Friday, October 24, 2014

The House that Nagged

by Marja McGraw

Sometimes a story is practically handed to you. What’s the old saying? Never look a gift horse in the mouth? Such was the case with What Are the Odds?

I have friends who bought a house in the desert that had been empty for quite some time. The house had a history that included murder. A house with a history can be compelling to a mystery writer. To make it even more interesting, it’s an unusual place. It has three levels and separate sets of stairs throughout the home.

I saw the house before it was renovated, and had a confrontation with a rattlesnake and black widows. Oh, so many black widows. My husband was there during a tarantula migration. A box fell and knocked a hole in the garage wall, and there was a hidden staircase behind that wall. It seemed like every time we visited or talked on the phone, something new and odd had happened. There’s a barn and stalls and, well, so many unusual things. I wish I’d taken a picture of the hidden staircase, but it didn’t happen. The book cover shows the real house, and would you believe, there’s a bullet hole in the front scre
en door? I had to include a fake hole because the branches I shot the photo around covered the real one.

Do I have your attention yet? No? Read on.

One of the neighbors thought the house was haunted, but I have to disagree. Now that it’s been renovated, it’s as homey as any house can be. Nothing other-worldly happened to anyone. The neighbor was rather high-strung to begin with, so she had her own ideas.

The house begged to be in a story. Most of what you read in the book that has to do with the house is true. However, all of the characters and the crimes are fictional. Believe it or not, there’s humor in the story, too.

The house called my name and wouldn’t stop nagging. This strange building was, after all, in the desert and not something I’d expected to come into contact with on an average day.

Research was easy because the place was in disrepair and I got to watch or help with some of the little things that needed to be done. The big things were left to others. All I had to do in this case was observe the house and what was going on around me.

The only problem I ran into while writing the story was trying to fit fiction into reality instead of the reverse.

If you’re a fledgling writer, or an old hand at it, observe everything out of the ordinary. Write notes to yourself so you don’t forget even small details. You can build a story around almost anything if you put your mind and imagination to it.

I’ve filled you in on some of the background I used for the story. Hopefully you’d like to know how I put it to work. Here’s a summary of the story:

What are the odds of buying a house with a history to turn into a bed and breakfast, and discovering it’s the house that just keeps giving - and giving, and giving? Sandi Webster’s parents, Livvie and Frank, are about to find out.

Sandi and her partner, Pete Goldberg, have finally taken the leap and married. It’s an interesting wedding, and things don’t go quite as planned – neither does the honeymoon. Instead of going on a trip, they drive out to her parents’ recently purchased house in the Arizona desert to help begin renovations, where they discover there’s more to the home than meets the eye.

Stanley Hawks and his new wife, Felicity, go along for the ride and Stanley has to face some of his worst fears. The desert hides all kinds of critters and bugs, and they aren’t necessarily cute little lady bugs.

A triple murder and suicide occurred in the house about twenty years earlier. Upon Sandi’s arrival a blonde woman starts dogging her steps. Who is she and why can’t Sandi, a private investigator, identify her? How does the intruder disappear so easily, and what does she want? Why doesn’t anyone else see the blonde?

Sandi doesn’t believe in ghosts. Will she be proven wrong? There are plenty of questions with answers just waiting to be found.

Thank you for having me in today, Jean. This book was a lot of fun to write and I love talking about it.


Marja McGraw worked in both civil and criminal law for fifteen years, state transportation for another seventeen years, and most recently for a city building department.  She has lived and worked in California, Nevada, Oregon, Alaska and Arizona. She wrote a weekly column for a small town newspaper in Northern Nevada, and conducted a Writers’ Support Group in Northern Arizona. A past member of Sisters in Crime (SinC), she was also the editor for the SinC-Internet Newsletter for a year and a half.

Marja has appeared on KOLO-TV in Reno, Nevada, and KLBC in Laughlin, Nevada, and various radio talk shows. She says that each of her mysteries contains a little humor, a little romance and A Little Murder! Books include both the Sandi Webster Mysteries and The Bogey Man Mysteries. 

She and her husband now live in Arizona, where life is good.

Saturday, October 18, 2014

Writing a Book as Well as for TV

by John McFctridge

The TV program, "The Bridge,"  like my novels, is set in Toronto and  covers a lot of the same ground--cops and criminals. There are differences; my books follow members of the homicide squad (different cops in each book are main characters, and then they show up as minor characters in other books) and involve police procedure while also following the criminals (usually organized crime and drug dealers) and "The Bridge" is about a uniformed beat cop who is reluctantly elected leader of the police union and fights political corruption in the police brass and at city hall. "The Bridge" also has some police procedure.

There are similarities and differences in writing a book and a TV series.

When I write a book I begin with characters I think are interesting. In Everyone Knows This is Nowhere, I started with Sharon MacDonald, a single mother in her early forties (her daughter is twenty), an ex-stripper now running marijuana grow-ops in Toronto. She meets Ray, a mysterious guy who claims he has a lot of marijuana he'd like to sell wholesale but doesn't know where to start in Toronto. This gets Sharon and Ray involved with some of her old acquaintances in organized crime and brings in the police.

When I started the book, I only had a vague idea of where these characters would take me. But a TV show, I quickly discovered, is quite different. Every episode has to be outlined in advance of the writing and all the ideas approved by the "show-run"--in this case an excellent writer named Alan DiFiore, who wrote many episodes of a great Canadian show called "Da Vinci's Inquest," among others.

Every member of the story department is present and contributes to the episode outlines. Once every episode (in our case the two-hour pilot was aired as the first two episodes, so we were working on the next eleven), everyone contributes to the script outline and writing the scripts.

For a TV series, I think this is a great approach. It allows for character development over the whole season while at the same time each episode has its own story arc. With a TV series such as "The Sopranos," "The Wire," "Weeds," "Mad Men" and so on, taking on the season-long characters (and even story), TV series are becoming more like novels. The writing process is quite a bit different, but the basics--character, plot, theme--are the same.


Canadian novelist and television script writer, John McFetridge, lives in Toronto and writes about organized crime. He also writes for the TV series, "The Bridge." His article was excerpted from Mysterious Writers published by Poisoned Pen Press.

Saturday, October 4, 2014

The Process of Plotting

by Marilyn Meredith 

Because I write two series, a lot of what I need to do about plotting is already done. My main characters are all set, whatever story I’m going to write will affect them in some way.

Usually when I’m going to write a new book, I start going through my files and see if I’ve saved a news story or jotted down something from a Sisters in Crime meeting, or perhaps a story told at a mystery conference that will trigger an idea for me. What I’m looking for is some sort of interesting crime that I can build on and change that will work for a mountain community—a Deputy Tempe Crabtree mystery—or a beach community—a Rocky Bluff P.D. mystery.

Once I’ve decided on that and how the story might go, mostly in my mind, it’s then a matter of figuring out who will be killed and why and who might have done it. (Always more than one person.) Thinking about motives and opportunity come next. To make it interesting, the key suspects should all have motives and opportunity so that the solving of the mystery is more of a puzzle for both the sleuth and the reader to figure out.

At this point I’ll be taking down notes, coming up with names for people and what they look like, who they are in the town. What relationship, if any, they might have with my ongoing characters.

Deciding on what time of year the story will take place is also important, because weather often plays an important part in the plot. (Raging Water is right after the first of the year, winter time, and a big storm with unrelenting rain plays havoc with everything that goes on in the story.)

Once I have most of these elements in place, I usually begin writing even though I may not know exactly where I’m going or how I’m going to get there. As I’m writing, more ideas pop into my head. I usually write these ideas down in a notebook so I don’t forget to incorporate them in the right places.

I also keep a simple calendar of days and keep notes on what happens on each day as the week progresses. I do this for two reasons, to make sure that all the action that happens could actually take place in that time period, and so I don’t leave out a day.

As the story progresses, I begin to see how things might work out and what will put my heroine or hero in jeopardy for that big climatic ending scene.

And that’s how I go about plotting.

Marilyn Meredith is the author of over thirty published novels, including the award winning Deputy Tempe Crabtree mystery series. She's a member of EPIC, three chapters of Sisters in Crime, Mystery Writers of America, and is on the board of the Public Safety Writers of America. You can visit her website at and follow her blog at