Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

September 12, 2025

Supersize Me—Organic Style

"Super-apple" ©2011 Barbara DaCosta
If an apple a day keeps the doctor away, and apples have more than doubled in size since that adage was coined, what are we to do? Eat a half apple a day or a whole one?
Even organic apples have become supersized. Here are two apples that I bought on my quest for my one-apple-a-day snack. No wonder I barely had room for dinner after consuming the hefty one on the left! By my calculations, at close to three-quarters of a pound, it had three times the volume of the smaller one, which was a "standard" lunch-box-sized apple.
"Organic" once meant getting something safe and scrumptious that might not be cosmetically perfect. The main thing was that it was not plumped out with fertilizers or hormones. Now, however, organics have become big business, and with that has come the new standard shown here: perfectly shaped, perfectly sized, perfectly colored, and, as with the apple on the left, as perfectly super-sized as any hormonally plumped out, genetically manipulated, chemically sprayed commercial apple might be.

June 28, 2024

Mulling on Memory

What is a writer besides a packrat of memory? 

Writers have to be observers, interpreters, translators of experience.

Yet all of that relies on memory. 

Our brains streamline experiences into nice, neat packages. These make more sense than the raw material of life itself, the material that gave rise to the memory. What a writer does is streamline the material even more, so that another person can understand and follow the storyline.

What, then, happens to stories when memory falters? Or, as with Alzheimer's, becomes unreliable and spotty?

If human beings are hardwired to be storytellers, why do we also attempt to blot out memory with drugs or drink? 




April 7, 2020

"Through a Window" by H.G. Wells

Hitchcock's masterpiece, REAR WINDOW – Once upon a screen…  
If you're feeling confined by coronavirus quarantine...imagine the stories you could write! 

Here's "Through a Window," a story about a man confined by injury, written by the English writer H.G. Wells (1866-1946), published in 1894. Wells is considered to be one of the "fathers" of science fiction, and wrote such works as The Invisible Man and The War of the Worlds. As a boy, Wells had been laid up with a broken leg, which undoubtedly helped spark the idea for this story. Wells' story inspired an American writer Cornell Woolrich (1903–1968) to write "It Had to Be Murder" (1942). Woolrich, like Wells, had also been laid up by injury. Woolrich's story in turn became the basis for Alfred Hitchcock's 1954 movie, "Rear Window." The movie, regarded as one of Hitchcock's best, starred James Stewart, Grace Kelly, Raymond Burr, and Thelma Ritter.

Text courtesy of Project Gutenberg, an online library of out-of-copyright material.
http://gutenberg.net.au/ebooks06/0609221h.html#c16
A couple of offensive words have been removed for this post; the story content reflects attitudes of the time.

THROUGH A WINDOW--H.G. Wells

After his legs were set, they carried Bailey into the study and put him on a couch before the open window. There he lay, a live--even a feverish man down to the loins, and below that a double-barrelled mummy swathed in white wrappings. He tried to read, even tried to write a little, but most of the time he looked out of the window.

He had thought the window cheerful to begin with, but now he thanked God for it many times a day. Within, the room was dim and grey, and in the reflected light, the wear of the furniture showed plainly. His medicine and drink stood on the little table, with such litter as the bare branches of a bunch of grapes, or the ashes of a cigar upon a green plate, or a day old evening paper. The view outside was flooded with light, and across the corner of it came the head of the acacia, and at the foot, the top of the balcony-railing of hammered iron. In the foreground was the weltering silver of the river, never quiet and yet never tiresome. Beyond was the reedy bank, a broad stretch of meadow land, and then a dark line of trees ending in a group of poplars at the distant bend of the river, and upstanding behind them, a square church tower.

Up and down the river, all day long, things were passing. Now a string of barges drifting down to London, piled with lime or barrels of beer; then a steam-launch, disengaging heavy masses of black smoke, and disturbing the whole width of the river with long rolling waves; then an impetuous electric launch, and then a boatload of pleasure-seekers, a solitary sculler, or a four from some rowing club. Perhaps the river was quietest of a morning or late at night. One moonlight night some people drifted down singing, and with a zither playing--it sounded very pleasantly across the water.

In a few days Bailey began to recognise some of the craft; in a week he knew the intimate history of half-a-dozen. The launch Luzon, from Fitzgibbon's, two miles up, would go fretting by, sometimes three or four times a day, conspicuous with its colouring of Indian-red and yellow, and its two Oriental attendants; and one day, to Bailey's vast amusement, the house-boat Purple Emperor came to a stop outside, and breakfasted in the most shameless domesticity. Then one afternoon, the captain of a slow-moving barge began a quarrel with his wife as they came into sight from the left, and had carried it to personal violence before he vanished behind the window-frame to the right. Bailey regarded all this as an entertainment got up to while away his illness, and applauded all the more, these moving incidents. Mrs. Green, coming in at rare intervals with his meals, would catch him clapping his hands or softly crying, "Encore!" But the river players had other engagements, and his encore went unheeded.

"I should never have thought I could take such an interest in things that did not concern me," said Bailey to Wilderspin, who used to come in, in his nervous, friendly way and try to comfort the sufferer by being talked to. "I thought this idle capacity was distinctive of little children and old maids. But it's just circumstances. I simply can't work, and things have to drift; it's no good to fret and struggle. And so I lie here and am as amused as a baby with a rattle, at this river and its affairs.

"Sometimes, of course, it gets a bit dull, but not often.

"I would give anything, Wilderspin, for a swamp--just one swamp--once. Heads swimming and a steam launch to the rescue, and a chap or so hauled out with a boat-hook...There goes Fitzgibbon's launch! They have a new boat-hook, I see, and the little blackie is still in the dumps. I don't think he's very well, Wilderspin. He's been like that for two or three days, squatting sulky-fashion and meditating over the churning of the water. Unwholesome for him to be always staring at the frothy water running away from the stern."

They watched the little steamer fuss across the patch of sunlit river, suffer momentary occultation from the acacia, and glide out of sight behind the dark window-frame.

"I'm getting a wonderful eye for details," said Bailey: "I spotted that new boat-hook at once. The other n--- is a funny little chap. He never used to swagger with the old boat-hook like that."

"Malays, aren't they?" said Wilderspin.

"Don't know," said Bailey. "I thought one called all that sort of mariner Lascar."

Then he began to tell Wilderspin what he knew of the private affairs of the house-boat, Purple Emperor. "Funny," he said, "how these people come from all points of the compass--from Oxford and Windsor, from Asia and Africa--and gather and pass opposite the window just to entertain me. One man floated out of the infinite the day before yesterday, caught one perfect crab opposite, lost and recovered a scull, and passed on again. Probably he will never come into my life again. So far as I am concerned, he has lived and had his little troubles, perhaps thirty--perhaps forty--years on the earth, merely to make an ass of himself for three minutes in front of my window. Wonderful thing, Wilderspin, if you come to think of it."

"Yes," said Wilderspin; "isn't it?"

A day or two after this Bailey had a brilliant morning. Indeed, towards the end of the affair, it became almost as exciting as any window show, very well could be. We will, however begin at the beginning.
Bailey was all alone in the house, for his housekeeper had gone into the town three miles away to pay bills, and the servant had her holiday. The morning began dull. A canoe went up about half-past nine, and later a boatload of camping men came down. But this was mere margin. Things became cheerful about ten o'clock.
It began with something white fluttering in the remote distance where the three poplars marked the river bend. "Pocket-handkerchief," said Bailey, when he saw it "No, too big! Flag perhaps."

However, it was not a flag, for it jumped about. "Man in whites running fast, and this way," said Bailey.

"That's luck! But his whites are precious loose!"

Then a singular thing happened. There was a minute pink gleam among the dark trees in the distance, and a little puff of pale grey that began to drift and vanish eastward. The man in white jumped and continued running. Presently the report of the shot arrived.

"What the devil!" said Bailey. "Looks as if someone was shooting at him."

He sat up stiffly and stared hard. The white figure was coming along the pathway through the corn. "It's one of those n--- from the Fitzgibbon's," said Bailey; "or may I be hanged! I wonder why he keeps sawing with his arm."

Then three other figures became indistinctly visible against the dark background of the trees.

Abruptly on the opposite bank a man walked into the picture. He was black-bearded, dressed in flannels, had a red belt, and a vast, grey felt hat. He walked, leaning very much forward and with his hands swinging before him. Behind him one could see the grass swept by the towing-rope of the boat he was dragging. He was steadfastly regarding the white figure that was hurrying through the corn. Suddenly he stopped. Then, with a peculiar gesture, Bailey could see that he began pulling in the tow-rope hand over hand. Over the water could be heard the voices of the people in the still invisible boat.

"What are you after, Hagshot?" said someone.

The individual with the red belt shouted something that was inaudible, and went on lugging in the rope, looking over his shoulder at the advancing white figure as he did so. He came down the bank, and the rope bent a lane among the reeds and lashed the water between his pulls.

Then just the bows of the boat came into view, with the towing-mast and a tall, fair-haired man standing up and trying to see over the bank. The boat bumped unexpectedly among the reeds, and the tall, fair-haired man disappeared suddenly, having apparently fallen back into the invisible part of the boat. There was a curse and some indistinct laughter. Hagshot did not laugh, but hastily clambered into the boat and pushed off. Abruptly the boat passed out of Bailey's sight.

But it was still audible. The melody of voices suggested that its occupants were busy telling each other what to do.

The running figure was drawing near the bank. Bailey could now see clearly that it was one of Fitzgibbon's Orientals, and began to realise what the sinuous thing the man carried in his hand might be. Three other men followed one another through the corn, and the foremost carried what was probably the gun. They were perhaps two hundred yards or more behind the Malay.

"It's a man hunt, by all that's holy!" said Bailey.

The Malay stopped for a moment and surveyed the bank to the right. Then he left the path, and breaking through the corn, vanished in that direction. The three pursuers followed suit, and their heads and gesticulating arms above the corn, after a brief interval, also went out of Bailey's field of vision.

Bailey so far forgot himself as to swear. "Just as things were getting lively!" he said. Something like a woman's shriek came through the air. Then shouts, a howl, a dull whack upon the balcony outside that made Bailey jump, and then the report of a gun.

"This is precious hard on an invalid," said Bailey.

But more was to happen yet in his picture. In fact, a great deal more. The Malay appeared again, running now along the bank up stream. His stride had more swing and less pace in it than before. He was threatening someone ahead with the ugly krees he carried. The blade, Bailey noticed, was dull--it did not shine as steel should.

Then came the tall, fair man, brandishing a boat-hook, and after him three other men in boating costume, running clumsily with oars. The man with the grey hat and red belt was not with them. After an interval the three men with the gun reappeared, still in the corn, but now near the river bank. They emerged upon the towing-path, and hurried after the others. The opposite bank was left blank and desolate again.

The sick-room was disgraced by more profanity. "I would give my life to see the end of this," said Bailey. There were indistinct shouts up stream. Once they seemed to be coming nearer, but they disappointed him.
Bailey sat and grumbled. He was still grumbling when his eye caught something black and round among the waves. "Hullo!" he said. He looked narrowly and saw two triangular black bodies frothing every now and then about a yard in front of this.

He was still doubtful when the little band of pursuers came into sight again, and began to point to this floating object. They were talking eagerly. Then the man with the gun took aim.

"He's swimming the river, by George!" said Bailey.

The Malay looked round, saw the gun, and went under. He came up so close to Bailey's bank of the river that one of the bars of the balcony hid him for a moment. As he emerged the man with the gun fired. The Malay kept steadily onward--Bailey could see the wet hair on his forehead now and the krees between his teeth--and was presently hidden by the balcony.

This seemed to Bailey an unendurable wrong. The man was lost to him for ever now, so he thought. Why couldn't the brute have got himself decently caught on the opposite bank, or shot in the water?

"It's worse than Edwin Drood," said Bailey.

Over the river, too, things had become an absolute blank. All seven men had gone down stream again, probably to get the boat and follow across. Bailey listened and waited. There was silence. "Surely it's not over like this," said Bailey.

Five minutes passed--ten minutes. Then a tug with two barges went up stream. The attitudes of the men upon these were the attitudes of those who see nothing remarkable in earth, water, or sky. Clearly the whole affair had passed out of sight of the river. Probably the hunt had gone into the beech woods behind the house.

"Confound it!" said Bailey. "To be continued again, and no chance this time of the sequel. But this is hard on a sick man."

He heard a step on the staircase behind him and looking round saw the door open. Mrs. Green came in and sat down, panting. She still had her bonnet on, her purse in her hand, and her little brown basket upon her arm. "Oh, there!" she said, and left Bailey to imagine the rest.

"Have a little whisky and water, Mrs. Green, and tell me about it," said Bailey.

Sipping a little, the lady began to recover her powers of explanation.

One of those black creatures at the Fitzgibbon's had gone mad, and was running about with a big knife, stabbing people. He had killed a groom, and stabbed the under-butler, and almost cut the arm off a boating gentleman.

"Running amuck with a krees," said Bailey. "I thought that was it."

And he was hiding in the wood when she came through it from the town.

"What! Did he run after you?" asked Bailey, with a certain touch of glee in his voice.

"No, that was the horrible part of it." Mrs. Green explained. She had been right through the woods and had never known he was there. It was only when she met young Mr. Fitzgibbon carrying his gun in the shrubbery that she heard anything about it. Apparently, what upset Mrs. Green was the lost opportunity for emotion. She was determined, however, to make the most of what was left her.

"To think he was there all the time!" she said, over and over again.

Bailey endured this patiently enough for perhaps ten minutes. At last he thought it advisable to assert himself. "It's twenty past one, Mrs. Green," he said. "Don't you think it time you got me something to eat?"

This brought Mrs. Green suddenly to her knees.

"Oh Lord, sir!" she said. "Oh! Don't go making me go out of this room sir, till I know he's caught. He might have got into the house, sir. He might be creeping, creeping, with that knife of his, along the passage this very--"

She broke off suddenly and glared over him at the window. Her lower jaw dropped. Bailey turned his head sharply.

For the space of half a second things seemed just as they were. There was the tree, the balcony, the shining river, the distant church tower. Then he noticed that the acacia was displaced about a foot to the right, and that it was quivering, and the leaves were rustling. The tree was shaken violently, and a heavy panting was audible.

In another moment a hairy brown hand had appeared and clutched the balcony railings, and in another the face of the Malay was peering through these at the man on the couch. His expression was an unpleasant grin, by reason of the krees he held between his teeth, and he was bleeding from an ugly wound in his cheek. His hair wet to drying stuck out like horns from his head. His body was bare save for the wet trousers that clung to him. Bailey's first impulse was to spring from the couch, but his legs reminded him that this was impossible.

By means of the balcony and tree, the man slowly raised himself until he was visible to Mrs. Green. With a choking cry she made for the door and fumbled with the handle.

Bailey thought swiftly and clutched a medicine bottle in either hand. One he flung, and it smashed against the acacia. Silently and deliberately, and keeping his bright eyes fixed on Bailey, the Malay clambered into the balcony. Bailey, still clutching his second bottle, but with a sickening, sinking feeling about his heart, watched first one leg come over the railing and then the other.

It was Bailey's impression that the Malay took about an hour to get his second leg over the rail. The period that elapsed before the sitting position was changed to a standing one seemed enormous--days, weeks, possibly a year or so. Yet Bailey had no clear impression of anything going on in his mind during that vast period, except a vague wonder at his inability to throw the second medicine bottle. Suddenly the Malay glanced over his shoulder. There was the crack of a rifle. He flung up his arms and came down upon the couch. Mrs. Green began a dismal shriek that seemed likely to last until Doomsday. Bailey stared at the brown body with its shoulder blade driven in, that writhed painfully across his legs and rapidly staining and soaking the spotless bandages. Then he looked at the long krees, with the reddish streaks upon its blade, that lay an inch beyond the trembling brown fingers upon the floor. Then at Mrs. Green, who had backed hard against the door and was staring at the body and shrieking in gusty outbursts as if she would wake the dead. And then the body was shaken by one last convulsive effort.

The Malay gripped the krees, tried to raise himself with his left hand, and collapsed. Then he raised his head, stared for a moment at Mrs. Green, and twisting his face round looked at Bailey. With a gasping groan the dying man succeeded in clutching the bed clothes with his disabled hand, and by a violent effort, which hurt Bailey's legs exceedingly, writhed sideways towards what must be his last victim. Then something seemed released in Bailey's mind and he brought down the second bottle with all his strength on to the Malay's face. The krees fell heavily upon the floor.

"Easy with those legs," said Bailey, as young Fitzgibbon and one of the boating party lifted the body off him.

Young Fitzgibbon was very white in the face. "I didn't mean to kill him," he said.

"It's just as well," said Bailey.

END

January 22, 2012

Charles Dickens and My Great Expectations

It will soon be the 200th birthday of Charles Dickens, one of the greatest English writers to live.
It will soon be about 200 months since I began to read Dickens' famous novel, Great Expectations, at the suggestion of a young friend who is now no longer quite so young.
Why, you might ask, has it taken me so long to read the book? There are all sorts of excuses: work, life, restarting it several times in order to refresh my memory, switching from my hectic daily life to the leisurely pace of nineteenth-century literature...but the best reason I can think of for my slowness can be found on page two of the book.
"Hold your noise!" cried a terrible voice, as a man started up from among the graves at the side of the church porch. "Keep still, you little devil, or I'll cut your throat!"
A fearful man, all in coarse gray, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared, and growled; and whose teeth chattered in his head as he seized me by the chin.
When I first came to this passage, I stopped. I read it again. I'd never read prose like this, that was so utterly poetic, so filled with rhythm, and which created so evocative a scene. I read it aloud. I  copied it down and posted it above my desk. Later, I memorized it. This one snippet from a scene had grabbed me and so thoroughly mesmerized me that I've been reading that same passage over and over for the last 200 months.
That's my excuse for not finishing Great Expectations. 
What is your favorite Dickens' work? Why?

September 12, 2010

The Mistake That Almost Got Away

I recently attended the Anderson Center's 11th Annual Celebration of Minnesota Children's Authors and Illustrators in Red Wing, Minnesota. The Anderson Center is nestled on the bluffs overlooking the Mississippi River. It's a wonderful place that sponsors arts programming, exhibitions, residencies, and more. This annual celebration is sponsored by the center, along with the Red Wing Public Library, the Red Balloon Bookstore, and the U of M's fabulous Kerlan Collection of children's books and manuscripts.
The day featured speakers, signings, a Civil War reenactment, balloon animals, and many other fun activities.  I heard talks by Michael Hall (My Heart is Like a Zoo), Sharon Werner and Sarah Forss (Alphabeasties), Mike Wohnoutka (Davey's Blue-eyed Frog), and met Joyce Sidman, John Coy, Lauren Stringer, and others.

At the celebration, I met up with Debra Frasier, author and illustrator of A Fabulous Fair Alphabet, a children's picture book that debuted at the Minnesota State Fair to great acclaim. She had a fun activity for people of all ages: to assemble their names out of the colorful letters she'd photographed at the fair and used in her book. Debra's activity tent was very organized, with large laminated letters carefully sorted into bins. There were also these 4-foot long foam noodle things, a bizarre invention that I've seen used as musical instruments, as play swords, or for pool exercise. Debra was using them as oversized letter holders. A narrow slit along their length was to be the gripper for the laminated letters.
I turned down the offer of help. What could be so difficult about putting my name letters in order into a slot on a foam noodle?
Plenty, it turns out.

This was long after I'd dried off from the day's earlier incident: I'd been minding my own business talking to someone at another booth, when a young girl on stilts wobbled by behind me. She bumped into me, teetered, and grabbed onto the edge of the canvas booth roofing for balance. The roof had been holding a nice big batch of cold rainwater since the night before and suddenly, all of that water went down my back! At least I kept the booth's display material from getting wet.
Debra's fair alphabet booth activities seemed a bit less high-risk, so I headed over there.  I chose colorful letters for my name and using the noodle like a paper clip, stuck them in the lengthwise slit. But the letters kept falling out. Finally one of the kind helpers approached me again and gently suggested that most people turned the noodle so the slit would face upward. I turned the noodle over and started over.
Finally, success! Here's the colorful result:

But there was STILL something wrong—that I didn't notice until that evening at home, when I looked at the photo. See if you can spot it.

March 25, 2010

Hey, Wait, Come Back! I Wasn't Finished Yet!

Writers and artists often do on-site research for their works-in-progress. That's what I was doing recently, trying to capture those fleeting moments between winter and spring, this year on the early side in mid-March. It's when the ice goes out on the lake, cracking, crunching, sloshing as it changes forms. Warm-weather birds begin to return and join the morning avian chorus. The ground starts to thaw, grass tinges green, tulips and day lily leaves start to peek through the soil, and humans resume their outdoor activities.
On-site research doesn't always work out how you expect, though. This mallard on Minnehaha Creek was too busy to stick around and pose.

December 27, 2009

Winter Postcard: Wish You Were Here

A picture arrives from a friend in Hawaii--a fine sand, sunny beach on the ocean, no clouds, waves gently lapping, palm trees swaying. "Wish you were here...." she writes.
I sigh as I put on my sweater, my snowpants, my hat, my jacket, my scarf, my boots, my mittens, and walk to the lake, where finely grained snowflakes spin through the air, as frosty breath rises from my mouth, and I listen to the quiet that comes with a thick blanket of snow. In the distance, someone's set up an ice-fishing shack, and nearby, a long dock has been marooned away from shore for the winter. Skiers glide by, ducks congregate around an open patch of water by a storm drain, children and dogs frolic. I walk out onto the lake where the wind has created ripples in the snow, and I think of my friend in Hawaii. Maybe she's lying in the warm sun. Maybe she's reading a good book, sipping ice tea. Maybe she's building a sand castle on the ocean beach.
Or--just maybe she's dreaming of building a snow-castle on a lake.

September 21, 2009

Morning Glories

Morning glories have always been a favorite flower of mine. This year, even though I planted them early enough and they produced spectacular leaves, they didn't bloom. June, July passed, then August. There was no way to rush the blooms, no way to know if the weather would improve (too wet, too dry, too cool) . Then September came, the decisive month, the last chance. Would these sprawling dark-green vines that finally had shown some tiny flower buds bring forth their stunning flowers just as fall made its decisive mark? Taunting the weather gods, the flowers finally made their appearance in the middle of the month.

I never had thought much about the flower's name, though. I knew morning glories bloomed during the daytime, but I didn't know exactly when the one-day blossoms opened--they were usually fully open by the time I'd be out in the garden. So today, putting on my scientist's hat, I decided to track their activities. Before sunrise, around 6 am, with a nip in the air, a few blooms were already open to greet the new day, and gradually, over the next two hours, a couple dozen other stunning blue flowers joined in, reflecting the newly bright blue of today's sky.

Yes, fall is coming,
the dry trees leaves rustle blowing down the alley.
But a late reprieve:
Glorious flower opens in the morning;
morning glory.

 Photograph ©2009 Barbara DaCosta

March 16, 2009

Bloomington Writers' Festival and Book Fair

Come enjoy the 6th Annual Bloomington Writers' Festival and Book Fair, Saturday, March 21, 2009 9:30 am - 4:30 pm in Bloomington, Minnesota. The keynote speaker is mystery writer William Kent Krueger, speaking on "This Writer's Life." Kent will also discuss "Importance of Narrative' in morning and noon panels.
An afternoon panel "Is It A Crime?" features authors Carl Brookins, Ellen Hart, Susan Runholt, and Gary Shulze (co-owner of Once Upon a Crime Bookstore in Minneapolis). And, the Twin Cities Sisters in Crime will have a booth.
Panels and keynote are $10 each. To register, contact the center.

January 27, 2009

On Writing


Once Upon A Crime in Minneapolis recently hosted a fabulous panel discussion with writers Mary Logue, K J Erickson, and Ellen Hart.
Presenting to a packed room, the three well-known authors covered topics from knowing one's characters, to writing a series. Here are some nuggets I jotted down (blending the voices of the three, who are old friends who often finish each other's thoughts):
On writing: When the writing is flowing, it's like being in a groove, and you know it's working so it feels great; the novel takes on a shape, becoming a living thing, growing organically, or like fractal. For the three, a writing group has been essential for their growth as writers, and as a balm for the solitary task of writing.
The great puzzle
: If, as according to Malcolm Gladwell, it takes 10,000 hours to master any particular thing, how is it that an author's first book is often their best? Conversely, why does it take so long for some authors to become well known?
On characters: They take on their own lives. When writing a series, you get to know them over time, and you realize different things about them. Of course, you can always throw a little conflict in their paths to shake things up for them—and for you, as well.
On agents and editors: They should act as advocates for readers, understand the market, and are ideally there to help the writer do their best work.
The publishing industry: there are natural cycles to it, small presses will grow as bigger presses struggle, technological changes have to be embraced, that there's still—beyond the blockbusters that every publisher seeks—a need for diverse, interesting writing; the big presses will always need to seek out new, good books.
KJ closed the evening with a passionate plea for both readers and writers to understand the important role of independent bookstores, whose staff actually read and recommend books to customers, and sponsor author events.

October 18, 2008

On Very Short Stories

I've figured out why I'm very fond of short stories—especially the 300–1500 word range—it's from years of writing short journalistic pieces. Whether in the form of a poem, column, essay, letter to the editor, or terse pay-by-the-word ad content, or blog entry, brevity is often the soul of expression.
So when an article by Sandra Seamans on "flash fiction" at
Bookspot Central came to my attention, I was thrilled to read about its popularity in the mystery genre.
Any short fiction demands succinct delivery, all the more so with short-short fiction. In fact, there's a newish form, the six-word biography (see article in New Yorker). It was reputedly started by Hemingway, who is said to have written the tragic “For sale: baby shoes, never worn.”
Try it out and let me know what you think!

July 13, 2008

The World of Short Stories

I didn't really set out to write "disturbing" stories, but a reviewer recently described my debut mystery story "Cabin 6" from Resort to Murder with just that label. There's a reason, though, that the story came out the way it did. Let me explain.

When I first met veteran legal mystery/thriller writer Lisa Scottoline (who's one of the most personable and entertaining writers out there), I had not yet begun to write mysteries, but had recently had a bizarre encounter with a scary person that just begged to be written about. I asked Lisa how writers live with the evil and creepiness of some of the characters and scenarios found in a typical mystery. Her answer was that it was important to choose one's on-the-page companions carefully, as you had to be able to live with them for a long, long time while you did the heavy lifting of creating a novel.

Several years later when I began working on Death by the Depot, my current novel-in-progress, I remembered Lisa's words. I began crafting a world populated mostly by people I wouldn't mind meeting, and situations that seemed close to real life. I decided to leave the psychopaths, car chases, and gore to some other writer who could do better by them.

My short stories are another matter. Short stories have become the place where I can take a scary situation or odd personality and let them develop in their own little petri dish. Since a short story can be written in hours instead of years, they have become a way for me to experiment with writing about "darker" sides of life. Thus, the above-described "disturbing" short story. But never fear, not all of my stories can be called disturbing! There are some lighter fare as well.

In any case, here's what the reviewer wrote about my Resort to Murder story: that DaCosta's "disturbing story 'Cabin 6' ... is her first story and it is a good one...."

"Good"? Now, there's a word that doesn't beg any explanation!

Read Kevin Tipple's entire Resort to Murder book review at Blogger News (7/13/08)

July 23, 2007

Why Mysteries?

Since beginning to write mysteries, I've gotten two recurring questions from people. The first: "Why are you writing mysteries?" The second one comes with a smile and a questioning eyebrow: "Can I tell you this great idea I have for a mystery that you could write?"

Why mysteries? I've always loved reading, and was introduced to the mystery world as an adult. Immersed as I was in academic and professional writing, I soon found that writing fiction (and why not mysteries, since I enjoyed them so much), functioned as comic relief, an escape valve. It was fun to create worlds, characters, and plots out of wholecloth, with nary a footnote in sight.

Which leads me to the second common question. Creating a novel or a short story is like being in your own dream world. You can picture everything and everyone, even without having to spell it all out in words. But someone else cannot (at least for most of us) be there in your dream seeing and experiencing it with you. So when you've got that tantalizing thread of an idea playing in technicolor in your head, it's probably best to sit down and start writing YOUR novel!