualities. Thus, you’ll get an added benefit, and readers will likely look forward to how these rituals play out.
 
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Katherine Ramsland has played chess with serial killers, dug up the dead, worked with profilers, and camped out in haunted crime scenes. As a professor of forensic psychology and a death investigation consultant, she seeks unique angles. The author of 71 books, she’s been a forensic consultant for CSI, Bones and The Alienist and an executive producer on Murder House Flip and A&E’s Confession of a Serial Killer. She’s become a go-to expert for the most deviant forms of criminal behavior, which provides background for her Nut Cracker Investigations. Her second novel in the serial, In the Damage Path, is now available.