Tag Archives: Journal

Dec 28

Mary Deal Writes About “Scene Changes” On The Child Finder Trilogy

A scene ends when the action ends or the conversation can add no more to that part of the story. Maybe one scene is in the grocery store; the next scene is outside on the docks. Usually when a huge shift in location happens, you begin a new chapter.

(Don’t try to write a sequel to “My Dinner with Andre” which happened totally in one scene at the dinner table. It’s been done and was successful because the actors were good.)

When you end a scene, leave the reader wondering what could happen next and wanting to read further. It’s called a cliff hanger. Leave something unfinished, like a threat of action yet to happen and we can see one character gearing up to do some dirty work. The reader wonders what could possible happen next? And so they keep turning pages. Read More

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Dec 21

“Sleep & Creativity” By Mary Deal…Another Great Article On The Child Finder Trilogy

Want to wake in the morning with more creativity? Then pay attention to what’s on your mind when you fall asleep.

Research has proven that the mind uses its most recent daytime images and thoughts to create dreams. So, too, the mind produces the mood with which you wake after sleeping. Read More

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Dec 14

“Talk Uppity” An Article Contributed To The Child Finder Trilogy By Mary Deal

I grew up among middle-class everyday folk. Language was one thing that separated groups of people as I had come to know them. When I was young, every once in a while I’d hear someone say, “Oh my! She talks so uppity!” Read More

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Dec 07

“Repetition Offends Your Reader” Let Me Repeat, Okay, You Get the Point! Another Writing Advice Article By Mary Deal

When descriptive words are used repetitively in writing, it makes the reader wonder why they have to be told something they’ve already learned earlier in the story. Repetition can kill your reader’s interest. Read More

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Jul 29

Australian Author Diana Hockley Visits with Mike Angley

MA: I am pleased to have visit with me today, Australian author Diana Hockley. Diana lives in a southeast Queensland country town, surrounded by her husband, Andrew, two 19 year old cats and four pet rats. She is a dedicated reader, community volunteer, and presenter of a weekly classical program on community radio. She and her husband once owned and operated the famous Mouse Circus which travelled and performed for ten years throughout Queensland and northern New South Wales. Now that the circus is sold, she is the mouse judge for the Queensland Fancy Rat and Mouse club shows!

Diana and Andrew also bred Scottish Highland cattle. Prior to 1995, her last occupation was medical transcriptionist specializing in Radiology at a major Brisbane hospital.

They have three adult children and three grandchildren.

Diana has had articles and short stories accepted and published in a variety of magazines, among them, Mezzo Magazine USA, Honestly Woman (Australia) the Highlander, Austin Times and Austin UK, Australian Women’s Weekly, It’s A Rats World, Solaris UK, Literary Journal of University of Michigan USA, Foliate Oak, children’s website Billabong. She was awarded Scenic Rim Art Festival prizes for poetry and fiction. Since that time she has published two crime novels, The Naked Room and The Celibate Mouse.

Now, that’s one of the most diverse – and interesting – backgrounds I’ve ever seen. How did you go from the circus to novels?

DH: I wrote a novel in 1971 which was rejected but deemed “worthy of merit.” After this, I didn’t write anything more until I attended university when I was in my 30s. Raising children was a fulltime occupation for a widow, so I didn’t write anything more until 2005, by which time I was living on a small farm in rural Australia, married again and on my own a great deal in the show season. I started off with articles about our animals – always a rich source of amusement for city magazines, then ventured some short stories and had some success there as well. It was a short step to novel writing after that.

MA: Did your professional career inspire your writing? Are any of your characters based upon real-life people with whom you’ve interacted?

No, my professional life – from which I retired in 1993 – didn’t inspire my writing, but I think some of my characters couldn’t help being heavily disguised as some people I know!

MA: I won’t ask which of them resemble rats! Tell us about your stories.

DH: My debut novel, The Naked Room, fits into the crime genre, the idea for which came to me one night when I was in the studio at the radio station. What would happen if the pianist didn’t turn up for the big concert? There would have to be a very good reason why not. So I set about creating one!

MA: How did you develop your protagonist?

DH: I allowed Ally Carpenter’s character to develop in response to her abduction and the personalities of her kidnappers. I once read that you have to listen to your characters, rather than trying to force them to do what you want (within reason of course) so that is what I tried to do and it seems to have worked.

MA: Is there a hero in addition to a heroine in your story?

DH: It’s hard to say who is the hero in The Naked Room. Is it her boyfriend who takes it upon himself to investigate the crime? Is it her father who holds himself together and works on the ransom money? Or are they both the hero? My heroine’s strength is that she refuses to give in. My hero’s strengths are neither of them are about to give up searching for Ally Carpenter.

MA: I understand you have more than one antagonist in the book. Tell us about them.

DH: Oh yes, there are three bad guys and one bad woman in this – but they too have an agenda other than money.

MA: Any real life experiences that flowed over into your stories?

DH: No, not really. I psyched myself into standing behind each character, listening to them speaking and the reaction of those around them – like reading a newspaper over someone’s shoulder. And I am sure they got a bit cranky with me sometimes (chuckling).

MA: So who migrates over from The Naked Room to your other novels?

DH: I have taken the main female detective from The Naked Room and given her the starring role in The Celibate Mouse. In this novel, the reader finds out what is happening to three of the protagonists from The Naked Room. For After Ariel, my next story, I have taken one of the characters from The Naked Room and made her the character. We find out what is going on with some of the Naked Room characters who were not in Celibate Mouse (some have moved on, it’s two years later) and Susan Prescott turns up again, now an Inspector. I don’t want to over-use the same characters beyond giving continuity to the series.

MA: Any last thoughts?

DH: It’s said that you should always write what you know, so my novels will always be set in small towns/rural/Australian city/UK or Wales and they will feature people whose lifestyles I understand and whose point of view I can put across. My stories will never feature high finance, spies or sophisticated political themes because I have no knowledge of these genres. I do know, however, how people keep secrets!

I tend to write my main characters in first POV and the rest in third, with the exception of The Naked Room which is very different, darker and more violent than The Celibate Mouse.

MA: Thanks, Diana! Please visit Diana Hockley’s website for more information about her writing: http://www.dianahockley.webs.com. Read More

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Jul 15

Multi-Published Novelist Louis P. Solomon Guests with Mike Angley Today

MA: I am pleased to welcome to my blog today, Dr. Louis P. Solomon. Louis founded Life Echoes, a Family Legacy Book Publishing Service. In addition he founded Pearl River Publishing (PRP), a publishing house. He spent most of his career in the military-industrial community in government and industry. He continues to be a consultant on business, technical, and financial issues. He is technically trained with a PhD from UCLA in Engineering in 1965.

Louis has written several books including five novels: The Third Legacy, Gotcha!, Unknown Connections, Library of the Sands, and Instrument of Vengeance, and several nonfiction books: Transparent Oceans: Defeat of the Soviet Submarine Force, Teleworking—A Complete Guide for Managers and Teleworkers and the Solomon Haggadah.

You have a fascinating background, especially in the technical realm. Please tell us more.

LS: I have substantial academic technical training. I have had a varied career, covering multiple disciplines, both in government and in the private sector. I received a PhD in Engineering from UCLA in 1965, specializing in Fluid Mechanics, Applied Mathematics, and Electromagnetic Theory.

Prior to entering government service I was one of three founders of a very successful consulting firm, Planning Systems Incorporated (PSI) which grew from three to over 400 people located in several states. PSI primarily supported the United States Navy (USN) during the Cold War. After ten years with PSI I went to work for the Department of the Navy for nine years as a member of the Senior Executive Service (SES). As the Associate Director of Naval Ocean Research and Development Activity (NORDA) for Program Management I was responsible for the Long Range Acoustic Propagation Project (LRAPP).

Subsequently I worked with the DoD National Security Education Program (NSEP) in placing within the federal government over 3,000 NSEP award recipients (graduate and undergraduates in all academic fields) who lived and studied throughout the world and learned less commonly taught languages and cultures. I also served as a subject matter expert in developing The Language Corps for the Department of Defense (DoD) as a national entity to support government agencies in times of national emergencies.

In addition to PSI, I am a founder and chief executive of several firms: LPS Collaborative Group, (a very unusual technical and management consulting firm), Pearl River Publishing (a book publishing firm) and Life Echoes, (a Family Legacy Book Publishing Service). In addition, I sporadically write a blog: The Wisdom of Solomon, which focuses on subjects which are of interest to me.

MA: I can understand the technical writing you’ve done, but how did you end up writing novels?

LS: In a single sentence: My Mother made me.

I wrote many technical reports and refereed technical papers. I eventually lost interest in discussing and writing about detailed technical issues. That is work for people beginning their careers.

I had no interest in writing fiction until my Mother came to me one day and told me that she had a fiction story she wanted me to write, based upon an actual event. Being a dutiful son, I said that I would write the story and promptly did nothing. But she was a tough old lady, and nagged me about it, regularly. I continued to put her off. But I was then invited, as part of a family outing to celebrate the 80th birthday of my mother-in-law, to go on an ocean voyage for a week. I find cruise ships the height of boredom, but as a son-in-law, I was obliged to accept the invitation with good graces. I then realized this was a heaven sent opportunity. I took my Mac Power Book laptop, and spent every day from 0600 to 1800 in the ship’s library. It was a nice little quiet room, which was never visited by another single soul during the entire trip. I wrote all day long, and by the time the cruise was over, I had completed the first draft of the book. My Mother loved it, and I found it a very interesting tale. This story, The Third Legacy, was edited by Linda Jenkins, who has edited not only all my books, but used to edit all my technical documents and refereed journal articles which I wrote while I was associated with NORDA. She is a superb editor, and I always accept follow her suggestions about making changes to the documents I entrust in her editorial care.

MA: Did your professional career inspire your writing? Are any of your characters based upon real-life people with whom you’ve interacted?

LS: My professional career did not inspire my writing. It had an effect on how I write my novels, just as my technical training influenced how I write. I focus on relatively complex stories, which fit together in order and sequence. All parts of my stories hang together. The problem that I have is that I do not focus on the characters of my books. I like them all, and would associate with them in real life, if they, in fact existed. But I don’t emphasize the emotional part of my novels, nor the character interactions. To me the story is one that I tell, in detail, in what I would characterize as a somewhat laconic voice. This is, I believe, the major drawback to all my novels. If I continue to write novels, and I probably will, I will be searching for someone who is very good at constructing characters who are lovable, hate able, etc. My coauthor will probably be sought as a budding playwright.

All my characters are based, to a greater and lesser degree on people I know, or knew. The skills and capabilities of my characters are based upon real people. However, I should add that I do not pay much attention to the human characteristics of real or imaginary people. They are what they are, and that is how I deal with people in real life. I like them, or do not; and friendships develop or not. I assume they think the same about me, but this may be an inaccurate assessment. I have many long term, close friends, in many fields and areas of endeavor, but I never think about them purely in an emotional way. They are wonderful in that sense that they have great enjoyment to me, but I never analyze them.

MA: Tell us more about your novels.

LS: I have already mentioned my first novel: The Third Legacy. This novel, written at my Mother’s request and prodding, was based upon the historical fact that Hermann Goering, Reich Marshall of the Third Reich, was sentenced to death for War Crimes at the Nuremburg War Crimes Trial at the end of World War II. He died a few hours before he was to be hung. How he died, and who helped him was never discovered or explained. This single event allowed me to develop a tale which explained all the facts, and hopefully was interesting as a novel.

The second novel, Gotcha! was based upon the Enron scandal and the terrible effects on the people who worked for Enron. The entire story of the Enron scandal was part of a Pulitzer Prize article from several Washington Post writers. I was infuriated by the way Enron executives handled themselves and decided that I could write a story which would have the characters, originally part of a fictional corporation who underwent the same series of events that Enron encountered. Once I had the idea of wrecking vengeance, the story was easy to develop.

The third novel, Unknown Connections was a little different. I have just finished a nonfiction book: Transparent Oceans: The Defeat of the Soviet Submarine Force. This book was written for a very select professional group of people who were familiar with the issues of naval submarine warfare during the Cold War. But several people suggested that I take the same information and create fictional characters and retell the story as part of a novel, using the same information. I did, and Unknown Connections is the result.

The fourth novel, Library of the Sands, is based upon the factual event of the destruction of the library at Alexandria in the 7th Century by the invading Arab armies. The library was itself about 1,000 years old at that time. It was the largest and most complete library in the Western Hemisphere with collections dating back 1,000 years from many sources. The librarians had a long and wonderful history in developing and protecting the collection. It was, and remains, my contention that the men and women of the 7th Century were emotionally no different than the men and women of the 21st Century; but the technology is different. If I were the Chief Librarian of the Alexandria Library at the time would I let my collection be destroyed by the invading armies? Absolutely not. So, how would I protect the collection which was in my care and my responsibility? The novel, Library of the Sands, is in fact, devoted to telling the imaginary story about how this was actually accomplished.

The most recent novel, Instrument of Vengeance, is due to my enjoyment of the assassin which was told about in the series of novels by Lawrence Block. I enjoyed them, and then, as is my habit, I asked myself how someone becomes an assassin, and how can a business which offers assassination as a service, exist in the modern world? How do you find clients? How do you stay free and not get caught by the law enforcement services? After thinking about it for a little while, and with the technical background I have, it was easy to solve the problem. So, I wrote a novel about how it could be done. All the technical details are correct, and plausible.

MA: How would you characterize the antagonists in your stories?

LS: My bad guys are really not people, but events and organizations.

MA: Will you keep writing fiction, or are you going to concentrate more on your technical writing?

LS: I will continue to write novels as ideas and events appeal to me. I can’t predict what they will be, or when they will occur. But my current focus on my firm, Life Echoes, I expect will have me encounter some interesting historical events and stories which I will use as a basis for a new novel, or series of novels.

MA: Thanks very much, Louis, for being my guest-blogger today. I encourage my readers to learn more about Louis Solomon by visiting his many websites:

www.pearlriverpublishing.net
www.lifeechoes.net
www.lpscolg.com
www.lpsseminars.com/LPSS/Presentations.html
www.tumblr.com/tumblelog/louispsolomon Read More

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Oct 22

Tree/House Author, Jessica Knauss, Visits with Mike Angley

MA: My guest-blogger today is Jessica Knauss. Born and raised in Northern California, Jessica has become something of a wanderer who hopes to settle down soon. She has worked as a librarian and a Spanish teacher. She lives with her husband Stanley, with whom she plans to open a soft-serve ice cream shop in the future. Jessica has participated in many writer’s groups and workshops, including the International Writers’ Program at the University of Iowa. Her nonfiction has appeared in Medieval History Magazine, Hortulus, LL Journal, and an encyclopedia entitled The World and Its Peoples. To date, she has published fiction in Bewildering Stories, Do Not Look at the Sun, (Short) Fiction Collective, Full of Crow Quarterly Fiction, Sillymess, This Mutant Life and Short, Fast, and Deadly. Her poetry can be found at Haggard & Halloo, Apollo’s Lyre and The Shine Journal. Her novella Tree/House, about a woman’s awakening through sleeping in trees, is available at Amazon. Açedrex Publishing will release her poetry chapbook, Dusk Before Dawn, in September. Get updates on her writing at her Facebook page.

You have been very busy with all your writing projects!

JK: I came out of the womb with a pencil in my hand. In grade school, I could hardly be bothered with math, but let all other experiences influence the stories that just kept coming out of me unbidden. I grew up in Northern California, close to the Redwood forests, near the foggy grey beaches, and gained a sense of awe at nature and a strong isolation from civilization that shows up in all my work. I studied a lot of subjects, mainly Spanish, because my love of Spain sprouted spontaneously one day when I was about 11. I’ve been a librarian (love those books!) and a Spanish teacher in the beautiful cities of Boston and Providence. Somewhere along the way I lost sight of creative writing, but have now taken it up again with complete seriousness. The stories and characters were patient. They knew I had to come back to them some day.

MA: Was your decision to write novels a conscious, formulated one, or did something simply inspire you?

JK: The novels chose me instead of the other way around. For me, being a writer consists of taming the wild muse and making a craft out of a formless mass of creativity I’m re-learning to tap into.

MA: So tell us about Tree/House.

JK: My novella, Tree/House, is a timeless coming-of-age story in which a woman, Emma, has made terrible decisions throughout her life, allowing herself to be led around by anyone with more force of will. When the husband who took her on dies suddenly, she slowly turns her drifting into a direction, learning some shocking truths along the way. She could not go through this process without Geraldine, a vagrant who camps on her property, sleeping not in the barn or the stable, but in the wild old trees. Geraldine is in need of some emotional rehabilitation herself, but with her assertive personality, she helps Emma see the alternatives to the passive life she has lived. The novella has a slightly nineteenth-century feel to it, because the characters write letters, build libraries, and trek through the countryside on foot, but at just 28,000 words, it’s a fast, fun read that will leave you time to read it again! It’s perfect for book clubs and discussion groups or just sharing with friends.

I also have a poetry chapbook that recently released, called Dusk Before Dawn. This is a compilation of most of my poetry from over the years, and I’ve put them together in a trajectory that addresses the nature of language, the search for love, the nostalgia of place, the creative process, and, most importantly, personal identity. Some are like stories, and others a very lyrical. They make a nice companion to Tree/House, as they address many of the same issues.

MA: Emma sounds like an intriguing character. How did you go about developing her in the story?

JK: One of the lines from what ended up being the third chapter came to me in a bolt of sheer inspiration. It’s when one of the servants on the estate is telling Emma some unsavory truths she didn’t know about Geraldine: “Do you know she killed the cat, aimed for the stable boy and slept with her boss?” The protagonist at that point was merely a receptacle for this information. Emma’s character grew out of the way she reacted to Geraldine’s extravagant style. The antagonist, Franklin, grew out of that passivity in a natural way, creating the drama organically.

MA: Would you say Emma is a strong character? Is she flawed at all?

JK: I’m afraid Emma is all weakness: confused, not confident, no direction, no definable talent, and worst of all, led easily astray. She represents any woman who finds herself at a crossroads, and I think her indecisiveness and insecurities make her very sympathetic for readers.

MA: Do you have a definable antagonist, or is Emma challenged by many characters because of her weaknesses?

JK: Franklin, who ends up as Emma’s husband (and then brutally murdered in revenge for past misdeeds) is very dangerous because he knows how to manipulate her, all while she believes she is making her own choices. His praise of Emma seems unfounded and bizarre, just like the rest of him. He seems to have sprung out of nothingness to impose an ancient order on her disorganized life. He is a jailer and a neglecter and represents every thing evil and intransigent, at the same time that he opens a new world of literature up to Emma. His gifts are awkward, beautiful only in a certain light, and I hope the reader feels as weird about him as I do.

MA: Is there any of Jessica’s real life story in Emma?

JK: Absolutely. Because of the organic development of the plot, Emma’s predicament reflects the trapped feeling and self-doubts I was going through at the time. The writing and sending of letters comes directly from my experience, and I think it increases the feeling of isolation as she’s trying to make a decision about what to do with her life. I had a terrible experience with a wrinkled wedding dress that I make Emma go through with a little more naiveté, and I had a friend in college who told me that eating French fries gave her the hiccups, so thanks for that tidbit! (I’m not sure she would want me to broadcast her name, but she knows who she is.) Franklin turned out as a Bluebeard type. He has elements from just about anything I felt stifled me in the past, including, of course, old boyfriends! I think all this leakage between life and fiction, unintentional or otherwise, helps give the story psychological realism the reader can really get into.

MA: Now that Tree/House and your book of poetry, Dusk Before Dawn, are out, what’s next on your writing horizon?

JK: I’m striking out into territory that may seem very different by writing a historical novel set in tenth-century Spain and based on an epic revenge poem. It’s full of battles, glittering armor, and exotic locales. It’s not really a departure for me because I have a PhD in Medieval Spanish, and, continuing the feminine theme of my previous work, the story has female characters who know how to manipulate the society in which they live.

I’m always working on weird short stories, and waiting for that bolt of inspiration for my next longer work.

MA: Will Emma come along in future works?

JK: Tree/House readers have said they would love to spend more time with the characters. I have considered writing the further adventures of Geraldine, or even a prequel showing how she really got to be the fascinating woman she is in Tree/House, but nothing concrete is on the writing schedule. Read More

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Jul 30

Retired DC Detective Turned Author, Joseph B. Haggerty, Arrives on the Scene of the Child Finder Trilogy

With Shame, I wanted to tell the whole story. I wanted to show his life from the beginning. His mother was a prostitute. As for his father, he really didn’t know. His mother would always say it was her pimp, but she couldn’t say for sure. As I say in the book, she would never admit Shame was a trick’s baby. I wanted to show how he learned the pimping game and how he developed his distain for society. How he became a pimp and how he learned from other pimps the best practices in maintaining your stable. A story like this cannot be written as a short story. It is far too complex, not just in understanding how a pimp works, but also in understanding how his victims fall under his spell. I also wanted to show the whole street, not just the women involved with Shame, but the other women on the street, where they came from and how they interact in the whole picture of prostitution.

I’ve written several short stories, poems and a novella about victims of prostitution. I’ve also written another novel, Pimpel, which is about two private investigators who specialize in finding runaways. If a sexual predator victimized them, the child’s family was offered an additional service that guaranteed the child would not be bothered by the predator again. Read More

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Jul 23

Multi-Published Mystery Writer, L.C. Hayden, Investigates the Child Finder Trilogy

Harry Bronson, my series detective, made his appearance in Who’s Susan? but he wasn’t the featured character. Susan was. He did his job and that was the end of him, as far as I was concerned. When my second book When Colette Died came out, I received tons of emails all basically the same. “Where’s Harry Bronson?” they asked. That’s when I realized that Harry Bronson needed to make a comeback. He did in my third book, Where Secrets Lie. He was also featured in my fourth mystery, What Others Know, but by then, mostly due to reader input, I knew he had to be the main character and not a side character as he was in my first four mysteries. My fifth mystery Why Casey Had to Die was Bronson’s first book where everything centers around him. I suppose I made the right decision as Casey went on to become an Agatha Finalist for Best Novel and a Pennsylvania Top 40 Pick. The next one in the series When Death Intervenes will be released on April. Read More

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