Pleased to have my article in the terrific Opal Magazine. https://opalpublishing.ca/2022/02/07/does-your-mystery-novel-series-need-an-overall-story-arc/
Tag Archives: #amwriting
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Canadian people, places, and stories
My post today, on the BWL, is about Canadian Mystery novels and how they highlight our country’s unique people, places, and stories. https://bwlauthors.blogspot.com/
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Pincher Creek Library Event – Jan 18
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Books and Ideas: How Canadian Mystery Novels Connect us to our Country’s People, Places, and Stories
My first writing project for 2022 is to prepare for my Calgary Public Library Zoom presentation on Wednesday, January 26, 7-8 pm. Here’s the topic description:
Mystery novels are fun to read, but crime fiction set in Canada teaches us about our country. Join Calgary mystery author, Susan Calder, in a lively conversation with Margaret Hadley, University of Calgary Instructor Emerita of English. They’ll discuss how Canadian crime novels portray our unique characters, regions, history, and contemporary life.
Registration is now open on the CPL website Books and Ideas: How Canadian Mystery Novels Connect us to our Country’s People, Places, and Stories | Calgary Public Library (calgarylibrary.ca) If you don’t have a CPL card, you can contact the library by phone 403.260.2600 or through their website: www.calgarylibrary.ca. Everyone welcome.
Hope to virtually see you there.
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Paula # 4 in the works
https://bwlauthors.blogspot.com/2021/11/starting-first-draft-its-scary.html In my November BWL Author blog post, I write about my scary process of starting a new novel.
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Do you need a sensitivity reader?
A friend who read a draft of my new novel, Winter’s Rage, suggested I ask someone experienced in transgender issues to read the manuscript. It hadn’t occurred to me that I needed this. While one of my characters in the novel has sex change surgery, I considered it a minor point in the story. But I knew instantly this was sound advice, given current awareness of LGBTQ+ concerns.
My friend offered to look for a sensitivity reader if I couldn’t find one on my own. As it happened, several years earlier another friend had told me his sister had recently transitioned. I contacted my friend and asked if he could put me in touch with her. He gladly gave me her email address, although he didn’t think she read mystery novels or fiction in general.
His sister replied right away. She thanked me for making this effort with my book because she was constantly annoyed by people’s thoughtless and cruel remarks and misused pronouns. I gave her the choice of reading the full manuscript of Winter’s Rage or the relevant sections. When she chose the latter, I emailed her five pages with all the pertinent scenes. She came back with comments I wouldn’t have thought of myself. In addition to these being useful for the book, I found it interesting to hear her perspectives.
On the positive side, she liked that I’d had my protagonist observe my trans person’s physique as not typical for her gender. My reader finds her height can be a problem–she’s 6’3″ in high heels–but she knows other transgender women who have it harder, with barrel shaped chests and very masculine facial features. She found it realistic that my trans character would be depressed and alcohol dependent before discovering who she was. It also sadly rang true for her that my character would experience abuse on social media and from unsympathetic relatives.
But she questioned my trans character’s close friend saying that she’d miss her as a man. My sensitivity reader had heard that type of remark too often.
“Tough shit,” she told the obtuse friend. “This isn’t about you.”
I’d also had my trans character say she’d miss her former self. My sensitivity reader said most trans people she knows can’t wait to shed their old selves. “We love them for getting us this far, but their job is done, and we’re excited to move forward.” I had thought, in that situation, I’d feel nostalgia for a large part of my life I was leaving behind, but bowed to her experience and tweaked my trans character’s sentiments. In addition, my reader thought I’d made the process of changing ID and other documents too simple. I added an explanation that didn’t impact the plot.
My sensitivity reader found no fault with my use of pronouns, but later, during the proof read of the manuscript, it struck me that I might have used ‘he’ incorrectly in one instance. I asked my proof reader for her opinion. She replied that, in her view, ‘he’ was correct in the context. It can be tricky to get it totally right. We also shouldn’t assume all transgender people think alike any more than all women think alike. There might be some who disagree with my decision to leave ‘he’ in that sentence.
By definition, we fiction writers create characters and situations that go beyond our personal experience. The more feedback we get from readers who fill the gaps in our knowledge, the more true-to-life our stories will be. When we don’t belong to a misunderstood and oppressed group, we’re often unaware of its particular issues. A first step in deciding whether or not to seek out a sensitivity reader is knowing when you need one.
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My Sensitivity Reader
Today, on the BWL website, https://bwlauthors.blogspot.com/ I write about how a sensitivity reader helped make my novel, Winter’s Rage, more authentic.
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When Words Collide!
Today, on the BWL Author Blog, I write about next month’s When Words Collide Festival for Readers and Writers. This year it’s full steam online and free for all. https://bwlauthors.blogspot.com/
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Every Cover Tells a Story
I like BWL’s process for designing book covers. It begins about six months before a book’s release, when we authors fill out a Cover Art Form. This includes factual information, such as the book title and author name to appear on the cover, a back cover book blurb, details about story, keywords for online searches and — my favourite part — ideas for cover images. After we submit the CAF, Art Director, Michelle Lee, designs our covers from purchased stock images. She combines and manipulates the images and adds background and other elements to create covers that hint at the story inside.
I published my first BWL novel, Ten Days in Summer, in 2017. At that time, the CAF stated that most of the covers would feature at least one person. When I searched for people images on the stock images website, I discovered a few problems. My main character, Paula Savard, is an insurance adjuster. A keyword search for her gender and job popped up images of women meeting with clients or examining construction sites and damaged cars. In this story, Paula investigates a building fire with a suspicious death. I searched ‘female detective’ and got pictures of young women holding guns and magnifying glasses. Paula was fifty-two. My search for professional women in their fifties unearthed a few possibilities, although none looked like my image of Paula.
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A basic problem with people images on novel covers is that writers and readers form their own images of fictional characters. I realized a full picture of Paula would interfere with reader engagement, although partial images still maintained enough mystery. This explained why rear-view images of women had become popular in novel cover art, but so common they were now considered cliché.
For the CAF, I chose the best of the images I could find for Paula, plus female images shrouded in mystery — a woman’s legs in cowboy boots, eyes peering through a hole, and a silhouetted woman in a cowboy hat. Since the story backdrop is the Calgary Stampede and the second most prominent character is a self-styled cowboy, I added images of cowboys in silhouette, the Calgary skyline, and fire, for the incident that sets the story in motion.
I sent the CAF to Michelle, who found images for the cowboy, fire and skyline that were different from the ones I’d suggested. She meshed them together to produce a cover better than any I could have dreamed up myself.
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Two years later, BWL reissued the first book in my Paula Savard mystery series. During this time, the trend in cover design moved away from people to symbolic images. Now the CAF stated that most BWL covers would not feature people unless we insisted. I searched for people images anyway, since I found this fun, but was glad to focus on images related to the story setting and mood. For the new cover of A Deadly Fall, I sent Michelle images of the Calgary skyline, falling leaves, fall trees, and pathways through fall woods. The murder takes place on a Calgary walking path. Michelle scored another hit with a cover design of leaves framing the Calgary skyline in glorious fall colours of gold, orange and yellow, along with the red of Calgary’s Peace Bridge.
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In February I completed my CAF for Winter’s Rage, book # 3 of the Paula Savard mystery series. This time, Paula investigates a hit-and-run collision that resulted in a woman’s death. Images of a tire on a snow-covered road, broken windshields, and car headlights in the dark would suit the story, but I wanted this cover to continue the series style. One problem. A Deadly Fall’s autumn time frame and Ten Days in Summer’s building fire resulted in covers with similar colours. Yellow, orange and red don’t evoke winter in Alberta. On the CAF, I suggested we bend the brand and go with white, blue or black winter shades. Michelle agreed. She created a scene of snow falling on a Calgary skyline draped in snow, the Bow River shining ice. Yellow letters echo the two earlier novels.
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The front cover of Winter’s Rage gives the first hint of the story. The back cover blurb reveals a little more https://bookswelove.net/calder-susan/ You can read what it’s all about this August.