August 1998

PAW PRINTS

The Professional and Amateur Writers' Society
Kelli McBride, Editor August 1998 Volume 4 Issue 8

GREETINGS!
Kelli McBride     Mystery, suspense, danger. They capture our attention, keep us on our seats. No other fiction genre has had such consistent high sales as mystery. From the hard-boiled private dick to the sweet grand-motherly sleuth, mysteries have entertained us for centuries. So what makes a mystery? How does an author put one together? This month’s issue of Paw Prints tries to answer those questions. We’ve got a suggested reading list, tips on plotting thrillers, correct police procedure, and how to write detective fiction.
    Pat’s contributed her notes from Mel Odim’s workshop on killer outlining. There are some great contest listings and other odds and ends.
    So kick back, relax, and get ready to learn about MYSTERY!
    As always, send any ideas or articles to me via e-mail at kellimcb@chickasaw.com or give them to me at the meeting. Please note the new officers and their e-mail addresses in this issue.

Presidential Reflections
Pat Millette Hi, everyone,
     Can you believe it? It's already August, just four more months until Christmas. Wow, this year has been passing much too fast. It seems to be moving at about mach 1; at least it feels that way to me. We had an informative meeting last month. Elaine had a lot of good information on anecdotes, articles, fillers and more, plus several suggestions on locating markets for them. She also donated a book to our library that goes into detail on writing and selling them. Be sure to check with Doris on what books are available to be checked out.
     We need donations to help with the buffet luncheon at our workshop. If you know a store manager that might donate something to add to the table, it would help keep our costs down. We can also use items to fill our folders.
     Is there anything you'd especially like to have as a topic at our meetings? Like is there anyone interested in our newsletter topic “Mystery writing?” Maybe Elaine could find a speaker that works primarily in this genre. Or perhaps you’re more interested in doing “Biographies.” That's not a subject we've looked into. Do you need to know more about writing a proposal or a synopsis? How about manuscript format? I know we've done some of these before, but it never hurts to do a refresher. If you want to work with a particular subject, please let Elaine or one of the board members know and we'll see what we can come up with. After all, our main aim in the club is to educate and promote writing with our members.
See you at the August meeting,

WORD OF THE MONTH Schadenfreude (SHAAD-n-froiduh) noun. Pleasure derived from the misfortunes of others.

PAWS’ 1998 OFFICERS
President: Pat Millette (millette1@juno.com)
VP/Program Director/Historian/Reporter:
Elaine Wells (ecwells@chickasaw.com)
Secretary/Librarian: Doris Novotny
Treasurer: Ann Huguenin (whatacat@juno.com)
OWFI Reps: Janice Imel (Bogeeta@aol.com)
and Kelli McBride (kellimcb@chickasaw.com)
Paw Prints Editor: Kelli McBride

Reminders PAWS' Conference Information: September 12, 1998; $30 Advance Registration, $35 At the Door Registration. Breakfast Rolls and Lunch provided. Key Note Speaker: Sharon Sala, topic: General Fiction Novels
Raffle: Autographed copy of Nora Roberts’ bestseller, Homeport (hardcopy). Tickets are $1.00 each (do not have to be present to win). Other great door prizes.

Member News
Linda Goodnight ANN HUGENIN sold a CONFESSION to Modern Romance!!!!! It will be published in October. Way to go, Ann!
OWFI, the "mother" group with which PAWS is affiliated, has two issues that we need to address. The governing board is considering raising the yearly dues from $10 to $15 and is asking for input from the membership concerning such an action. Other groups, such as RWA, charge a much larger fee ($70) and also charge much more for their yearly conference ($300 as opposed to OWFI’s modest $85). Naturally, this gives them more money to spend, insuring a high quality conference each year.
None of us like the idea of having any more taken from our pocketbooks, and that is why the board is asking for input. Any change would not be effective until approved by the board and by the membership at next May's conference, so it is still a long way off. Let Kelli McBride, Janice Imel, or Linda Goodnight know if you have any comments on the subject so they can voice them to the board.
Also, OWFI dues for 1999 must be paid before October 1. This is a new policy which alleviates the problem of treasurer overload during contest and conference time. Please come prepared in August or September to pay your $10 to Ann. PAWS dues can be paid at that time, too.
David and Alecia Hynson have successfully moved. Their new address is: 10800 NE 19th, Oklahoma City, 73141; Phone 405-769-8864;
E-mail: munchkin@juno.com

“The boys with their feet on the desks know that the easiest murder case in the world to break is the one somebody tried to get very cute with; the one that really bothers them is the murder somebody only thought of two minutes before he pulled it off.”
Raymond Chandler (1888–1959), U.S. author.
The Simple Art of Murder, in Atlantic Monthly
(Boston, Dec. 1944; repr. 1950).

Plotting A Thriller
André Jute (www.purefiction.com) You will find, as you grow more experienced, that your confidence in elaborating an idea to a plot to a book grows and so reduces your need for notes. To begin with, however, I suggest you do make notes. What will you put in your notes? At the top, your central concept - the idea around which the book is to be built, then your character descriptions - and then, what?
Plotting tools: Most writing processes start with what I call the 'you can't get there from here' syndrome. This is the welter of confusion in which you have an idea but don't know where to start. Every time you pick a loose rag-end, you find you need two needles more than you have to handle it, so you pick another one, and so on - until you have a nervous breakdown. You need a tool to shortcut this stage.

For the rest of this article, click here.

“For some men the power to destroy life becomes the equivalent to the female power to create life.”
Myriam Miedzian, U.S. author.
Boys Will Be Boys, ch. 4 (1991).

IN THE BEGINNING
Pat Millette

These are notes I took in Mel Odim's workshop on "Doing a Killer Outline"

1. Know the End!

2. Know the Beginning – where/who/how

3. Begin in the Middle of the story, during a conflict or action. Subplots can begin and end anywhere in the plot. They can also be solved anywhere in the plot.

4. Write out everything that happens in the story (every detail no matter how trivial):
    A. Character problems (all become scenes)
    B. Plot points (instances)
    C. Settings

5. After you have exhausted every avenue of events go back and put it in chronological order
A. Put in a time line
B. Look at days (hours).

6. Fill in the gaps (needs transitions - show how it happened). Then write it out neatly. Know your main characters - fully. Give details. It is permissible to fall out of the scene to give a brief description of your character (he or she doesn't always have to be seeing his or her image in a mirror). Secondary characters can get a far less detailed description.

7. Tell yourself the story - all the way to the end – in present tense. Include dialog. Describe things – include research that interested you.

8. Reduce present tense to: 5 to 10 pages, double spaced, spell checked. Make sure it's neat. You now have a proposal.

9. Break your story into scenes. Check back on steps 6 & 7.

10. Combine your scenes into chapters (7 to 14 pages, on average) . With 1 to 4 scenes included.

11. Make yourself a work schedule - on this day I can write this scene (or this number of scenes).

12. Write, Write, Write.

Under the Hood
Kelli McBride Do you sometimes feel like English is a foreign language? That the rules are a great mystery you haven’t a clue about how to solve? Most of the time, the resolution resides in simple memorization because the rule itself makes no common sense. Here are some words that often fit that category.

Common Words that Sound Alike
1. Their = (possessive) - their books
There = that place - over there
They're = they are

2. Its = (possessive) - its paw
It's = it is

3. We're = we are
Where = in what place
Were = (verb) - Where were you?

4. Your = (possessive) - your hat
You're = you are

5. To = (preposition) - to the store
Too = also, very - too tired, too bad
Two = 2

6. Than = used in comparison statements (He is richer than I.), used in statements of preference (I would rather dance than eat.), used in the sense of "beyond" (Read more than the first paragraph.)
Then = a time word - in the past (He was fatter then.), next in time, space, or order (First study, then play.), in that case, in addition, on the other hand (When I see it, then I will believe it.)

7. Accept = (verb) to receive, to agree (He accepted the bribe.)
Except = (preposition) all but, other than (Everyone came, except Alyson.)

8. Affect = (verb) to influence (Will lack of sleep affect your game?)
effect = (noun) result (Will only two hours of sleep have an effect on your game?)
effect = (verb) to cause, to accomplish (It's possible to effect a change in this university.)

A few other helpful hints:
Pronouns have apostrophes only when two words are being shortened into one: You're = you are; they're = they are; we're = we are
Where, there, here: are all place words and all have a "here" in them

One Word or Two?
1. all ready - used as an adjective to express complete readiness
already - used as an adverb expressing time

At last I was all ready to go, but everyone had already left.

2. alright - a common misspelling for all right
all right - used as an adverb

Will you be all right on your own?

3. all together - used as an adverb meaning "in a group"
altogether - used as an adverb meaning "wholly', thoroughly"

The students were all together in the cafeteria.
His comment was altogether rude.

4. awhile - used as an adverb meaning "for a short while"
a while - an article and a noun meaning "a period of time"

Stay awhile.
I will wait for a while in the kitchen.

5. anyone - a pronoun meaning "any person at all"
any one - refers to a specific person or thing in a group
Note these similar forms: everyone and every one, anyone and any one:

Anyone can succeed at something.
Any one of those papers is a good example.

6. anyway - an adverb meaning "in any case," "at any rate," or "nevertheless"
any way - an adverb meaning "any course, direction, or manner"

He objected, but she went anyway.
Any way we chose offered danger.

7. maybe - an adverb meaning "perhaps"
may be - a verb form

Maybe we should wait until the rain stops.
This may be your last chance to buy a Yugo.

The Perfect Murder
H. R. F. Keating (www.purefiction.com) One of the earliest jottings I made when I began to keep a crime-writing notebook concerned the business of plot. 'The Switch-point,' I wrote. 'There needs to be some factor which when seen in its true light makes the reason for the murder obvious, but which is more easily seen in a false light.' In those days, I believe, the expression 'lateral thinking' had not been invented. But it exactly describes what you need to achieve: something that the reader, unless lucky enough to make that sideways jump of the mind, will not be able to see.

For the rest of this article, click here.

Contests By Lines September Deadlines:
GENRE FICTION - Deadline 9-8-98. Short story that fits a particular category: romance, sci-fi, fantasy, horror, mystery, western, etc. No children's stories. Maximum 5,000 words. Entry fee $5. Prizes: $50, $30, $15.
CHILDREN'S POEM - Deadline 9-10-98. Poem for or about children. No line limit. Entry fee $3. Prizes: $35, $15, $10.
NOSTALGIA - Deadline 9-15-98. A fond remembrance of the way things were. Maximum 1,200 words. Entry fee $4. Prizes: $40, $25, $15.
POEM IN FORMAL STRUCTURE - Deadline 9-30-98. Try a sestina, sonnet, villanelle or any other form that requires a specific structure. List name of form on entry. Entry fee $3. Prizes: $40, $25, $15.

1998 RWTP Haunted by Love Contest
Deadline: August 21, 1998; Fee: $15/manuscript check, or money order. Mail entry and fee to RWTP, P0 Box 1343, Amarillo, Texas 79105-1343. Categories: Contemporary Romance, Paranormal Romance, Historical Romance, Contem/Hist Suspense, Inspirational Romance. Send TWO copies of entry(s) synopsis and the first chapter of your novel up to 30 pages. First round judged by published authors. Finals judged by editors. Cash prizes, certificates presented to 1st, 2nd and 3rd places. If you have any questions call Carol David, Chapter Advisor 806-935-7573, or Margaret Brooks, 806-353-3003.

St. Martin's Press/ MALICE DOMESTIC Contest for Best First Traditional Mystery Novel
This is a terrific opportunity for the aspiring writer of mysteries on the cozy side. Detailed guidelines are available from Malice Domestic. For application forms and rules, write: St. Martin's Press/ MALICE DOMESTIC Contest; St. Martin's Press; 175 Fifth Avenue; New York, NY 10010

St. Martin's Press/ Private Eye Writers of America Contest for Best First Private Eye Novel
If you've got a professional private investigator as your sleuth, this is the contest for you. Award includes publication and $10,000. Annual deadline is August 31.For more information, write: St. Martin's Press/ PWA Contest; St. Martin's Press 175 Fifth Avenue; New York, NY 10010

Poetry & Fiction Competition Guidelines
1. A $100 cash prize and publication in The Alsop Review will be awarded to the best short story and best poem submitted by 9-30-98.
2. All submissions must be by e-mail to competition@alsopreview.com.
3. In Subject line, type: Poetry Competition or Fiction Competition.
4. All submissions should be entered into the body of the e-mail using cut-and-paste. (We will not attempt to decode submissions from unknown word processors.)
5. All submissions must be original work and previously unpublished.
6. All submissions must be accompanied by the author's name and mailing address. (One poem or one short story per author. No multiple submissions.)
7. All submissions will be judged by the Editorial Board of The Alsop Review.
8. The decision of the judges will be final.

Five Essential Clues for Authors on
Correct Police Procedure
Dan Byram, Retired Undercover Cop     You've just written a tense mystery or suspense novel. The super-sleuth hero tap dances through an intricate plot only to stumble, unconvincingly, over a mistake in police procedure. The editor loves the story, but rejects your manuscript for lack of realism and accuracy. What can you do?
    Many mystery and suspense writers often make small mistakes about real- world investigative operations--mistakes that result in a big, "No thanks," from editors.
    As a retired Police Commander and an avid reader, I frequently see five common blunders.

For the rest of this article, click here.

“A murderer is regarded by the conventional world as something almost monstrous, but a murderer to himself is only an ordinary man…. It is only if the murderer is a good man that he can be regarded as monstrous.”
Graham Greene (1904–91), British novelist.
The Ministry of Fear, bk. 1, ch. 7, sct. 1 (1943).

QUOTE OF THE MONTH
Kelli McBride
"Last night I dreamt I went to Manderley again. It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter for the way was barred to me. There was a padlock and chain upon the gate. I called in my dream to the lodge-keeper, and had no answer, and peering closer through the rusted spokes of the gate I saw that the lodge was uninhabited."

from Rebecca by Daphne Du Maurier

   Thus, Du Maurier begins her famous gothic romance. This is one of my favorite books and openings (the movie with Olivier and Fontaine is an excellent adaptation of the book). When I decided to devote this issue to mystery, I couldn’t help but think of this book. The heroine’s dream of Manderley reminds me of the dream many of us have: being published.
   Often, I feel like an outsider, peering through locked gates at the perfect novel. Though I call out for aid (inspiration, direction...), I see no one to help me reach that perfect dream. And though I have plenty of advice on how to get inside those gates, none of these “keys” open the lock.
   In the book, the unnamed heroine retells the events that led her to the dream. We come to understand why Manderley is locked from her, and why she realizes that “We can never go back to Manderley again.” Until we isolate what keeps us from writing, what keeps us from finishing that novel, then our dream of Manderley will always be the same.   It will remain abandoned, crumbling under the pressure of time and neglect: a sad shadow of its once luminous self. Manderley was destroyed in the book through deceit and fear. If the hero and heroine had believed in their love, then they would not be exiled from Manderley. The grand mansion would not be a burnt out shell.
   If we want our writing dream to thrive, we have to be honest with ourselves. We have to keep the love for the craft flowing.
   Don’t let your dream slowly go to ruin. Keep it near and dear to your heart, or you may forget why you even bother in the first place. We should never stop and ask ourselves: Why did I want to be a writer, anyway? That’s one mystery we can all do without.

ON THE SHELF If you’re interested in writing mystery/crime/detective fiction (or adding it to the genre you’re already writing in), here are ClueLass’s suggested reading list for reference books. They have been categorized by Detective Fiction, Mystery, and Reference. This list is only one list, and prices are subject to change. Note: * indicates book is in PAWS’ library.

The Art of Detective Fiction

    DeAndrea, William L. Encyclopedia Mysteriosa: A Comprehensive Guide to the Art of Detection in Print, Film, Radio, and Television. Prentice Hall, 1994, ISBN 0-671-85025-3, hb $27.50
    Gorman, Ed, et al, eds. The Fine Art of Murder: The Mystery Reader's Indispensable Companion. Carroll & Graf, 1993, ISBN 0-88184-972-3, pb $17.95
    Haycraft, Howard, ed. The Art of the Mystery Story. Carroll & Graf 1983, 1946, ISBN 0-88184-878-6
    Heising, Willetta L. Detecting Women 2: A Reader's Guide and Checklist
Purple Moon Press, 1996, ISBN 0-9644593-1-0, pb $24.95
    Pearsall, Jay, ed. Mystery and Crime: The New York Public Library Book of Answers. Stonesong Press/Fireside/Simon & Schuster, 1995, ISBN 0-671-87237-0, pb $11.00
    Stine, Kate, ed. The Armchair Detective Book of Lists: A Complete Guide to the Best Mystery, Crime, and Suspense Fiction. Otto Penzler Books, Rev. 2nd ed. 1995, ISBN 1-883402-98-0, pb $12.95
    Swanson, Jean & Dean James. By a Woman's Hand: A Guide to Mystery Fiction by Women. Berkley, 1994, ISBN 0-425-14143-8, pb $10.00
    Waugh, Hilary. Guide to Mysteries & Mystery Writing. Writer's Digest Books, 1991, ISBN 0-89879-444-7, hb $19.95
    Wynn, Dilys, ed. Murder Ink: The Mystery Reader's Companion. Workman Publishing, Rev. 1984, ISBN 0-89480-777-3, pb $9.95

The Craft of Mystery Writing

    Bendel, Stephanie Kay. Making Crime Pay: A Practical Guide to Mystery Writing. Spectrum Books, 1983, ISBN 0-135-45921-4, pb $5.95
    Bilker, Harvey L. Writing Mysteries That Sell. Contemporary Books, Inc., 1982, ISBN 0-8092-5822-6, pb $7.95
    Burack, Sylvia, ed. Writing Mystery and Crime Fiction. The Writer, Inc., 1985, ISBN 0-871161419
    Collingwood, Donna, ed. Mystery Writer's Market Place and Sourcebook.
Writer's Digest Books , 1993, ISBN 0-89879-612-1, hb $17.95
    Grafton, Sue, ed. Writing Mysteries: A Handbook by the Mystery Writers of America. Writer's Digest Books, 1992, ISBN 0-89879-502-8, hb $18.95
    Highsmith, Patricia. Plotting and Writing Suspense Fiction. The Writer, Inc., 1966, ISBN 031204867X, $10.95
    Treat, Lawrence, ed. Mystery Writer's Handbook. Writer's Digest Books, Rev. 1982, ISBN 0-89879-080-8, pb $8.95
    Norville, Barbara. Writing the Modern Mystery. Writer's Digest Books, 1986, ISBN 0-89879-523-0, pb $15.95
    O'Cork, Shannon. How To Write Mysteries. Writer's Digest Books, 1989, ISBN 0-89879-372-6, hb $13.95

Technical Reference

    Bintliff, Russell. Police Procedural: A Writer's Guide to the Police and How They Work. Writer's Digest Books, 1993, ISBN 0-89879-596-6, pb $16.95
    Blythe, Hal, Charlie Sweet, & John Landreth. Private Eyes: A Writer's Guide to Private Investigators. Writer's Digest Books, 1993, ISBN 0-89879-549-4, pb $15.95
    Corvasce, Mauro V. & Joseph R. Paglino. Modus Operandi: A Writer's Guide to How Criminals Work. Writer's Digest Books, 1995, ISBN 0-89879-649-0, pb $16.99
    Fallis, Gregory. Be Your Own Detective. M. Evans, 1989, ISBN 0-87131-579-3, $9.95
    Maccabee, Paul. John Dillinger Slept Here, A Crooks' Tour of Crime and Corruption in St. Paul, 1920-1936. Minnesota Historical Society Press, hb ISBN 0-87351-315-0 $45.00, pb ISBN 0-87351-316-9 $25.95
    McArdle, Phil & Karen. Fatal Fascination: Where Fact Meets Fiction in Police Work. Houghton Mifflin, 1988, ISBN 0-395-46789-6, pb $8.95
    Newton, Michael. Armed and Dangerous: A Writer's Guide to Weapons.
Writer's Digest Books, 1990, ISBN 0-89879-370-X, pb $14.95
    *Roth, Martin. The Writer's Complete Crime Reference Book. Writer's Digest Books, 1993, ISBN 0-89879-564-8, hb $19.95
    Stevens, Serita Deborah & Anne Klarner. Deadly Doses: A Writer's Guide to Poisons. Writer's Digest Books, 1990, ISBN 0-89879-371-8, pb $16.95
    Wilson, Keith D., M.D. Cause Of Death: A Writer's Guide to Death, Murder & Forensic Medicine. Writer's Digest Books, 1992, ISBN 0-89879-524-9, pb $15.95
    Wingate, Anne, Ph.D. Scene Of The Crime: A Writer's Guide to Crime-Scene Investigations. Writer's Digest Books, 1992, ISBN 0-89879-518-4, pb $15.95

Random Thoughts
Kelli McBride      As I write this, thunder rumbles in the distance, and clouds cover the heavens in deep gray suede. Such glorious sights and sounds. I’ve always loved rainy days – especially Saturday mornings spent in bed reading or just listening to the pelting drops hitting my roof. The unique scent of rain-laden winds heralding a storm conjures up memories of childhood afternoons spent frolicking in summer showers. I would spin round and round, arms outstretched and face lifted to the hidden sun. I can’t think of one thing I enjoyed more as a child than playing in the rain.
I’d forgotten about that simple pleasure as an adult. Always too busy, too dressed-up, etc., to run out into any shower. I cursed the rain when working or shopping. I wanted it to fall at MY convenience – those lazy Saturday mornings. Anytime else got in my way and ruined my hair.
But in this year’s dry-spell, I’ve come to cherish rain, praying for any chance drop. When I water my trees, I fan the stream into a cascading spray and dance under the cool sheet of liquid, inhaling the refreshing smell of newly washed leaves. My family has become used to seeing me come in soaked to the skin this summer.
     I can’t help but see a parallel to writing in this. After spending so many years in academia where the only things I wrote were scholarly papers, I felt entrenched in a writer’s desert. Only the occasional oasis kept me going. My writing was dying from lack of rain. Like the grass in my front yard, my writing had patches of green, but most of it was yellow and parched, crackling under the foot of criticism, wilting from a deep soul ennui. But I’ve found my well-spring.
     My writing now blooms and produces fruit. Yet I must stay vigilant. The dry spells always lurk, waiting to deplete my inner resources. I have to prepare for those times of drought. For me, that preparation includes finding articles, quotes, pictures, anything that inspires me. Things I can carry with me or tack on my wall that will boost my sagging spirits. More importantly, I need to surround myself with other writers--people who spur me on, providing cool drinks of water to my parched soul. And I must also be a water-bearer, giving to others when they need that extra sip. At ending meetings, editing PAWS newsletter, and sharing my trials and triumphs with other writers all keep me going. I stay focused on my dream. I don't want to become like John Berryman's Henry in Dreamsong 14: Life, friends, is boring. We must not say so.
After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatingly) "Ever to confess you’re bored
means you have no
Inner Resources." I conclude now I have no
inner resources, because I am heavy bored.      I know sometimes we feel like we can't go on - there's nothing to write, I'm too tired, it's too hot, etc. We seem as barren as Death Valley. But deserts are only places deprived of enough water to sustain vegetation. Add water and they bloom, quickly and beautifully. Are you in a writing desert with oases that get fewer and farther between? Are the simple pleasures of creating a story, of letting your imagination take you to places and people inside of yourself almost forgotten? If so, then get involved in a writing group. Make friends with writers – people who share similar struggles. Share your own experiences with others. Many times, rejuvenation lies in helping someone else. Think of a writing group as a Twelve Step program to getting published: it doesn’t ensure success, but it increases the chances. Of course, you will benefit only if you attend.
     Promise lies heavy in the air. I can still hear the thunder rumbling as the breeze tantalizes my senses with the cool scent of rain. My fingers itch, anxious to work on my novel. I'd better get to it before the rain comes. I have a date with a summer shower.

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