The Mystery of Romance

A guest post by New York Times bestselling author, Jessica Park

When people find out that I’m a writer, one of the first questions they ask (usually after telling me that they TOO have always wanted to be a writer, then launching into an hour-long explanation of their top forty book ideas that, you know, perhaps I might want to write for them) is: “What do you write?”

This is when I freeze. And stammer. I mean, it’s a simple question, right? Or it should be.  

But because I’m me, and complicated, and think that I’m all sorts of unique and rebellious (this alternates with extreme self-loathing and doubt, just so you don’t think I’m a total jerk), answering this question is hard.

I could simply say that I write romance. That Left Drowning is a new adult romance, and Flat-Out Love is a young adult romance. But then I desperately want to qualify those genre labels! My books are more than just romance, I want to explain. There’s romance, but a strong literary style, plenty of humor, intense psychological exploration of ... I don’t know how to answer because it’s impossible to feel that a one-word genre label captures what I hope my stories are about. That’s the neurotic, strung-out, paranoid author in me. I’ve learned to live with it. But my neuroses aside, I think I’m on to something....

One of the things that I’ve worked so hard to do in my books is to incorporate as many layers as I can, to give depth and explore a variety of subjects and angles beyond a linear love story. Family dynamics, trauma, mental health, friendship, survival... You name it. And I’m driven to write about how our pasts catch up with us no matter how hard and how far we run. How we cope, and fail, and succeed in many aspects of our life because of our pasts.

And when we start talking about the past—and about hiding the past—we are really talking about secrets. And secrets inevitably lead to mysteries. And clues. And stupendous scenes of revelation and understanding. Themes and plot designs that we typically associate with being only in true mysteries or thrillers are actually often found in so many other genres.

A really good piece of fiction has to keep readers turning the pages, right? What’s next? It’s about how authors dole out information, tease our readers, lure them in, and make them wonder. Much the way mystery and thriller novels work. In my books Left Drowning and Flat-Out Love, both stories absolutely follow romantic paths, but big questions are also raised early on. There are gaps of information, personality quirks that allude to hidden stories, and discoveries made through conversation and experience. There are the equivalents of crimes, clues, suspects, investigative action... You name it, romance can have it.

I’ve been mixing up my romance with mystery, literary fiction, and humor—plus lord knows what else—and having a blast. And it’s why I encourage readers to stretch beyond what they think they love (only romance, only crime fiction, only sci fi); elements we love in one category are so often found in another.

The hard lines that we believe separate genres are often much more fluid than we know, and fluidity can be magic.

Jessica is the author of New York Times bestselling FLAT-OUT LOVE, RELATIVELY FAMOUS, and her latest NA novel, LEFT DROWNING. She lives in New Hampshire where she spends an obscene amount time thinking about rocker boys and their guitars, complex caffeinated beverages, and tropical vacations. On the rare occasions that she is able to focus on other things, she writes.

FInd her at:

https://www.facebook.com/authorjessicapark

https://twitter.com/JessicaPark24

http://jessicapark.me/

When Characters Hook Up...or Not

By Andrew E. Kaufman, Author of Psychological Thrillers

“I’m so glad the main characters didn’t fall in love.” 

This is one of the most persistent comments I see while reading reviews for my books. And while I’m always pleased by positive feedback from readers, I do find it interesting when they feel strongly enough to make note of this.

But to be honest, I’m not sure if I can tell you why my characters never hook up. I don’t think it’s ever been a conscious decision—in fact, most of what I write rarely is.  I’m an intuitive plotter, which means I don’t outline, plan, or imagine my stories before creating them. Generally speaking, all I start with is a basic premise (very basic, often no more than one sentence), and then allow my instincts and characters to lead the way. So maybe I opt out of those love connections because they just don’t feel right to me (or should that be, to them?).

Of course, I’m talking about thrillers here, and admittedly, I do find myself having the same reaction as some of my readers, especially when it seems the situation doesn’t require it or appears particularly unrealistic. And when you think about it, people don’t necessarily fall in love just because they’re thrown into a tense situation anyway; in fact, I think the more natural choice would actually be just the opposite.

Then there’s the predictability factor, something that (cringe) we as authors often see in our reviews. But if I'm going to be completely honest, as a reader I find myself being just as critical about this. I can't count the number of times my eyes have started rolling at the exact point in a novel where a male and female characters start falling in love. That’s not because I’m a love cynic, but rather because in many cases it almost feels too easy, and then it's just plain annoying.

I suppose it all boils down to intent. If it’s relevant and moves the plot rather than being disruptive, I don’t think readers mind so much—if not, then they probably will.

Oddly enough, after saying all this, love is in fact an element that drives the plot for my upcoming novel, Darkness & Shadows, but I don't think readers will find it to be anything near typical, but instead, dark and disturbing--just the way I like it.

 What do you think? Authors: do you allow your characters to share a love interest? If so, how and why? And readers: do you feel particularly strongly about this either way?

The Author Hookup Trend

by L.J. Sellers, author of provocative mysteries & thrillers

Janet Evanovich and Lee Goldberg, J.T. Ellison and Catherine Coulter, our own dear friends Drew Kaufman and A.K. Alexander (Michelle Scott)—everywhere you look, authors are teaming up.

The trend seems more prevalent than ever, and I suspect it’s because authors are operating more independently now and because they have to work so hard to reach new readers. Collaborating with another writer brings a whole new readership to each partner, at least for that story or series, and hopefully with spillover to other works.

I never thought I could work that closely with someone. I don’t even have a writing group because it feels too collaborative. Of course, I count on my beta readers (and editor) for feedback, but that’s after I’ve nailed down the main story.

But I was approached recently by a friend about doing a collaboration, and I surprised myself by being receptive to the idea. Now that I have an FBI agent with her own series, a collaboration that brings Agent Dallas together with another established protag seems like a productive idea.

The other author has a kickass male FBI character and large readership of men, so the project could bring male readers into my Jackson series or, more likely, the series I’ve started with Agent Dallas.

We’re already brainstorming a plot, and I’d love to tell you who the other author is. But I worry that it might not pan out. We each have our own series we’re committed to, and we each have family responsibilities that may take precedence over a secondary writing project. But I want to do this and I hope we can make it work.

Ever since I decided to self-publish my newest story (with Agent Dallas), I’ve been getting my head back into indie mode and the marketing creativity it requires. It’s work, but it’s also fun and challenging, and this collaboration seems like a good way to expand my comfort zone and my readership.

What do you think? Have you collaborated with another author? Do you read books that are collaborations? Am I crazy?

Rules and breaking them

by Jenny Hilborne
Author of mysteries and thrillers

Someone once said (or wrote somewhere) that there are only so many plausible plot lines for writing mysteries and thrillers. When I'm watching TV, I see truth in that statement. Mysteries can be formulaic with similar and overused plot lines.

A while ago, I came across a list of mystery writing "rules" on another blog post, where one of the rules was to "not reveal the bad guy too early on, or the reader will have no reason to continue reading." In this same list of "rules", the writer was also advised to not wait too long for the big reveal, or the reader will feel cheated. It's confusing and a challenge for the mystery writer. Following "rules" can make a book or a movie predictable. I've read plenty of comments about predictability in various negative reviews left by readers.

As a mystery/thriller reader, as well as a writer, I enjoy pitting my wits against the detective and trying to solve the crime first. I also enjoy the satisfaction of seeing the bad guy get his comeuppance. However, I also enjoy reading books by writers who break the "rules" and tell me upfront who the bad guy is, or dare to write their book with mixed 1st and 3rd person points of view. Harlan Coban does this brilliantly.

At my book events, I ask mystery readers what kinds of mysteries they like. Some are clear in their answer and name the sub genre or the authors they enjoy. Others aren't as aware of the sub genres that exist within the mystery/thriller genre, which opens the door for a great discussion. For me, and a lot of readers I talk to at events, the most important part of a mystery is the plot. It has to be plausible and contain lots of fast moving action.

When I wrote Stone Cold, I had the plot in mind, and the sub plot, but I wanted to include chapters in the killer's point of view. I wanted to try something different and reveal the killer's identity early on in the book. This goes against the "rules" I've read for writing mystery, but perhaps not for writing suspense, or a thriller.

The reviews, so far, have been mixed. Some readers I talk to believe if you know who the bad guy is upfront there is no mystery. Knowing who the villain is early on is one of the differences between a mystery, and a suspense or a thriller. Stone Cold is a psychological thriller. It delves into the motivations of each of the characters. It is not a mystery and the detective is not the main character. Not everyone likes it (I knew that would be the case going in).

When we know the bad guy upfront, a book (and a movie) can still be loaded with tension and suspense. It lies partly in the chase; how will the villain be captured? Will he be captured? As one reviewer for Stone Cold wrote: "Justice is a strange commodity and it isn't always served."

Psychology is a fascinating subject. Psychological thrillers are always filled with tension. It isn't always what a villain does that's so shocking, but why they do it. What makes them behave this way? How many lives will be put at risk when they take the law into their own hands? The 'why?' was likely the most fascinating aspect of the Jodie Arias trial. We know upfront what she did. Viewers found it riveting to watch the trial. We all wanted to know why.

Villains have different motivations. Maybe Jodie Arias is plain evil, but not all villains are. When a villain has redeeming qualities, it causes conflict. In fiction, the villain is not always placed in the book to create hurdles for the hero/heroine. In Stone Cold, there are three villains, all with different motivations, and each one provokes a different level of either sympathy or abhorrence in the reader, necessary for the story.

An interesting villain should be able to fool readers into believing there is an element of good in their character. Their true intentions, and the motivations behind them, often lay hidden until much later. This creates complex layers to the story and more suspense, even when we know their identity early on. The hidden traits of the villain are still a mystery. When we know his identity upfront, we can see more easily that he is a skilled and cunning liar, and we can see his determination. He may not always win, but he will test the hero/heroine.  

Readers: how do you feel about knowing the identity of the villain early on in a thriller? Do you find the chase compelling?

Writers: do you follow the "rules" when writing mysteries or thrillers?

Just the Facts, Ma’am

At some point while writing a novel, the author has to decide whether to use real cities, real streets, real places, and real things. I’ve often thought it would be fun to create a whole new world such as fantasy or science fiction writers have to do. But since I’m not ready to embark on that journey yet, I just need to decide how much of the real world to use.

My books are set in San Diego with streets and buildings that many people recognize. I think that was a wise choice as I often receive comments from readers who have visited my city and they tell me how fun it was to read about places they had frequented. I make every attempt to describe these settings accurately. On occasion, I need a restaurant or some other building that requires a different exit, different lighting, or whatever. When that happens, I choose to make up the whole setting rather than distort the real one. I have one such restaurant in my first book, but most of my places are very real. All the other restaurants are genuine, the courthouses are genuine, and the streets and highways are all real.

My “legal” mind says “don’t distort the facts.” But then I remember I’m writing fiction. Hello. I’ve already made up a whole book, what difference does it make if I make up a set of stairs, or an information desk, or another exit? I realize, of course, that many people wouldn’t know the difference, but what if they do?

What do you do as an author? Do you use real places? If so, are the details accurate? As a reader, which would you prefer, or does it even matter? 

Teresa Burrell

Author, Attorney, Advocate

www.teresaburrell.com

The Language of Reviews

by L.J. Sellers, author of provocative mysteries & thrillers

Odd thought of the day: What exactly does it mean when readers say in reviews, "You won't be disappointed," or something similar. I get that sometimes lately, and I see it in a lot of reviews for other authors. 

I understand and appreciate that the phrase is meant to be positive. In fact, it could be part of a terrific review. But sometimes the line worries me, because it feels like a euphemism for "This book is okay. You won't be disappointed, but you might not be impressed either." The absence of a negative is not quite the same as a positive.

The feeling could just be misinterpretation or paranoia on my part. I suspect that authors like myself with ten or more books published hear it more than new authors with just a few. It could be that readers who stick with a favorite author for a long time start to worry that eventually the author will disappoint them—because it's inevitable that eventually it will happen. Believe me, as a reader, I know!

So when someone is reading my tenth or eleventh book and they get to the end, they might be thinking "Great! She wrote another story that didn't disappoint me." Then that thinking/language becomes part of the review or feedback or blurb.

Of course, I'd like to do better than just not disappoint my readers. I'd like to thrill them, mystify them, and make them think—among other things. I'm also grateful for every reader who has stuck with me through ten books...and for some, two additional unpublished manuscripts.

So I'm not complaining, just musing out loud and trying to understand.

Readers/reviewers: Do you use this phrase? What do you mean by it? Does the meaning varying depending on your expectations of the author?

Writers: How do you feel about this response to your work? Am I the only one who worries that it's not quite a compliment?

A Writer Walks Into a Strip Bar. . .

Joining us on Thursdays is Teresa Burrell: author, attorney, and child advocate. We all know her from a previous publisher, crime fiction conferences, or geographical proximity. She's smart, funny, charming, and one of the hardest working authors we know. And her passion is evident in the mysteries she writes. Here's Teresa in her own words:

Do you ever get irritated when you're reading a novel and something strikes you as just plain wrong? It could be a fact, or a scene, or a behavior. I don't know about you, but it throws me right out of the book. While my mind is struggling with what the scene should really be, I lose track of the story line.

I recently read two different books by very good writers and the legal scenarios were incorrect. One was a courtroom scene that wasn't at all like real life. The other, even more painful, was where the legal premise was incorrect. That's just unfair to the reader because the recipient of this information will often walk away thinking what he or she read is "the law." Sure, we're writing fiction, but I believe we have a responsibility to make our facts, our scenes, our characters both realistic and accurate.

This is not to say you have to know everything there is to know about what you write. You do not need to be a lawyer to write legal fiction, a doctor to write medical fiction, or in law enforcement to write a police procedural. But if something is crucial to your story, you do need to have an expert consultant.

I believe this to be true of every part of your novel. For example, my latest manuscript has a scene in a strip bar with a lap dance. It's not meant to be graphic, so I don't need a lot of detail, but I feel like I need to set the scene correctly. Now, I've never had a lap dance but I did go to a male strip bar once for a bachelorette party so I have some knowledge beyond what I've seen on television. I started calling my male friends, the ones I knew had received lap dances, and I've gained a whole lot of insight--much more than I cared to know. Research can be a lot of fun.

As a reader, what happens to you when you come across something in a novel that you know to be incorrect? Does it ruin the story for you? Do you ignore it and go on? Do you think the author has a responsibility to be accurate? Does it keep you from reading books by that author again?

As a writer, you often hear, "Write what you know." This is the reason I write legal suspense and not romance novels. . .