Now here’s a thing. I thought this was something only I did, and that it was (yet another) symptom of me being slightly unhinged (well I’ve got one working hinge but the other two are a bit shonky).
But it turns out it’s a real thing!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Can you tell I’m excited slash relieved about that?
Because I have something called Ordinal Linguistic Personification. Basically, I see numbers as having a personality and a gender. Yes. Numbers. I know it’s a bit ‘out there’, but it turns out that people other than me have been doing this in one form or another for years. It was first noted back in the 1890s. Presumably as they slammed shut the asylum door on the poor woman.
People who have this – well I can’t call it a problem, or a gift, but what is it? A method? That implies they’ve planned it and worked on it, so let’s just say they have a ‘bent’ – just a quirky view of things – these people are called Synthetes. Sounds like a Greek philosophical sect from 500bc. Anyway, these are people who ascribe attributes to inanimate objects and scientific concepts that would not usually have a personality or character traits. For example, they may associate a particular colour with a number or a sound, or associate a particular colour with the name of a month or a time of year. In some ways we all do this, as we will usually associate winter with cold colours (if you live in the northern hemisphere especially) or autumn with warm, russet colours, and spring with bright and pastel shades. You can do a test online where you see a name of a month or a letter, or hear a sound and are asked to ascribe a colour to it.
Except that for me, January is yellow. Obviously. And May is turquoise. October is white… (ooh it’s just occurred to me that the birthstone for October is opal – and they are often white… coinkydink?)
I don’t give numbers colours. But I do give them genders and personalities. I first noticed this when doing sudoku puzzles. I see 2, 5 and 8 as female. 1, 3, 4, 6 and 7 as male, and 9 as either/both genders. I also see them as having a personality or a character, although some are better defined than others. And it’s only the numbers 1 to 9.
For example, I see 8 as a duchess type character, the older woman, past her prime but still powerful, though vulnerable to enemies who seek her position (note to self: does this mean I see numbers as able to somehow spontaneously change, or are they fixed in a perpetual state of ‘about-to-happen’?)
5 is a martyred matriarch, self-sacrificing but resentful, always looking over her shoulder to preserve her position. But on the positive side, she holds everything together and keeps things running smoothly. Weird, I know.
2 is a young woman. Beautiful. Ambitious but with a heart. She can work with either 5 or 8 but is often out on her own, working to fulfil her own aims. She can also be dutiful and supportive.
1 is the young upstart, brash, impetuous, full of himself, selfish, not taking anything too seriously. 3 is his sidekick, but a kind of watered-down version. 4 is the shark, he is ambitious, super ambitious, demanding, hungry for power, loving no one but himself.
6 and 7 I see as paternalistic or avuncular males, they are the backbone of the ‘family’, working away silently in the background, not brilliant, not charismatic but solid, dependable, carrying the weight of the puzzle and more or less capable. Of the two, 6 is the older, more experienced, and more dominant. 7 is not taken all that seriously by anyone (me!) but he’s a decent chap and useful in a crisis. (What kind of crisis does a sudoku puzzle have, you may ask? It’s where there are very few other numbers and 7 is the only one you’ve got to start you off. although this can apply to any number they happen to put in the grid…ah, my ‘theory’ doesn’t work. Oops. Good thing I write fiction.)
9, as I said, for me can be any gender, and is either the arch-deceiver or manipulator, unknown, lurking, dangerous, or can be the detective/saviour, rooting out all the secrets that everyone frantically tries to conceal.
Can you see how for me as a mystery writer, these ideas can develop nicely into a plot with actual human characters? It’s a kind of cross between a board game and a number puzzle.
I think more scientists should be penguins.
This ties in quite well with what I was talking about a few weeks ago when I discussed the concept of the manageable cast. A book such as a cozy mystery needs to have a finite range of characters that give breadth and depth to the story without overwhelming the reader with too many characters to remember. I think between 9 and 12 characters is enough, though I have to admit my books regularly have twice that number and more. I used to add a list of characters in the front of my books, to help readers to keep track, but I stopped doing that.
Scientists have studied the phenomenon of this strange thing of Ordinal Linguistic Synthesis, and have suggested it may be due to different parts of the brain interconnecting. one part of the brain deals with facts and figures, and scientific concepts, and another part deals with imagination and creativity. To me it sounds like two people sharing an office and occasionally picking up the other person’s notebook or phone. Wires get crossed, and ideas that are usually separated can converge.
I’m not too bothered what it is, it helps me with my writing a little bit and I find it intriguing. and it entertains my creative mind whilst my prosaic mind tries to solve the sudoku puzzle.
I’m fascinated by the 1930s. That’s why I write a series of detective novels set in the 1930s and featuring Dottie Manderson, a young female amateur detective, as the protagonist. I write cosy mysteries, or cosy crime, and therefore there’s not a lot of space for too much social reality. Besides which, life is already tough enough, we all could do with a bit of escapism now and then, right?
I wanted to show just how different life was back then for everyone, not just women, in the 1930s. I’m writing from a British perspective, as that is my own nationality and my research and my writing centres around this.
Loretta Young, the actress whose soulful expression gave me the character of Dottie Manderson
I often portray the glamour of the era–the fashion, the socialising, all the dancing in long flowing gowns, the polite flirting with gentlemanly fellows in smart evening wear who offered one a drink or a cigarette and didn’t (most of the time) immediately pinch our bums. This glamour and glitz is what I love about it, but even I as a die-hard romantic idealist would have to admit this is the stuff of dreams—of the wonderful cinematic fictions of the time. It’s largely a gloss put over real life to get us through tough times and keep us keeping on. In reality we didn’t dance down to Rio or sip champagne, we were too busy trying to put bread on the table and keep the rent man happy.
So let’s go back to Britain in the 1930s. What was life like for the majority of people?
It was very much a time of transition. Things were still getting back to normal after the war. Attitudes were poles apart with very liberal ideas sitting at the same dinner table as conventional, very reactionary, right wing beliefs. And these differences would grow to a huge divide that came to a head in the 1940s, although as many other things, many of the same issues still rumble on today.
To set the scene for this inter-war period: the gaiety and extravagance of the 20s was over. The harsh reality of the 30s set in with mass unemployment, vast financial meltdowns that would devastate the economies of the richest nations and wipe out many fortunes leaving plenty of millionaires bankrupt and desperate. For the poor, things went from bad to worse, with job cuts and losses, and the increased mechanisation of tasks previously done by human beings left many without work and therefore without the means to feed themselves or their families. But for many middle-class families—those with money, skills and professional qualifications and the less demanding costs of keeping up their homes and lifestyles, things were not too bad at all.
Gary Cooper, irresistibly ‘cool’.
The Great War, as WWI was known, was becoming more of a distant memory, and the Second World War was as yet undreamed of. In fact, there was a common consensus regarding the Great War that ‘it could never happen again’. It was ‘great’ in the sense of huge and terrible, not in our modern sense of brilliant and something admirable. Even language has changed since then! It’s no exaggeration to say that millions of lives were changed forever.
There were an estimated 40 million casualties, a little less than half of whom died, the rest were injured, many very seriously. 40 million. How could such an incomprehensibly vast sum of people die in the space of just a few years? Is it any wonder that people, especially the young, were a little bit crazy, a little bit over-exuberant in the 20s? Yet even in the early 30s, there were already the rumblings and murmurings that would lead to a repeat of the disaster.
The blue-tongued skink I mentioned last week – about a foot to eighteen inches long, and snake-wide! These guys love Comfort Spring Fresh laundry softener…
As you no doubt realise, I sometimes get a bit stuck for ideas on this blog. Last week I talked about where in the world I would like to sit and write, if I could just choose. And I chose a certain little high-set house in Brisbane, Australia.
So this week, I thought I’d share some memories of that time. We lived in Australia from 1997 to 2002, so back in the dark ages now, but it still seems so vivid to us, mainly because it was a life-changing experience.
What I remember mainly about Brisbane and our time there is the wildlife.
So many things happened while we were there, the four of us, what with my hubby working away from home so much, and the children going through secondary school, and me, meeting people, doing courses, going to the Writers’ Convention on the South Bank, but all that seems to fade by comparison with the wildlife we shared our back and front yards with, our streets and parks and school yards with—many of them new to us, some of them frightening, some of them weird, some beautiful.
Lorikeets and a Rosella in the back garden.
Like the possums that lived in the roof of our first home, in Farm Street, in the suburb of Newmarket. Every night when we sat eating dinner or watching television, we would hear it above our heads, the slow roll of a stone from one corner of the roof to the other and sometimes back again, sounding just like a marble rolling across floorboards
And if I was waiting, alone or with the children, for my husband to come home, and sitting on the front step in the fifty seconds of twilight we only seemed to get in Aussie, we would sometimes see a possum come off our roof and onto the telecoms cables overhead, swinging itself along underneath the wire until it reached an intruding tree branch when it would flip upside again, amble on, then swing back under to move along the cables again.
Or the massive cockroaches that seemed ever-present in spite of all the Raid blocks we purchased and distributed in the bottom of the kitchen cupboards or in quiet corners out of the way. At Farm street, an older house, they used to run up the walls at night and terrify us so we felt like we were actually under siege, and out of sheer terror, I would splat them on the walls or floor with a long-handled spatula. It really was the stuff of nightmares. We never got rid of them in that house. We also had maggots falling through the ceiling onto the furniture including my young daughter’s bed. I hate to think what else might have been up in that roof space but we didn’t have the most hands-on of landlords.
Or the blue-tongued skinks that sprawled on top of the compost heap down the garden, gorging themselves on leftover melon, papaya and mango—they would look at me when I went out to the heap with the peelings from dinner, and I was convinced if they could talk they’d say, “So kind, dear lady, but I really couldn’t manage another thing…” They always looked exhausted. I imagined them talking a bit like Donald Sinden, I don’t know why. Or maybe James Mason? Or David Niven. Definitely a posh English accent for some reason. And if I left sheets or towels by the washing machine in the open-air laundry room under the house, chances are I’d find a snoozing lizard sprawled on them when I went back later.
the house at Farm Street – none of the windows had glass except the ones to the kitchen (back) and the sun room (front). These are the front steps where I’d love to write.
I rescued one blue-tongued skink from the oncoming wheels of a bus once. It was in the middle of the road round the corner from our lowset (bungalow) house at Lawnton, a suburb of Pine Rivers shire, about 20 kilometres from Brisbane. The bus only ran once an hour, so that left plenty of time for a dozy skink to meander into the road, fall asleep at the wheel and be in danger of becoming a traffic statistic.
I thought it was dead. It was lying there in the middle of the road, not moving. I’m certain a couple of cars ran over it. Then the bus came round the corner, and the stupid thing lifted its head. It was still alive! I let out a shriek of dismay and launched myself into the road, flagging the bus down then grabbing the lizard with both hands and shoving it into some shade under a bush—lucky I didn’t get savaged by something even nastier.
When I got on the bus, I began to apologise, but Bruce (yes, that really was his name) the bus-driver said, “Well I know you’re a Pom.” Apparently that explained everything.
Good thing he didn’t see me rescue the turtle…
That was along the road from our second home, after Farm Street but before Lawnton. We were living a couple of kilometres down the road from Lawnton at a lovely little town called Strathpine. I was coming home from the shops along a fairly quiet little road, when I spied a snake-necked turtle in the middle of the road .
Now only a few days earlier, Rolf Harris (eek!), on Animal Rescue or whatever it was called, had featured a turtle that had been hit by a car and had to have its shell patched up with fibre-glass. And I convinced myself that was the fate that awaited this chap, if he lived long enough. The young hoons—wild teenagers, to us Poms—loved to drive their cars at crazy speeds over the speed bumps down our road, and I could see the turtle was in danger of becoming yet another tragic victim.
So obviously, I had to interfere help.
I picked it up, and set off towards the creek. I quickly discovered that being a snake-necked turtle gave it an extraordinary range for gnashing at would-be do-gooders, so I had to hold the dinner-plate sized shell as far towards the back as I could to avoid being bitten, and I had to go as quickly as I could. The ingratitude! That didn’t stop me getting scratched by its huge clawed feet though. Eventually I got it to the creek and shoved it in the water. It seemed a bit reluctant to go in—maybe he’d only just left there? Another good deed done.
Snakes were the main wildlife at Strathpine. Well, those, and the spiders, bats, frogs and birds. And some fishing guys said there were often sharks in the creek, but I never went fishing.
The easement, with deluge, though partially drained away.
The birds were wonderful there—I’ve never lived anywhere so fabulously endowed with birdlife. It was because of the Easement.
The Easement was a strip of land between the park and a housing estate on one side, and another housing estate on the other side. Through the middle ran the creek. At one end, more houses, and at the far end, some farmland afforded us great view of cows with their ‘helpers’, the Little Egrets, that usually stood on the cows’ backs to – I don’t know, steer? Supervise? Shout advice slash encouragement?
The idea of the Easement is, when it rains which it does even in Australia, usually a year’s supply arrives in about an hour, and the creek very quickly bursts its bank, so the Easement is just a natural no-man’s-land to accommodate the temporary floodwater for the few days or week until it soaks away.
But on the day it rains…
The easement – sans deluge!
The whole area behind our house used to fill with water, resembling a small—and occasionally quite large—lake. Then all the birds would descend, especially if it was the first rain after a few dry weeks or even months. Cormorants, shags, ibis, white-faced blue heron, butcher birds, noisy miners, rosellas, sulphur-crested cockatoos, galahs, purple swamp hens, coots, magpies, egrets, little and not quite so little, rainbow lorikeets, even, one or twice, pelicans. It was amazing, and all I ever wanted to do was sit and watch. Sometimes I did just that, for hours. And quite often, I’d be menaced into providing the new arrivals with birdfood. (What a Pom!) It really was the most amazing spectacle. The shags used to bathe/hunt in the floodwater then hand their wings out to dry, standing like little black feathered scarecrows, for hours on end. The galahs and cockatoos would hang upside from the phone lines and flap and squawk, like footballers having their after-match shower.
Even the big lizards got in on the act (and probably the snakes too, though I don’t remember seeing them when it was wet, only when it was very dry). My hubby and I sat and watched one for ages as it swam about in the new lake, its long tail making a curving wake behind it. Not sure if this was the same enormous lizard that dug up my shrubbery to lay about 20 eggs in a big hole one day and then covered them and left without so much as a by your leave. We moved to Lawnton before they hatched—I was sad not to be there to see the babies.
Snakes are probably the one terror people associate with Australia. Well, snakes and spiders. Okay, snakes, spiders and crocodiles. And sharks. Don’t forget the sharks. So, snakes, spiders, crocodiles, and sharks. And jellyfish. And mosquitoes. And I’ve told you about the cockroaches. Oh, and the weevils. You have to keep your baking goods in the freezer, otherwise one hot, damp summer you, like me, will discover that your entire supply of plain flour, self-raising flour, cornflour, your bran, your wholemeal flour, your semolina, and your biscuits will be a squirming mass of weevils, and, like me you will scream in horror and disgust (mainly because you’ve just used several ounces of flour in a roux sauce and wondered naively why the resulting mix was two-toned: the top consisting of wriggling, brown weevilly-stuff and the bottom, still white, only slightly-weevilly stuff) and fling out the lot including the expensive Tupperstuff they were stored in, as I couldn’t bear the thought of washing them out and reusing them, then rush back inside to disinfect everything. No baking for weeks and weeks! It was very good for my waistline.
So snakes, spiders, crocodiles, sharks, jellyfish, mosquitoes and weevils. Not to mention the heat. And in Queensland, the humidity, which is sometimes 95%. Apart from those few things, it’s lovely.
Australia’s most unwanted – the red-backed spider – we had a ton of them. Turns out they are partial to a strawberry planter.
At the junior school, the nice secretary lady had a little book on her desk, so that when the kids came running in from morning playtime (called little lunch) they could identify the type of snake they had just seen for the groundskeeper, and he would go out in his shorts and t-shirt, with his heavy boots and ankle-protectors, and track down the culprit and kill it. And if he couldn’t kill it for whatever reason, or he discovered there were too many for him and assistance would be needed, the playing field (oval) was closed to all pupils forthwith. But that didn’t stop the kids getting bitten by green ants—and that was a painful bite. Green ants are beautiful iridescent ants, about 1 to 1.5 centimetres long, and they have a fondness for young flesh. Okay, let’s be honest, any flesh, and their bite is like the worst stinging-nettle sting you can imagine, and doesn’t ease off for at least half an hour. So as you can imagine, play times and sports days were great fun for all the family.
I know, being the greenest Poms ever to come off the boat, we were a bit over-protective of our children. But I was still gobsmacked when the headteacher of the school sent a letter home to all the parents reminding them to ensure they always make their children wear shoes to school, and to stop sending them barefoot.
It was an amazing experience, mostly weird, often terrifying, but it didn’t kill us, it did make us stronger, and when we came back from Aussie after four and a half years, we were very sad and wondered if we were doing the right thing in coming back. We had some wonderful experiences Down Under, and we still hope to return some day, this time, forewarned!
You might have noticed I sometimes get stuck for ideas for a blog post. When that happens, I usually sneakily use an old one and hope you won’t notice, or I put in an interview, or a short piece about my books etc.
BUT… (and you’ll be proud of me for this) I actually decided to research ‘what to write about on your blog’ and hey presto: Write about ‘If I could spend a month writing anywhere in the world, where would it be?’
I love to write in cafes. But with lockdown the way it is, I’ve become a stranger to that. And I do have an office where I do most of my writing (picture the smallest bedroom in the house, no longer needed after the children grow up) and I sometimes write at the dining room table, or in the sitting room, snug on the sofa complete with snoring cat.
Many years ago, we lived in Australia, in Brisbane. It’s hot and sticky there, but I enjoyed it. And our first house there was an absolute hovel (sorry Aussies, but it was, honest), but when the kids had gone to school, I used to sit on the front steps with my morning coffee, a few dozen tiny lizards around half the size of a pencil, a couple of plants in pots, and my notebook and pen.
These little guys just need the water from your flower pots!
I could sit there for around two hours until the sun was so hot, I had to go inside. I used to water the plants in the pots, and the lizards would come and drink the water that ran out of the bottom of the pots onto the wooden steps. The lizards were so shy, I had to keep really still so they thought I was a tree or something. Occasionally a kookaburra would sit on the fence and stare at me, but usually it was just a pigeon or a magpie. I’ve searched my photos but can’t find the one I can picture in my mind that shows the steps and the plant pots. You’ll just have to conjure up your own image of front-step perfection, and write there.
Whereas these guys want to lie on your compost heap in the sun and stuff themselves with leftover fruit and veg
The road was called Farm Street, but I’m guessing that was to commemorate where the farm used to be before it was bulldozed to make way for the street. Neighbours would go by and wave or stop to chat. Gradually they got to know the new Brits at number 12. One guy was very sweet and kind when we were afraid to go past something that looked like quite a large snake in the storm drain by the pavement, but the neighbour explained it was a blue-tongued skink, and nothing to be afraid of. We were still pretty nervous to begin with, I can tell you.
Anyway, so I had two hours of writing most weekdays, sitting on the front steps. I can picture myself there, writing three novels in the time we were in that house, only one of which has been published (Easy Living) and the other two are very much still in the ‘I don’t know what to do’ stage of development. One was called Baby Girl and is about a well-known actress whose adoptive mother passes away and so the actress embarks on a search for her birth mother and finds a killer instead. The other one, referencing the new millennium we were about to go into (so a while ago now) was about a pensioner who goes on the run to avoid being legally euthanised because of the growth of population. Both these books were set in Australia and contain long, slightly wistful passages about my favourite cafes – Jimmy’s Uptown, Jimmy’s Downtown, and Jimmy’s On The Mall, all on the same long street in the city centre.
Life changes, and we weren’t really happy with where we were living, and we moved away. But the times of sitting on the steps and writing were as close to perfect as we could get. It was ‘very heaven’.
Jimmy’s On The Mall: It’s a lot more glamorous now than it was when we were in Brisbane over 20 years ago, they’ve added a whole top floor! If we go back, this is the first place I’ll want to go.
As a champion-level over-thinker, I’ve been thinking lately about settings for murder. In fact I spend most of my time thinking of places that might be the perfect setting for a dastardly deed. In recent months I’ve looked at village life generally, and of course, that evergreen setting, the country house. And I’ve pondered the usefulness of cities for carrying out or concealing a crime, and even thought about alternative settings to the country house as a destination that might prove a bit too final for some people.
This week I’ve come up with a slight variation on that theme. I’ve been thinking about events in a village or small town and decided that nothing affords more opportunities for almost any kind of shenanigans than a Fair.
A fair afforded everyone opportunities to escape the humdrum everyday world and experience a bit of well-earned fun. There were new goods to browse, your own goods to sell, the pleasurable clinking of coins into a leather purse. Women meeting up to gossip and exchange recipes, family history and perhaps even husbands. Men getting together to drink, to laugh, to commiserate on a bad harvest or celebrate a good one, to buy and sell livestock. Kids running around and getting into mischief with other kids – for once able to forget about the hardships of life and enjoy the noise, the spectacle, and the edible treats.
The fair had so much to offer, and it was a place and a time when normal rules no longer seemed to apply. You were away from your everyday responsibilities, and had a bit of money in your pocket, and lots of novel things to look at. There was the opportunity for freedom for youngsters looking for love – and not just the young. Everything was new and everything was different. It was the most exciting thing to happen in your village for at least six months, and maybe the whole year, so you’d put on your finest clothes and get there as early as you could.
I was thinking of a medieval fair (which might last for several days) ratherthan a modern village fete type of event. This is what I came up with:
Hurrying to the fair. Exciting, new. It’s been a long time since the fair came to town. The usual marketplace is heaving with crowds. They watch the jugglers, the tumblers, maybe dancers. There could be a performing animal of some kind, or a fire-eater, the children’s favourite.
The air is heavy with smoke from the torches and the fires. Whole hogs are roasting over the coals, and chickens too. Apples are dipped in hot sugary toffee and scorch greedy lips; potatoes are hot from the ashes and wrapped in wool, warming the fingers nipped by a light early frost. All this heat creates wavering streams in the air all around.
The sun sets, but the revelry continues, occasionally disturbed by an ale-fuelled brawl that is quickly interrupted by friends keen to prevent blood-shed and ill-temper that will linger long after the fair has moved on.
Lovers quake at the chance glimpse of the objects of their affection, and placid matrons leave go the hands of the dragging children, who run, leaving the mothers in peace to gossip with the neighbours. A dog may bark, or geese squabble.
A lost child might weep as he wanders a little too far, until some kind, burly farmer hoists him to his shoulder to scan the crowds for the wearer of that familiar apron.
It is the village in festival. The men lean on fences or trestles and talk of crops or hunting. Children run in and out of the groups. Everywhere there is noise, chatter and laughter.
The lost little boy is reunited with his mother who hugs and scolds in equal measure, relieved beyond words. She turns to thank the farmer; sees in his face signs of a boy she once knew. When he raises his hat and is gone, she tells her neighbours that once he had been tall and skinny and had blushed when she smiled at him.
She wonders what he saw. She looks down at her ample, matronly form, no longer the slender darting little thing she had once been.
‘Time changes us all,’ she thinks and turning, sees him glancing back at her, still smiling.
It’s made me want to write something bitter-sweet and set amidst the smoking fires of the dark ages. If this has made you want to read a mystery set at a fair or fete, can I suggest one of the following:
St Peter’s Fair by Ellis Peters (set in 1139, the only ‘old’ one here)
The Burry Man’s Day by Catriona McPherson
Dead Man’s Folly by Agatha Christie
A Fete Worse Than Death by Dolores Gordon-Smith (I love a pun) (in fact a couple of authors have books with this title)
Murder At The Village Fete by Catherine Coles
(slightly interesting note: Sean Pertwee starred as Sir George Stubbs in the TV series Agatha Christie’s Poirot episode called Dead Man’s Folly and also played the role of Hugh Beringar in the Cadfael TV series including the episode of St Peter’s Fair.)
I’ve always loved the glamour of Golden Age mysteries, and so I wanted to try my hand at something like that. But I wanted to have a young protagonist as most of the books I’d read had older, spinster ladies as detectives. But I didn’t want to write anything too sweet, or too separate from the real world. So in my books, yes, there is glamour and romance, and the bad guy or gal always gets caught (though sometimes not immediately) but there is also heartbreak and the harsh reality of life not being easy, especially as my chosen era of the 1930s is so close to the war.
What is the hardest part of your writing career?
I suppose it’s juggling all the different aspects of being a writer in today’s world – the social media, obviously, I know everyone says they struggle with that, but also all the technical things – covers and document formatting, creating promotional materials, then remembering to share them, setting up a blog and remembering to create something new most weeks. And then remembering to do actual writing too, and stick to my deadlines. So much to do!
Would you ever use a pseudonym?
I always use a pseudonym. In fact have have several, but the only one that I’m using at the moment is Caron Allan. I wanted to use a pen name because to begin with, it gave me the space and privacy to completely mess up without feeling ‘exposed’. And also, I felt my real name was dreary and unromantic!
When writing a series how do you determine where a book should end and it’s sequel should start?
It’s not always easy, and I’m not very good at it, but fortunately because I write mysteries, that kind of gives a natural end, when the perpetrator of whatever dastardly deed is unmasked and taken away in handcuffs, or however they exit the story, it seems right to just have a short wrap-up and end the book. Though I do have ongoing story-lines – mainly the romantic side of things – that continue through the books and aren’t resolved immediately. In book 1 Dottie, my protagonist, is only 19. I think 19 in the 1930s was a lot younger than 19 today in many ways, and so we see her growing and maturing through the books, coming to understand the world, and relationships, but she is very idealistic and so she can be led by her emotions, and is sometimes bruised by life. She’s not perfect, she’s on a journey, and I like that about her. I don’t want to read about or write about a heroine who doesn’t change, and especially one who doesn’t have depth and dimensions to her character.
Who were your biggest critics and cheerleaders in writing this series?
My family are a huge support, my daughter especially is a massive practical help as well as my cheerleader, as writer herself she knows where I’m coming from. I have a couple of very special friends who are also writers and who are so helpful and encouraging.
If you could go back in time which historical figure would you like to meet?
Oh dear, that’s quite hard. I know we’re always supposed to say Marie Curie or someone incredible like that, but maybe just meet my great great grandmother? How did she cope in the late nineteenth and early twentieth century with all the domestic responsibilities and none of the labour-saving devices we have today? Plus she had six kids, and i only had two, so I am in awe of the women of that era. I’d like to meet Agatha Christie, and Patricia Wentworth when they were in their story-writing heyday, and get as many tips as I could, and also express my admiration for their work.
What should we expect from your upcoming series?
Well I will continue my Dottie Manderson mysteries: Book 7, Rose Petals and White Lace will be out around November 2021. In this book, we will see Dottie trying to find out who wants to get a local tea-shop closed down, and why. It’ll be a gentler mystery for Dottie after the previous couple, but nevertheless there will be at least one fatality, and if you’re not a fan of creepy-crawlies, this might not be for you! I also will be launching a new series, set in the 1960s this time, and featuring the daughter of Dottie’s sister as the detective-protagonist – these will be the Miss Gascoigne mysteries, and begins with A Meeting With Murder. Diana Gascoigne has been ill and goes to the coast for some good sea air to recover, but obviously there are dire doings afoot and she will want to find out who killed an elderly disabled woman. the Diana books will be a little different to the Dottie books, as we know, the 60s were a time of growing freedoms especially for women, and Diana is not an ingenue like Dottie, but a little older, a little wiser and more aware of the difficulties that a woman can face, and she wants independence and more autonomy in her life. But she has the same determination to seek justice and truth.
Would you ever consider writing a biography of your life?
LOL, that would be so boring! I’m not adventurous or glamorous and I’ve done very little with my life other than sit with cats reading or writing. I really don’t think it would sell!
Do you ever experience writer’s block? Sometimes. I don’t agree that it’s not a real thing. I usually find it stems from discouragement, fear or being overtired. I tend to push myself, and I’m always thinking of plots and story ideas, so I get quite mentally tired, and don’t always remember it’s okay to just do nothing and relax. Maybe I need to watch my cats even more than I do! I find rest, music and mundane chores help.
How can your fans reach you and connect with you?
I can be found on twitter: @caron_allan or instagram: @caronsbooks or through my blog, caronallanfiction.com and I’m also on Facebook, but I have to confess I don’t go on there very much, I’m more of a Twitter person.
A few weeks ago I posted a blog about how deceptively innocent country houses and small villages appear, and I offered tips on how to avoid the obvious traps for victims of a murder mystery of the genre we laughingly call ‘cosy’ (or cozy, depending where you hail from).
Because If we think about it, there’s nothing cosy/cozy about murder in the real world. Hercule Poirot, arguably one of the most murder-dependent salary earners in the world, famously said ‘I do not approve of murder’. And yet we humans are fascinated by fictional death. Perhaps because it is so awful, so wicked in real life, we have to discuss it, read it, and plot and plan, as a way of dealing with the unthinkable. Anyway…
If I left you with the idea that a hapless character in a murder mystery might be safer in the city, let me quickly put you right there.
The city is vast and highly-populated. You might think there’s safety in numbers. But for all that, it’s not a safe haven for the timid person trying to avoid falling foul of a really determined villain. Here are a few of the pitfalls yo will find when trying to lose yourself in the city:
Firstly, even cities sleep. Kind of. You might be safe amongst the crowds during daylight hours (or are you?) but as soon as it gets dark, beware!
Have you noticed that most cities are situated on water? In fact I can’t think of a single British city (someone help me here, please) that isn’t either: on the coast, on a river, or a canal (which I know is kind of the same thing really).
Now we can see how this came about, historically. Access to fishing and shipping meant a high density of the population was established around watering holes where there was a) water to transport goods in and out of the country, or b) water for industrial purposes (ie power for mills etc), or c) fish (vom–sorry, not a fish eater) or d) that’s where the Vikings/Normans/Saxons/Whoever-they-weres all landed and thought, ‘You know what, this is quite nice’, and so that’s where they stayed. I suppose this isn’t a surprise, I mean, we’re an island, so we’re going to be surrounded by oceans (literally) of water. In fact, if you think about it, we’re all islands, aren’t we? Some are just very very very big. But these many coasts and riverbanks provided harbour, dwelling places and easy access back to the aunties and uncles across the water.
Have you ever noticed how often innocent people minding their own business get lured to deserted docks, riverbanks, canalsides, and the like? Okay I admit we usually discover they are not so innocent after all. No one goes ‘innocently’ to a deserted dock at midnight to pay blackmailers. But my point still stands – these are dangerous areas and offer life-threatening situations to people who really should have stayed at home.
To begin with, there’s the water – deep, cold and swiftly moving.
And then there’s the innumerable hiding places that can conceal your villain.
Andthen, there’s all the weird heavy duty iron and steel items left randomly about the place to furnish your attacker with a handy weapon.
If that’s not enough, these daytime-busy places are just totally deserted at night. There is NO ONE to hear your scream. NO ONE.
TOP TIP: Let’s avoid the docks etc, and try to find somewhere nice and safe to live that is in the middle of the land, miles from any water.
The next danger the urban environment contains is this:
Now these are essentially just the docks all over again but without the water. Miles of crumbling dark buildings, harbouring criminals, twisty-turny corridors, and hundreds of decaying staircases. Why don’t the local governments rip them down and – I don’t know – put up nice little houses with roses in the gardens? I know they get a massive income from renting the space out to Scandi-noir film-makers, or those TV shows where people try to hide from German Shepherds. But come on, let’s think about the safety of your murder victims here.
Loft-style living may be the trendiest aspirational lifestyle, but with few neighbours, eerie parking in the depths of the earth, capacious but very slow-moving lifts that even a sloth could enter when in motion, and huge echoey rooms, this is not self-preservation at its best.
Speaking of German Shepherds, don’t become a recluse and as Bridget Jones said, get murdered but lay undiscovered, and half-eaten by German Shepherds. (okay she didn’t quite say that). (anyway, in my experience, German Shepherds tend to hide behind their owners, or even their owners children at the slightest unusual sound or threatening situation. We had to carry one of ours home once from a long walk, it was too tired. Another one used to be terrified of those bins attached to lamp-posts and also those shopping bags on wheels old ladies like me have.)
It occurs to me now that most modern victims are likely to be eaten by their house-cat, house-rabbit, or even designer miniature house-pig. If you’ve been dead for weeks and half-eaten when you’re discovered, it doesn’t matter how cute the pet that ate you is, you’re still definitely not a pretty sight. Come on, people, don’t become recluses.
Oh yes. Er…
New housing developments can also be strangely appealing to would-be murderers, and undesirably quiet at night. What was that French murder series a few years ago about the dead bodies all sitting around the table in a newly-built house? Anyway, it was a remarkably dramatic setting, but if you’re the victim, no consolation! Keep away from new-builds – by definition there are few neighbours to turn to in times of crisis.
In fact there are only a small number of places you should go if you are required to meet a blackmailer (or any villain) late at night:
These are perfect for a rendezvous that could turn nasty.
TOP TIP: Obviously if we’ve learned anything from fictional victims of crime, it’s to make sure and always tell someone where you’re going and who you’re meeting, there’s no need to be coy about being blackmailed, it can happen to the best of us.
If you can’t do that, take a seat at the bar, and say to the landlord/barman or landlady/barmaid that you are meeting a dodgy blackmailer shortly, and would they mind just popping over every couple of minutes just to make sure you’re still alive. I’m sure that won’t be a problem.
Maybe just don’t go anywhere or do anything. Just sit in front of your TV or curl up with a book, and hope that your German Shepherd/miniature designer pig is one of the aggressive brave sort who will see off intruders, not the scared kind who try to sit on your lap and whine pitifully whilst surreptitiously checking your sofa for tasty snacks.
This week I’m cheating! In fact I’m not just cheating, I’m showing off, too, as last week I was honoured to be interviewed by Paula Readman in her Clubhouse. You can find Paula’s blog here, and learn more about Paula’s own books, The Funeral Birds, Days Pass Like A Shadow, and Stone Angels, as well as reading all the great conversations that take place with writers who are mysteriously smuggled into the Clubhouse. Here’s how it went:
Welcome to Clubhouse Chat page. Those of you who are not aware the location of the Clubhouse is shrouded in mystery. The only way to visit it is via membership or an invite to the tearoom. Every few days, I’ll be sharing a conversation with all sort of writers and authors at different levels of their writing careers. Over tea and cakes, or maybe a glass of something stronger, I shall be chatting with my guest about their work in progress, or latest book release.
Today I’m welcoming Caron to the clubhouse tearoom. Welcome.
Thank you for the invite, Paula. Gosh, the clubhouse and tearoom is amazing and so many familiar faces too. Though getting here is very peculiar. I’m sorry about all the cloak and dagger stuff, but keep the location secret allow our members complete privacy. Also we have some noisy parties too. 😂 To start with let’s order our drinks and then we can start. My first question is When you first begun your writing journey what drew you to your chosen genre?
I’ve tried writing all sorts of stories of the years, romance, family saga, and so on, but there is always a point when I think, ‘The only way out of this is to kill someone.’ Or else I get so fed up with someone I devise a grisly death for them. I’m not a very nice person!
Also, which I probably should have led with, mystery and crime are my favourites books to read, which was due to my mother’s taste in books. I started reading her Agatha Christies and Patricia Wentworths around the age of 11 or 12, after growing up on Famous Five and Secret Seven books. Mum used to screen them to ensure there wasn’t anything ‘unsuitable’ in terms of sex and bad language. I wasn’t allowed to read her more ‘hard-boiled’ detective books.
What writing elements do you think is your strongest points, and what would you like to do better?
That’s a hard one. It’s quite difficult to step back and analyse your work impartially. But I think I’m quite good with the crime scene stuff. Or at least I try to be accurate. I don’t write a lot of descriptive scenes, these are the bits I find boring in other books and always skip. I want to allow the reader to imagine the scene, the characters, so I keep description to a minimum. I like to think I write good characters, though readers don’t always like what I put them through or make them do. I try to keep things believable and logical to a certain extent.
But I would like to cut the waffle a bit. My dialogue can be woolly if I’m not careful, with a lot of umms and ahhs. I’m also terrible at writing sex scenes (I always laugh inappropriately) but fortunately most of my books don’t require sex scenes, as they are ‘cozy/cosy’, and also (more or less) ‘clean’.
And I’m terrible for getting side-tracked then not wanting to cut out the side-track.
Tell us a little about latest writing project. Is it a new idea, or one you have been mulling over for some time?
I’ve got a few projects on the go at the moment. I’m about to start a bit of light outline-type planning for book 7 of my 1930s mystery series, Dottie Manderson mysteries. Book 6 (The Spy Within) came out last week, so I’m still in recovery! But I already have an outline for book 7, which will be called Rose Petals and White Lace. I’m also in the latter stages of writing a new series, The Miss Gascoigne mysteries, and I’m keeping everything crossed that book 1 will come out sometime next year. That is called A Meeting With Murder.
How many unfinished projects do you have on your computer?
Once I actually begin writing, I don’t usually leave a project unfinished. Although I have drawerfuls of books from my early years of writing that aren’t finished, I used to often abandon a story at around the 35,000-45,000 words mark, but it took me many years to learn how to push through the tough stages of a book, and also, how to fix problems such as not knowing where the story was going or how to rekindle the love for an idea. Someday I’d love to dig them out, dust them off and get them finished, but I just never seem to have the time. Life is so hectic, isn’t it, and there are so many new ideas to try.
Do you write a synopsis first or write the first chapter, or let the characters lead you?
I mainly write long fiction. I have written quite a few short stories, but they’re not my main ‘thing’, and my poetry is awful. Apart haikus, I love a good haiku! I mull an idea over for a while, and maybe make a few notes, as I’m prone to forgetting things! I keep doc files of my ideas, things that randomly occur to me that I think could be a good plot point or an entire plot for a story in the future. Then I usually try to find a way to bring ideas together to create a plan. I am stimulated by images and music, so when I really want to nail an idea, I start with creating a cover for my book, and the title, which helps the plot to settle in my mind. I don’t write detailed or elaborate plot outlines, I keep them in my head. There is a danger that I’ll forget something, of course, but if I write down too much, I lose interest and feel like the story is now finished.
Choosing only five of your favourite authors. Can you list them in order 1 begin the top of your list and say how have they influenced your writing?
Agatha Christie – it’s hard to know who should come first, Agatha or Patricia. First of all I admire anyone who can make themselves sit down and write every day in a professional, diligent manner, and do it come rain or shine. Because it’s quite a hard thing to do. Secondly, I learned so much from how they did it. I analyse their books and make notes. I find it so interesting to read about the nuts and bolts of creating a mystery novel. They both brought together groups of people to be anything from killer to victim, to red herring, to information gatherer and detective. I also love the social commentary.
Patricia Wentworth – As well as the above, I like the romantic elements of Wentworth’s books, and the moralistic tone. I think you get a great sense of characters from her books. And also style of the era too.
Dorothea Brande – I read this author’s most famous book Becoming A Writer when on a visit to my mum, it was the one that answered the questions I had as a young writer and made me see how to grow and develop my skills. First published in the 1930s, I think it’s the most influential book on the topic of ‘how to be a writer’ I’ve ever come across. Her book was the one that convinced me I could actually do this, I could write books and publish them.
Mary Stewart – I love her romantic suspense books, and so many of her chapters start with a literary quote that is relevant to the story, sometimes hilariously so. There is (usually) a strong element of romance in her mysteries too, and that is what I’ve always loved and to try to bring into my writing. Also, the exotic locations – I’m not widely travelled and so envy the heroines who dash off to all these wonderful places.
It’s very hard to confine myself to just five main authors. I’ve got hundreds and hundreds of books, and they are a bit like a family to me. (though I have a real, wonderful and very tolerant family) But if you held a gun to my head and told me I could only pick one more author, I’d probably go with M C Beaton, simply because she is very prolific, has a range of different series, and her books always seem fresh, funny and very human. And quirky. And she creates the most ingenious and cunning characters. I have never been drawn to the aloof characters such as Sherlock Holmes, though I’ve read most of Conan Doyle’s works. I like things cosy, and very female-centric as that is my life experience, and my happy place. But I read loads of authors, modern, and older, mystery and romance and fantasy, and non-fiction, I love social history and art/cultural history. I also love to play around with learning languages, but I get them all muddled.
When reading your work through do you ever find that your daily mood swings are reflected in your writing?
Not really. If I’m very ill, or very depressed, I can’t write fiction, though I do keep a journal for therapy. I had cancer a few years ago, that was a difficult time and as I adjusted to the news, I found I could write my thoughts and feelings into my journal, which was cathartic, but it took me a while to get back to my fiction and WIP writing.
Were any of your characters inspired by real people?
Not directly, or consciously, but there are always little things you notice or absorb unnoticed, and these get put in. As a child I knew lots of older ladies, aunties and ‘courtesy aunties’, and the way they talked and behaved has given me an affection for those kinds of characters in my books.
What did you learn when writing your book? In writing it, how much research did you do?
For my 1930s series, I have researched things such as fashion, social history, manners. I had to learn all about cars and driving in the 1930s. My main character starts off as a mannequin for a fashion house but ends up owning and running the business, so I had to learn a bit about that. I had to learn about policing procedures and advances in detection to present my murders – and the solving of them – in a believable manner. Most recently I had to find out what films were released in the early part of 1935. For an earlier book I had to learn a great deal about medieval embroidery and Opus Anglicanum, and also about the religious intolerance of the 1600s and well, always really). so there is always quite a bit of research to do. The trick is remembering it doesn’t ALL need to go into your book!
Is there anything about you your readers might be surprised to find out?
Erm… Oh dear… That’s hard to say. I’m not a very exciting person! We lived in Australia for five years, due to my husband’s job, returning to Britain in 2002. I’m a cliché really, a cat loving introvert with tons of books. I once had a letter published in Gardeners’ World and got a £5 voucher for it! That’s kind of it.
Did you uncover things about yourself while writing your books, whether that be a long forgotten memory, a positive experience etc.
Not really, although understanding that what I enjoy writing stems by and large from my first 10 or 12 years of life was a bit of a revelation to me that came to me out of the blue more or less a year or two ago. I find it hard to write male characters. When I thought about it, I realised I don’t actually know very many males. Having grown up without a father, then having a step-father I didn’t (for various reasons) feel close to, and as an only child, I didn’t have a close bond with a man or any boys. Even now, my only main male references are my son and my husband (who are lovely!), but that’s an unusually small number of men really, I just hadn’t really been aware of that until recently. I have drawn on anxieties or dreams and memories to develop story ideas for several novels and short stories.
What is your work schedule like when you’re writing?
I thrive on routine, so my schedule tends to be the same, more or less, all the time, weekdays and weekends. Though I do tend to write virtually all time in one form or another. I write mainly in the evening and late at night. I am most definitely not a morning person. During the day hubby and I tend to potter around the house doing chores, or go to a caff for lunch or a coffee (corona-plague-dependent, obvs). I’m lucky that I no longer have to do a day job as such. When I was working full time, I used to write on the bus to work or home again, and in my lunch hour, and then grab an hour or two most evenings and some of the weekend.
Do you set yourself a daily word count?
No. I write by scenes. So I try to do one entire scene, or if they’re very short, two or three scenes a day. Sometimes, I just feel full of energy and ideas flowing and I have to write until it’s all there on the page, other days it’s more of a disciplined slog.
How many hours in a day do you write?
Two or three. Maybe more in terms of planning, mulling, researching, pondering and faffing about. Most of my writing is done by staring out of the window and thinking ‘what if…?’ And I have post-its everywhere.
Did you ever consider writing under a pseudonym?
I only write under a pseudonym. My real first name is dowdy and my husband’s surname is ridiculous, so I didn’t want to use those, and I couldn’t write under my maiden name as that is already the name of an author (with the same first name). Also, as a new writer when I started out, I needed to be free to write whatever I wanted and find my voice without anyone knowing it was me.
How do you select the names of your characters? Do you know everything about them before you start writing their story?
I know a few things – the vital stuff, how tall, how old, eye colour, hair colour. I learn the rest as I go along, with the reader. I have had a few problems with names. To begin with, in my first drafts, male characters were always called John. It’s a name I like, plain, down-to-earth, reliable. But it can be quite hard to find a name that ’fits’ sometimes, and I am terrible for forgetting what I’ve called previous characters, and often in the early stages find I’ve got two people with the same name. I once came up with the perfect name for a character: Ben Sherman. My daughter laughed and told me that was the name of a designer, so I had to bin that idea. But at least it made me realise why those names seemed to work so well together!
What was your hardest scene to write?
I struggle with the emotional scenes where my main characters lose someone or something important to them. But I am able to sit in the privacy of my office sobbing into a notebook or onto the screen, so that’s helpful. I always empathise, so I feel the pain they feel, and I want to show my characters as they go through hard times like we all do.
In terms of technically difficult, as I said before, I’m rubbish at sex scenes. There’s always ‘his hand was here, and his hand was there, then his other hand was…’ and I think, how many hands has this guy got? Or the euphemisms people use, that always makes me laugh. So I tend to leave my couples at the full-on snog stage and come back with the lasting longing farewell.
How long on average does it take you to write a book?
It can vary tremendously, and I don’t always get down to it when I should, but usually a full-length novel takes me around eight or nine months to draft, polish, rewrite etc, get edited, proofed, revised and generally ready for publication. Most of them tend to be around 80,000-110,000 words, which is fairly long for a cosy mystery, but as I said, I am something of a waffler. I always write my first draft longhand in notebooks, then transcribe onto the computer for revisions. A first draft will generally take around one to two months, although I have written 120,000 words in 23 days once. Still haven’t revised that one though! I think it’s mostly umms and ahhs.
Thank you so much, Caron for joining us today. When you’re ready to leave please let our driver Brutus know and he’ll run your destination.
If you would like to find out more about Caron’s writing and books please click on these links: Her blog Her Author’s Amazon Page Latest book: (The Spy Within: Dottie Manderson mysteries book 6)
If you want to find out more about Clubhouse Member’s Books don’t forget to check out the Clubhouse Bookshops
Since my latest book was published last week, I have had a lot more time to concentrate on reading and relaxing. I mainly read mysteries and crime novels or true crime, but I do like the occasional foray into other genres. I love history, not the kings-and-wars type of history, but the stuff about how ordinary people lived their lives. I also love books about art and culture, I enjoy the occasional romance (I’m still talking about books here!) and I love poetry, I read classical books, and also fantasy-ish books by people such as Jodi Taylor, Tom Holt and Jasper fforde. But the mystery/crime genre remains my one true love. I’ve already blogged about which books I would grab if the house was on fire…
Thinking about that, I decided to quickly put together a list of my top five Agatha Christie books. So here they are. Have you read all these? Let me know what you thought. Are there other books in your top five?
Death On The Nile
There are a number of things I love about Death On The Nile. I suppose the ‘surprise’ ending has to be number one, doesn’t it/ I remember the first time I read it, I was as they say, blown away. I had to think about it for a while, and full of admiration for Christie’s ingenuity, had to say, ‘Wow.’ I don’t want to spoil it by saying more or going into detail if you haven’t read this one, so please buy this and read it immediately if you haven’t read it before. There is romance, passion, mystery and history, and above all else, Hercule Poirot with his magnificent moustaches, his sage predictions, and his mal de mer.
The second thing I love about this is the glamour of the setting – the exotic destination, the old-fashioned elegance of the characters and the scenes they live and move in. Dressing for dinner – I’d love to do that. Dancing to a little group of musicians, yes! Leaning on the rail and gazing at the river, maybe whilst sipping a cocktail, definitely my idea of a nice way to spend the evening. Then in the daytime, the exciting trips ashore, the ancient monuments we would visit, the history, the majesty of it all. My more prosaic everyday self would tell you that reality is probably a million miles from the romance of a book published in 1937, but my inner writer-romantic would just retort that it doesn’t matter, or snap back, as Dottie’s mother would say, ‘Nonsense.’
Death Comes As The End
I’m always a bit surprised that not many people have heard of this one. As you can see, it’s one of my favourites. I read it first when I was a teenager, and what struck me first of all was how Christie made the past come alive. I had never seen history in that ‘relatable’ way before, and it kindled a love for history in me that has stayed with me ever since. I didn’t know, then, that Christie was mad about history or that she was married to an archaeologist.
This book is set in a fictionalised version of the ancient past, no familiar moustache twirling detective or knitting old lady here! It’s set in the time of the Pharoahs (ish), and the era is beautifully brought to life by the author, described fully without being a mere information dump, and it really is absorbing.
It’s a romance, and a traditional murder mystery. There is a sense of menacing unease, and along with Renisenb, the young female protagonist, you have to ask, ‘Is it you? Or you? Or you?’ Give it a try and like me, you’ll be biting your nails, with everything crossed that things will turn out all right for Renisenb and that she will get her happy ever after.
Lord Edgware Dies
As you can see from the pic above, when I last read this I made tons of notes – I felt I really learned a lot from rereading the book and seeing just how Christie achieved the creation of her mystery. I even devoted a whole post to this one book!
This book was first published in 1933. Eighty-seven years ago!!!!! Somehow I always think of Christie as a relatively modern crime writer, but of course, she wasn’t, she was very much of her time, two generations before mine. In fact, my character Dottie could definitely be a Christie fan!
Coming back to Lord Edgware…
This book has a host of characters. Too many, I’d say, and I should know, I crowbar in dozens to every book. Although I love this book, I do get muddled with the characters, especially in the beginning. It’s also a long book, and quite complex as a so-called ‘cosy/cozy’ mystery goes.
The plot hinges as always on some clever sleight of hand–my favourite kind of plot! I loved the way the murder was achieved, though obviously I can’t say anything as I don’t want to spoil it for you, if you haven’t read this one yet. So therefore, you must read it!
After The Funeral
The main thing I like about this is the opening scene or two, where the ‘unthinkable’ happens as loosely-attached relatives and associates gather for a funeral, and one of the guests commits a social gaffe by saying, (after a funeral as per the title) ‘Still, it’s all been hushed up very nicely, hasn’t it?’ When everyone blusters and demands to know what she means, Cora says, ‘But he was murdered, wasn’t he?’
Isn’t that a brilliant way to get things going in a story? I love the apparent simplicity of this. I say apparent because we all know so much planning and effort goes into a story – it’s never as simple as it appears. I suspect that the simpler it looks, the harder it is for the author.
The story is a good one, not great, but it is a solid good story, and if you haven’t read it, I recommend it. But for me, everything else was secondary to that one astonishing scene. It’s worth it just for that.
The Murder Of Roger Ackroyd
Oh dear, the infamous Murder of Roger Ackroyd. This book caused something of a furore for Agatha Christie when it was first published in 1926, and may have been one of the factors related to her famous disappearance in that year. Almost a hundred years ago. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
What was the problem with Roger Ackroyd? Well the critics said she didn’t play by the (unofficial) rules of murder mystery writing. But again, I can’t tell you precisely why because it will ruin everything if you haven’t read the book. Read it, then come back and then we can have a natter about it. Tell me what you thought.
Suffice to say, it’s the original twist at the end. And I honestly didn’t see surprise coming when I read it the first time, though admittedly I was a teenager and had no understanding of ‘the rules’ of writing. But it seemed perfectly acceptable and logical to me, and I was captivated, as I always am, when I read this book.
It conjures up the traditional ‘English village’ setting so beloved of writers and readers of murder mysteries, with a range of recognisable stock characters, the spinster, the mysterious, possibly/probably immoral, attractive single woman, the local doctor, the people who live in the ‘big house’, and all the hangers-on.
Go on, get a copy and get reading! It’s not like we can go out at the moment…
It always surprises me when people say to me, ‘Why do you write?’
For me there’s only one true answer–which I can’t give because it sounds rude–‘Why don’t you?’
Because… I just don’t get it. Oh I know these days many people don’t read actual hold-in-the-hand books anymore, and that meetings, conferences, education, leisure, everything has become virtual. Attendees are more likely to add digital notes or better yet, simply record the bits they need so they can listen to them again and again. I accept that tablets and phones see more of the written word than a paper notebook. To me that qualifies as writing, I’m not one of those people who think it’s only writing if you scribe onto vellum with a goose-feather quill.
But when people say ‘Oh I could never write,’ I don’t understand. Do they mean, ‘My English language grammar is a bit shonky and so my writing would not be erudite enough’? Because if so, that’s what editing is for.
Or do they mean, ‘I’d run out of ideas.’? To that I’d say, ‘Welcome to the club.’ Social media is full of people searching for inspiration.
Or do they mean ‘Writing is only for an elite group, and is only endorsed by publication from a traditional publishing house’? To that I’d say, ‘Nonsense, anyone can write if they want to, and publishing is no longer that straightforward. Or that restrictive.’
Or do they mean, ‘It sounds so complicated, juggling all those ideas’? Yes, it is, but you learn how to do that. (Kind of, I mean sometimes you just learn to juggle better and sometimes you learn that it’s okay to drop the odd whatever-it-is you’re juggling.)
At the other end of the spectrum, are those who say ‘Oh you’re a writer? I’ve been thinking of trying that,’ or ‘I’ve always thought I could write a book some day when I’ve got nothing else to do.’ To them I say, ‘Go on then, I’m watching you. Do it, I dare you. In fact, I double-dare you.’
So why do I write? I need to tell myself stories, it’s that simple. I could write a whole thesis on all the wider implications of that, spiritually, physically, emotionally and whatever else. But what it comes done to is that we ALL love stories, even people who tell me, ‘Oh no, I never read books.’ They watch TV probably. Or binge on streamed series. Or maybe paint–that’s telling a story in a visual way. Or perhaps you might write or play or listen to music. That’s a story in aural form. Or you might daub paint on the walls of your cave, draw in the sand with a stick, or whittle a piece of wood into a specific form. It’s all storytelling.
None of us don’t have stories in our lives, it’s there in all of us, a need to create, to experience, to understand and explore. It’s part of our humanity.