Home Sweet Homicide - but please don't try this in your own home

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In August, at Calgary's annual When Words Collide Festival for writers and readers I sat on a panel titled Home Sweet Homicide: the multitude of ways victims die at or near their homes. The moderator asked us panelists to describe the various methods we'd used in our mystery novels and why we'd chosen those approaches. 

I talked about my Paula Savard Mystery Series set in Calgary. Paula, my sleuth, is an insurance adjuster whose work gets her involved in crimes. In books # 2 and 3 of the series, Paula investigates a building fire and a hit-and-run collision near a victim's home. She comes to suspect both apparent accidents were coverups for murder. Book # 4 begins with Paula investigating a theft from a bicycle store during the COVID-19 pandemic. A murder takes place in the adjacent furniture store, which has closed for the pandemic and become the home of a squatter. The victim is bashed on the head with a weapon of opportunity: a candlestick from the store's dining room display. 

Home Sweet Homicide panel at WWC 2025

The panel's most engaging questions related to the allure of poisons and medications thanks to our expert panelist, Lee-Anne Hancock, a retired nurse who worked at the BC Drug and Poison Information Centre. Lee-Anne told us about ordinary plants and medicines that can kill if used incorrectly -- or correctly from a killer's perspective. She noted that poisoning has been called the female murderer's method of choice, perhaps because it is less messy and violent and doesn't require physical strength.

As a mystery writer, I'm intrigued by the medicinal method that can easily be disguised as an accident. In two of my short stories, someone kills a relative by administering an overdose of their prescribed medicine. Even if suspicions arise and victims are autopsied, it would be normal for traces of their own medicines to show up in their bloodstreams. 

In my novel, A Killer Whisky, set in 1918 Calgary, a man dies in his living room after drinking a glass of whisky. His symptoms are consistent with the "Spanish Flu" that has struck the city and the attending doctor diagnoses the flu as the cause of death. But the man's neighbour, who is the doctor's receptionist, suspects someone laced the whisky with a poison or a medicine that reacted with the alcohol to produce a toxic brew. She convinces a sympathetic police detective to investigate.       

The Home Sweet Homicide panel took a light hearted approach that entertained the audience at the end of a busy festival day. Afterward, I pondered why I've tended to kill off my novel victims in their homes or on nearby streets rather than farther away. I came up with three thoughts. 

1. My killers and victims always know each other, which is most common with real life murders, and relatives and friends often hang out together at or near their homes.  

2. Homes are, by definition, private rather than public. There will likely be fewer potential witnesses to a crime and perhaps no witnesses. Any friends or relatives present might lie or conceal information to protect themselves, someone else, or the victim.  

3. Home is supposed to be our safe place. A home break-in feels like a violation, and a killing in our home or neighbourhood threatens our sense of security.  

Me on the Home Sweet Homicide panel, perhaps contemplating a question 

 

     

Of Mice and Rabbie Burns

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Last May my husband Will and I saw the John Steinbeck play, Of Mice and Men, at the Leeds Playhouse in England. This theatre experience was different from our viewing of Hamilton the previous week in London. Tickets in Leeds were about a quarter of the London price. That Tuesday the Leeds theatre was a quarter full and we were probably the only non-Brits present. In London we packed the theatre with a large number of tourists. 

Of Mice and Men is set in the United States during the Great Depression. It tells the story of two migrant workers who dream of owning their own farm. Being Steinbeck, their dream turns to tragedy at the end. Before seeing the play, I wasn't familiar with the story, but afterward references to the novel kept popping up. This began later in our holiday, when we visited Alloway, Scotland, the birthplace of Robert Burns, who is widely regarded as Scotland's National Poet. 

                                                  Burns birthplace cottage, Alloway, Scotland

Viewed as a poet of the working class, Burns wrote in a light Scots dialect. He's affectionally called Rabbie by his Scottish fans. Of course, Will and I had sung his song/poem Auld Lang Syne on numerous New Year's Eves, but on this visit we learned that another Burns' poem, To a Mouse, was the inspiration for Of Mice and Men. Burns wrote the poem after he accidentally destroyed a mouse's nest with his plough and realized that, with its nest gone, the mouse wouldn't survive the winter. These lines inspired Steinbeck:

The best laid schemes o’ Mice an’ Men

    Gang aft agley,

An’ lea’e us nought but grief an’ pain, 

          For promis’d joy! 

 When I returned home from my trip, a library book I'd put on hold was waiting for me: Prince Harry's memoir Spare -- I confess I read it. While discussing his teenage lack of interest in literature and academics, Harry says the one book that grabbed him was Steinbeck's Of Mice and Men, which was assigned in his English class. He liked that the book was short and, unlike Shakespeare, the plain language didn't need a translator. Most of all, Harry could relate the story's themes of friendship, brotherhood, and loyalty to him and his brother William. The brothers' story ebbs and flows through Harry's memoir and crashes at the end. 

In 2009 Burns was voted the greatest Scot by the Scottish public in a contest hosted by a Scottish TV show. Since then Burns has run into criticism. Some feminists interpret his lusty poems and lifestyle as sexist. He had twelve children by four women. Seven were illegitimate, including the first four by his wife Jean Armour. By Scottish law those children became legitimate after the marriage. According to a museum plaque, Jean raised one of the illegitimate children born after she and Rabbie married -- their relationship was complicated.  

Others criticize Burns for accepting a job as bookkeeper for a Jamaica slave plantation. In the end, he didn't go to Jamaica for personal reasons. 

It might also be that the Scots dialect in Burns' poems has fallen out of favour with an increasingly diverse public and younger readers, like Shakespeare's language for Prince Harry.

But many Scots around the world still adore Burns and celebrate his birthday, January 25, at Burns' dinners, which traditionally include such iconic Scottish features as a bagpiper greeting guests and a whisky toast to the haggis. 

 

    

Happy Rabbie Burns Day 2024!

Hosting a Book Launch Party

 

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Last month I held my first in-person book launch in 4 1/2 years. Fifty people gathered in The Treehouse at cSpace, which is located in Calgary's former King Edward Junior High School. I had toured the renovated building when cSpace opened in 2017 as an arts and community hub and fell in love with the Treehouse meeting room. Its top floor setting, three walls of windows, and outside deck offer panoramic views of the city. On September 21st the weather was perfect for an evening event.      

View from the Treehouse deck

Prior to the launch, I often wondered if the effort was worth it. After I settled on the venue and date, the first step was sending out invitations. I created a Facebook Event page, invited my Facebook friends who live in Calgary, and kept the page active with comments to stimulate interest and discussion. In one comment I talked about cSpace and urged people to come to the launch to see what this unique building is like. In addition to numerous artist studios, cSpace houses community groups for seniors, indigenous peoples, writers, and those interested in speaking French. 

 

cSpace: The Treehouse is the top floor of the extension on the left-hand side

For friends not on Facebook, I created an invitation, which I emailed to each person. I started out wondering if anyone would come. But eventually enough people said "yes" that I realized I'd get a good crowd. Then new worries set in. Would they enjoy themselves and be glad they came?

During the week before the event, I purchased wine, juice, and snack food: cheese, crackers, vegetables and dip, and desserts.  

I developed a PowerPoint presentation, which focused on Calgary locations that inspired my story. I combined these with readings from the novel interspersed through the presentation. My first reading featured my protagonist Paula Savard in her office in Inglewood, Calgary's oldest suburb. In my mind, Paula works in this four-story brick building on Inglewood's main street. My added touch: the building is rumoured to be haunted.   

 

At this point in the presentation, I discuss my research visit to Calgary Police Headquarters-Westwinds  

For fun, at the end of my talk, I added a trivia quiz. Since the novel takes place in spring 2020 during the first COVID-19 lockdown, the ten trivia questions all related to COVID-19. I took my questions from the COVID timeline that I'd made for the novel to remind me of what was happening in the world on the story's dates. To test your memory, here are my first two trivia questions:

• On what date did WHO (World Health Organization) declare COVID-19 a pandemic? Month, day, year required.
• Shortly after this declaration, what celebrity couple announced in Australia they'd tested positive for COVID-19?   

The questions turned out to be too hard. The winner only got three right and received her prizes, which were priceless during the lockdown: hand sanitizer and a roll of toilet paper. 

I wrapped up the presentation with random draw prizes: two mystery puzzle books and two sets of playing cards because a character in the novel has a gambling addiction that affects the plot. 

Then everyone gathered for conversation, wine, food and drink. I signed books and talked with as many guests as I could. From the buzz in the room and comments afterward, I think people enjoyed the event. 

Was the work and strain I put into launch preparations worth it? I don't know. It's fun to to host a party to celebrate something good in life and now I have these wonderful pictures with friends who made the effort to attend and cheer on my writing. 

 

 

          

 

Brontë Land

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In May my husband Will and I spent a delightful day in Haworth, West Yorkshire, UK. We visited the home of the famous Brontë writing family, followed in the footsteps of siblings Charlotte, Branwell, Emily, and Anne, and enjoyed lunch and snacks in cafés with views of the picturesque dales.

Curators of the Brontë Parsonage Museum say the village of Haworth and the surrounding countryside would be recognized by the Brontës today. We took the train and bus from Leeds and walked up the steep high street to the centre of Haworth village. 

Our first stop was the Brontë Parsonage Museum, which is full of artifacts and descriptions of the family's history and the sisters' writing. As children, the girls and their brother Branwell loved making up stories for his toy soldiers and creating imaginary worlds and adventures for their characters. Charlotte named her favourite soldier after the Duke of Wellington, who defeated Napoleon at Waterloo in 1815, the year before Charlotte's birth. The siblings would walk around the dining table developing their tales, which speaks well for the value of writing groups and walking as stimulation. As they grew older, they acquired portable writing desks so they could write in different parts of the house. 

                                           Emily's portable writing desk                                                  

The family history was a sad one. Maria Branwell Brontë died the year after her youngest child, Anne, was born. Four years later her two oldest daughters died, probably of tuberculosis contracted at boarding school. Her son Branwell became a painter and struggled with addiction. He died at age thirty-one. Emily died three months later, at age thirty, and Anne died the following year, age twenty-nine. Charlotte married her father's curate and lived to age thirty-eight, when she died of complications from pregnancy. Her husband remained in the house with her father, Patrick, who died at age eighty-four, having survived his wife and six children. All except Anne are buried in the neighbouring church, where Patrick served as rector for forty-one years. Anne died while recuperating from tuberculosis in coastal Scarborough. Charlotte had her buried there to spare her father yet another funeral. 

                              Brontë burial site in St Michael and All Angel's Church, Haworth 

After the museum, we boosted our mood with lunch on a café patio overlooking the Yorkshire dales. Then we walked up to the moor behind the Brontë home and followed a favourite path of the siblings. We didn't mind that it wasn't Brontë-esque rainy, windy, and cold. Actually, one museum display featured an academic's chart that shows sunshine appears in more Brontë novel scenes than readers tend to remember. 

Then it was time for an afternoon snack in another café's garden. 

The Brontë Parsonage Museum hosts talks, children's programs, and other events through the year. I wish I lived in Leeds so I could attend events like Women of the Wild, which will be held this September. I have a slight personal connection to Haworth. My aunt's family came from the village and my aunt inherited Charlotte's umbrella, which she later donated to the museum. Unfortunately for us, the museum keeps it in storage along with other personal items and clothing, which they only bring out for special exhibits. But my aunt would be glad to know the umbrella was home in lovely Haworth. 

 

                Haworth village viewed from the moor. My hair suggests the day was a tad windy.   

   

        

       

Creating a Novel Series Cover Brand

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BWL's Art Director didn't set out to create a cover brand for my Paula Savard Mystery Series. The first cover that Michelle Lee designed for me was for book # 2 of my series, Ten Days in Summer, published in 2017. The process began with me filling out a BWL Cover Art Form (CAF). I provided details about the story, its setting in Calgary, and the two main characters and suggested images related to these. At that time, BWL required that most novel covers include at least one image of a person. 

I plugged keywords into the photo image website, searching for ones that suited my protagonist and the story antagonist, a wannabe cowboy. None were exactly right, especially for Paula, my insurance adjuster sleuth. "Female detective" turned up images of young women peering through magnifying glasses. Paula is fifty-two and doesn't use that prop. Keywords "female insurance adjuster" showed women examining cars. The story involves a building fire insurance claim. I tried "businesswomen" and got images of women sitting in meetings, while Paula spends her time out on the case. 

I selected the best images for Paula that I could find along with images for my antagonist, which included a silhouetted cowboy.  I also suggested images of the Calgary skyline, fires, and a boarded-up house for the burned building. I don't think Michelle used any of the exact images I sent, but she meshed my ideas into a cover that was better than one I could have designed (see cover image above). The fire suggests the heat of summer in the title. 

Two years later, BWL republished A Deadly Fall, book # 1 in the series. During that short time period, book cover fashion moved away from portraying people and toward crisp and intriguing images that evoke a sense of the story. Now BWL's CAF stated that most covers would not include a person. I sent people image suggestions anyway, but I found it easier not to have to focus on finding an image that fit the characters in my head. On my CAF, I suggested images for the Calgary skyline and fall -- fall leaves on water, a path in fall, trees with colourful fall leaves, and falling leaves. Again, I doubt Michelle chose my actual suggestions, but they were her starting point to create this golden cover.   

When the third series book, Winter's Rage, was ready for a cover two years later, we were on our way to a series cover brand. My CAF included a few people image suggestions -- a woman texting, a man in a snowstorm, but I focused on images of the Calgary skyline in winter and winter driving, since this story was about a hit-and-run collision.  For the first time I considered colour. While red, orange, and yellow suited the fall and summer seasons of the first two books, I saw winter as white, blue, and black (night). Michelle came up with a cover that continued the brand with snowflakes and a frozen Calgary. Winter's book cover was blue, with yellow lettering that linked it to the colour of the two earlier books in the series.   

 By book # 4 of my Paula Savard Mystery Series, the series brand was established: Calgary skyline, colours to suit the story season, and additional images related to the season or story. Since bicycles feature prominently in Spring Into Danger, I included bicycle images among my CAF suggestions and chose Calgary skyline images that had a place for a bike or cyclist in the foreground. Here's the cover design for Spring Into Danger, which is scheduled for release in September. 

 I like how the cyclist pops into view. Whenever I look at this cover, I don't notice him until he emerges from the shadows. The book's blue cover with yellow lettering matches Winter's Rage and the covers for the four books have come full circle by including a silhouette on the first and last design. I look forward to seeing Spring Into Danger sitting on a bookshelf.   

When Word Collide Grand Finale

 

 

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I've attended Calgary's When Words Collide Festival for Readers and Writers every year since it began in 2011. That was the year I published my first novel, A Deadly Fall, but I didn't attend to promote the book. I went as a fan of one of their special guest authors Robert J. Sawyer and because a friend coaxed me into going and WWC was an inexpensive, local event. When I arrived at the host hotel, I was amazed at the festival's energy. The founders largely came from the science fiction and fantasy community and they know how to party. While WWC included all genres, it helped to understand the numerous Star Trek references. I attended several dynamic panels and presentations and did a shift at the book sale table, where I met some interesting people and sold copies of my new novel. 

The following year, I volunteered to lead a dialogue workshop, which had a huge turnout. Buoyed by this success, the next year I volunteered to sit on a few panels. WWC is entirely volunteer-run and presented, although the special guest authors receive expense money. The relative equality between authors and fans creates a democratic atmosphere. A highlight for me every year is the opening night's two-hour keynote addresses, where the five or six guest authors each introduce themselves and speak on whatever topic they want. Often the speeches are funny and/or thought provoking.  

My involvement increased when I joined the WWC board and helped develop ideas for panels. We aimed for topics that would appeal to readers of all genres and writers at every stage of the process, from learning the craft to finding a publisher to promoting their books. I met BWL publisher Jude Pittman at WWC 2017 when we chatted in the Merchants' Room. After the festival, I sent her a query and soon became part of the BWL family. 

 

                                 BWL's Nancy Bell and Jude Pittman at When Words Collide 

Connections also occur at WWC social gatherings. The Saturday evening banquet has sold out quickly since the festival started encouraging costumes. Here I am (left hand side) with two other ladies in red at the Roaring Twenties theme banquet.  

      

Then COVID-19 hit. WWC went online in August 2020 and continued with virtual conferences the following two years. I still participated in panels and attended some virtual social events, but not as many as I had previously. Staring at a computer screen wasn't the same as meeting in person. I left the board, feeling I didn't have the tech skills to contribute much of value. Other board members dropped off and the festival's main organizers ran out of steam. They decided to return to the in-person festival in 2023, but this will be the final year for When Words Collide. 

Registration for WWC 2023 has reached its cap of 780 attendees, but this is due to 2020 and later registrations being carried forward to 2023. Spots are expected to open up, so it's worth  putting your name on the waitlist if you're interested in attending.

I'm looking forward to the WWC finale on August 4-6 with bittersweet feelings, but this might not be a complete ending. Rumour has it another group is thinking of reviving the festival or creating something similar next year. This hope in the wings is all the more reason to celebrate When Words Collide's wildly successful thirteen year run this summer. Hats off to you, WWC! It's been grand. 

                                               Me with Special Guest Author Will Ferguson

 

                                    

Inside Police Headquarters

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My current novel-in-progress got into police work more than I'd planned when I made two homicide detectives viewpoint narrators. I wrote scenes of them in their workplace from information I recalled from a years ago visit to Calgary Police Service Headquarters - Westwinds, but mostly from my imagination. During revisions of the novel, I made a list of questions I'd ask someone familiar with the place, if I ever had the chance. 

Then a writer-friend mentioned that Calgary homicide detective Dave Sweet had generously answered her questions about her crime novel. I'd enjoyed Dave's presentations on homicide cases at local crime writing events and read his memoir, Skeletons in My Closet. My friend gave me his email address and I wrote to him and asked if he'd mind answering my questions. He replied right away, saying he'd be happy to help. 

I emailed my list to Dave. Again he quickly replied. My first question was my greatest worry: are the homicide and robbery units located in Westwinds?  If they weren't, I'd either have to do a major novel revision or ignore this fact. To my relief, Dave answered yes, both were in the Investigative Services Building on the west side of Westwinds campus. I didn't remember this second building from my visit.  

Evidently, from my questions, Dave got the hint that I was interested in the workplace environment because he offered me a tour of Westwinds, if I was interested. Yes, I was really interested, and the earlier the better. David said the next day would work for him, unless he got a call out before then. I knew once he was hot on a case, I'd lose the opportunity. We arranged to meet the following afternoon at the entrance to the Investigative Services Building. 

In my novel, I'd described a large lobby. Instead, I entered a cozy space, with a few padded chairs and a side room with toys and a computer screen for children who come in with their parents. Dave waved me past the reception desk and into a huge, oval atrium. He explained that CPS bought the building from Nortel in 2009 when the telecommunications company filed for bankruptcy; the rooms along the sides of the atrium had been Nortel's executive offices. CPS converted the building to police use, but this space didn't look like any police stations I've seen on TV. He said they use the atrium for large gatherings and the side rooms for special meetings.   

  

From the atrium, we went to the homicide unit offices. In my novel, I'd given my Detective Mike Vincelli an office with a door. Instead, Calgary detectives work in cubicles. Dave didn't take us in, to protect his colleagues' privacy, but he pointed out a glass enclosed room in the far corner, where the unit's four cold case detectives work. Their windows face west and would have a view of the city skyline and mountain backdrop. My novel had my cold case Detective Novak working in a windowless storage room, which reflected his depressed mood. Now I thought this glass fishbowl office might offer intriguing possibilities.      

Next Dave took me down a corridor to a service elevator, located in Nortel's former delivery dock. This brought us to the holding cells, which I found creepy. The cells were behind solid doors; no looking out through bars. Voices carried between the cells and into the central corridor. Two detainees talked rapidly and loudly. 

"Getting their stories straight," Dave said.  

I looked through a peephole into an empty cell, directly at a toilet. Two narrow benches lined the walls on either side. Dave said they rarely kept people more than thirteen hours, with twenty-fours the maximum before they sent them home or to longer-term facilities. This would be a problem for my book. I'd had the police keep two of my suspects close to forty-eight hours, which I'd thought was the maximum allowable time before laying charges. Could I change this without radically altering my story? 

Sometimes it's better not to know too much. Few readers would notice if I brushed aside this policing fact, but I started contemplating solutions for my novel.    

In the holding area, we went into an interview room, which was smaller and drearier than I'd expected. Cameras in the corners, but no window for outsider viewing. Peeling paint on the greenish walls. The room had an acrid smell. Dave said they let interviewees smoke to not put them on edge. For the same reason, the police don't bring their guns into the room. Interviews are typically one-on-one, although a second detective might sit in or stand outside the door if they anticipate a dangerous situation. 

We left the Investigative Services Building and went outside to the main headquarters building. On the way, we passed a grassy area with benches and a picnic table. In my novel, Novak meets someone connected to the cold case in an outdoor area. I'd need to make some minor changes to the setting. The main headquarters building contains classrooms, training rooms for new recruits, and Westwinds' largest gym, where a recruit class jogged back and forth at an easy pace. Dave said they'd gradually speed up and some would drop out of the pack.   

"They'll never be more fit than they are now," he said. After recruits become full-fledged officers, CPS no longer requires them pass fitness tests. Now that I knew Westwinds had gyms, I could include my line that Novak had never entered one, to illustrate his disinterest in exercise.     

I came home with lots of material to work my novel-in-progress. Many were easy fixes. I'd asked Dave, Do police generally refer to the building as headquarters or Westwinds or something else?  Westwinds usually, he said. In my manuscript, I changed this with a simple word find/replace. For my largest problem, I came up with a (hopefully) good reason for the police to keep one of my suspects for two days, but had them release the other one on time. This involved deleting, shuffling, and changing much material, but I think it improved the overall storyline. 

While my tour gave me extra writing work, it wasn't onerous. I think the new details give my story pizazz. Maybe readers sense when something rings true. And, if nothing else, I found my look inside police headquarters interesting.  

A Bit of Blarney for St. Patrick's Day

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I kissed the Blarney Stone! Well, almost. 

Last June my travel companions and I arrived at Ireland's Blarney Castle in a downpour. Since rain isn't unusual for the Emerald Isle, we were prepared and dressed in our full rain gear.  

 

The weather prompted us to duck into the castle, rather than stroll through the extensive gardens. We joined the line for the climb up a narrow, winding staircase to the top of the tower. Along the way, we enjoyed occasional views of the grounds and noticed the rain was letting up.   

Our goal was the legendary blarney stone, which was built into the castle battlements. Kissing the stone is said to grant someone the gift of the gab. Eloquent Irish politician John O'Connor Power defined gab as "flattery sweetened by humour and flavoured by wit." Myths abound about the blarney stone's origins. Some say that Irish chieftain Cormac MacCarthy asked a goddess for help with a lawsuit when he was on his way to court. She told him to kiss the next stone he saw. He followed her advice, won his case, and incorporated the lucky stone into his castle. A variation of this myth is that MacCarthy was en route to plead his right to keep his lands and title to Queen Elizabeth I. He met an elderly woman advisor, kissed the stone, and, thanks to his brilliant 'gab' convinced the queen to grant his wish. Other stories claim the blarney stone is a magical rock brought to Ireland from Stonehenge, Scotland, or the Holy Land during the Crusades. Scientific studies have determined the stone is local Ireland rock, but who can argue with legend?

Judging from the crowds on that rainy day, the stone's blarney works for drawing tourists. The long lineup snaked slowly towards the top of the castle. We paused at this warning. 

As we drew closer, we wondered if we'd have the nerve to lie down in front of all the tourists and kiss the stone. We saw an attendant give the stone a quick wipe between people, but was kissing it sanitary in this day of COVID-19?  

I decided I couldn't come this far without trying. Here I go - awkwardly. In addition to virus concerns, in order to touch the stone with your lips you have to lean your head way back through the gap along the castle edge. A man holds your body and bars prevent falls to the ground. At worst, you'd bang your head. But arching backward over a high drop-off is a creepy feeling of letting go. Did I really need any more gab to write my novels? Hundreds of lips had touched the stone already that day. I blew the blarney stone a kiss and was content with getting close. 

The view from the top was worth it. In the past, Blarney stone kissers didn't have bars for a safety net. Here's how far they could fall. 

By the time we returned to the ground, the rain had stopped and the sun came out. A fellow tourist snapped a picture of our group, with the castle in the background. It's the only picture of all five of us we have from our two-week tour of Ireland. 

The Irish are known for their sayings, blessings, and proverbs. I'll leave you with a few.  

May your home always be too small to hold all your friends. 

May you get all your wishes but one so that you will always have something to strive for. 

Every man is sociable until a cow invades his garden. 

May you have the hindsight to know where you've been, the foresight to know where you are going, and the insight to know when you have gone too far.

A kind word never broke anyone's mouth. 

May your thoughts be as glad as shamrocks

May your heart be as light as a song. 

May each day bring you bright, happy hours that stay with you all year long.    

Happy St. Patrick's Day! 

 

The Emerald Isle 

 

Whisk(e)y -- with an 'e' or not?

                                     

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When I heard that BWL Publishing planned to publish a series of Canadian historical mystery novels, I was eager to get involved. In 2021, I wrote a mystery short story set in my home city, Calgary, Alberta, during the second and deadliest wave of the 1918 influenza pandemic. I showed the story to a writer-in-residence, who suggested I turn it into a novel. This intrigued me, but I polished the short story and submitted it to the Crime Writers of Canada 40th anniversary anthology. My story, A Deadly Flu, was accepted and published last spring in Cold Canadian Crime. 

But BWL's plan prompted me to consider how I could expand my 4,500 word story into a 75,000 word novel. I mulled ideas and decided I'd add three new characters to the story: two suspects and female protagonist, Catherine. I'd still keep my original detective protagonist as a secondary narrator. He and Catherine would both have personal story arcs, including a romantic subplot. WWI would also feature more prominently in the novel, as the story built to the November 11th Armistice. 

Confident these additions would give the story sufficient fodder for a novel, I asked BWL if I could write one of the books. The concept for the BWL Canadian Historical Mystery Series is that twelve different authors or author-pairs would write novels set in our ten Canadian provinces and two of our territories. Authors would have free rein over what to write, as long as the novel features a crime, takes place during a real historical time period, and is 70,000-80,000 words to keep the book sizes uniform. BWL assigned me the story set in my home province of Alberta.

The series will be published over a period of almost two years. Since I won't have time to start writing my novel before this summer, I asked for the last publication date, December 2024.  The first  Canadian Historical Mystery comes out this month. Rum Bullets and Cod Fish by H. Paul Doucette, set in Nova Scotia, sounds like roaring fun. "The year is 1924 and Prohibition is spawning a new breed of criminal." An undercover investigator tracks the ringleaders illegally transporting liquor to the US mob. 

Since BWL is promoting the whole series right away, they asked each author to provide a title, story blurb, and suggestions for cover images. Luckily, I have a framework for my novel -- my short story and my ideas for expansion. From this, I came up with a blurb. I also needed a new title. My short story title, A Deadly Flu, was a wink at my first novel,  A Deadly Fall. For a novel I'd want something to distinguish the two books. Words like dead, murder, kill, secrets, and their variations are popular for mystery titles. I also find concrete nouns in titles conjure strong images. The weapon in my story is whisky laced with a lethal drug. I settled on a title, A Killer Whisky.

During this process, I discovered a potential problem with the word 'whisky.' Ireland and the USA spell whiskey with an 'e,' unlike Canada and the rest of the world. My research suggests this might have  been due to Ireland's desire to distinguish its whiskey from Scottish whisky. Did Canada adopt the Scottish spelling because many of our early explorers and fur trade merchants came from Scotland, while whiskey became popular in the US with waves of Irish immigration? That's my best guess. 

I debated changing my title to one that wouldn't confuse American readers, or using US spelling, or making the poisoned drink a non-spelling-controversial liquor, like rum. But whisky is so concrete that I can almost smell it when I hear the word. It's also infamous in western Canadian history. Our fur trade is often called the whisky trade, which caused alcoholism problems for indigenous people. In the end, I decided to stay with whisky and Canadian spelling. Early in the novel, I'll have a character point out the difference between the countries, so US readers won't think I can't spell. 

For images, I suggested  a bottle or glass of whisky, as well as a piano. I plan to start the novel with my protagonist playing the instrument and music will feature through the story. Michelle Lee, BWL's cover designer, worked with my suggestions and created a stunning cover. I love the golden whisky colour against the black background. I can hear the clashing chord as the glass hits the piano keys. The glass of whisky stops the music, like murder.  

 

    

       

                      

 

Literary vs Popular Fiction: How big is the difference really? By BC Deeks, Paranormal Mystery Fiction Author

 

Visit B.C. Deeks' BWL Author Page for Book and Purchase Information

 

http://bookswelove.net/deeks-bc/

The prestigious ScotiaBank Giller Prize was announced in November, thus prompting my usual frustration with the bias that exists between literary fiction and what is most often referred to as popular or commercial fiction. What’s the difference you may ask? Well, the biggest difference in my humble opinion is in recognition, and maybe even respect.

The differences were never clear cut and are becoming less so with the emerging publishing landscape. Literary stories with crossover appeal have publishers, agents and even some readers referring to ‘upmarket fiction’ to further classify such novels although you won’t find that category on a bookshelf or on Amazon.

At first blush, one could say that popular fiction is written more to please the audience while literary fiction aims to reflect on the human condition. Genre fiction, it is argued, is more formulaic, but this is a response to its need to meet reader expectations. A ‘romance’ story must have a ‘happily ever after’ or it simply is not a romance. Yet within that expectation is an endless variety of paths with an even greater number of deviations. Our readers love to be surprised and delighted before they reach the anticipated ending. And didn’t Jane Austen’s, Pride and Prejudice end with a Happily Ever After?

Within the ongoing debate between popular versus literary fiction, most people argue four key points: theme/ scope, plot driven versus character driven, time/reputation, standard of writing. I would argue there’s also a fifth factor: money! Modern Literary Fiction holds only 16% of the market, whereas the top five most profitable categories on Amazon.com are:

• Romance/Erotica ($1.44 billion).
• Crime/Mystery ($728.2 million).
• Religious/Inspirational ($720 million).
• Science Fiction/Fantasy ($590.2 million).
• Horror ($79.6 million).

I think we can all agree that popular fiction leans towards more adventurous or sensational subject matter and they traditionally fall into convenient categories such as crime fiction, romance, science fiction, fantasy. In the new digital publishing age, those well-defined and predictable lines are breaking down and the blending of genres is commonplace. I write paranormal mysteries with romantic elements. Paranormal romance is one of the most popular subgenres. A renowned Canadian astronaut wrote an outstanding science fiction murder mystery! 

What about the question of literary books having a deep theme that popular fiction lacks? In my current series, Beyond the Magic, three supernatural siblings lost their mother in childbirth and have a father who is too ambitious and career driven to focus on raising them. Together they must face life altering threats to their world and unravel an ancient prophecy. I would argue that is an overarching theme of the power of family ties that bind. Perhaps in literary fiction the emphasis on the theme is more overt than in popular fiction, but that depends on the author.

Some people say that literary fiction is more character driven while genre fiction is focused on plot, yet I, like most of the authors I know, spend considerable upfront time creating character profiles with associated emotional arcs that I carefully weave through my plot outline. Some author friends say it is a character who appeared to them first, anxious to tell their story.

Historically speaking, there are works of popular fiction that, solely through the passage time, have become elevated by those in authority to the status of literary classics, such as the works of Lucy Maude Montgomery or Daphne DuMaurier. And, alternatively, literary works have gained popular or commercial attention decades after publication, like Margaret Attwood’s, A Handmaid’s Tale.

The final and often snide criticism about popular fiction refers to its standard of writing. While my back instantly goes up at such comments, my objective self will admit there is a sliver of truth in this one factor. Not about standard from a quality perspective, but in level of writing. This again points back to the audience. Popular fiction authors want to reach as many readers as we can, so we write to the reading level of the majority of the population. We choose the best possible words to communicate the emotion, setting, and action required to move our story forward, draw our reader into our imaginary world and let them leave it feeling entertained. Most typically, literary fiction is profoundly philosophical about human nature and the meaning of life. Its audience does not expect it to conform to any scope and genre conventions, or language accessibility.

As the publishing world evolves, the boundaries between literary and popular fiction will continue to blur, although I don’t believe the two will ever completely merge. That fundamental difference in audience expectation will remain wedged between them for a long time to come.

My books may not be a good fit for the Giller Prize, but I am proud to write heartwarming stories of mystery and magic that readers from their teens to their nineties can enjoy. My neighbor recently sat beside her aging mother’s sick bed and swept her away by reading my latest book, Witch Unbound, to her. I hear she thoroughly enjoyed it! I am honored that I could do that for her as a writer.