Showing posts with label ACW-CWD Crosspost. Show all posts
Showing posts with label ACW-CWD Crosspost. Show all posts

Monday, 2 September 2019

Exploring Genre: Christian Biography & History

by David Bennett


History is not boring



Many people think that history is boring. It is usually only boring if it is told badly.

Hudson Taylor went to China at the of 21 to take the gospel to the Chinese. He arrived in the middle of a war and his life there was in constant danger. I have written a book called Hudson Taylor and China (Rhiza Press). Is it boring? How could it be?  It is dramatic and at times exciting.



History is full of fascinating people, exciting events, disturbing incidents and great drama. I write church history and biography with a major focus on nineteenth century Britain and the missionaries sent from there.

Christian Biography and History



With some genres one can point to major authors who write in a particular field, but while this is possible with church history, it is harder with biography. With biographies one tends to look for a book about a particular person rather than who wrote it.

Two Australian examples of biographies where the subject is more famous than the author are Mr Eternity by Roy Williams and Elizabeth Meyers (Shortlisted for the 2018 Australian Christian Book of the Year Award), and The Man the Anzacs Revered by Daniel Reynaud. 

The first is about Arthur Stace, a Christian man, who became a legend by writing the word “Eternity” on Sydney’s footpaths over a period of many years. Stace was an ordinary man, but he did something that was extraordinary. 



The other book is about William “Fighting Mac” McKenzie, who was a Salvation Army chaplain in the First World War. He was a remarkable man who was famous between the two world wars, but is sadly les known today. If you want to read a good biography about a great Australian, read The Man the Anzacs Revered, for the Anzacs did not revere many outside their own. “Fighting Mac” was special.

Two of the best writers of modern church history are Mark Noll (America) and David Bebbington (Britain). Both are clearly excellent at research and write well. (I understand that Bebbington’s son was once asked what his father did, and the son said, “He writes about dead evangelicals.” I do the same as Bebbington senior.)

Research and Sources


Research is a vital aspect of writing history or biography. Research has never been easier and never harder than today. It is easier because there are lots of good modern books and articles available on most historical figures and events of interest, and the internet has opened up access to the text of many out of print books and given us access to many worthwhile articles. 

But this presents two areas of difficulty: firstly, there is a lot to wade through; secondly, as always with the internet, you have to be careful, for there is a lot of ill-informed rubbish out there. Check and recheck your sources.

David's Projects


One of my major projects has been the history of The Salvation Army and its founders, William and Catherine Booth. William Booth was originally a Methodist evangelist, who won thousands to faith in Christ Jesus. His preaching was dynamic and the results often dramatic. Catherine also became a Methodist preacher and was (no surprise) one of the early Christian feminists. They were very different from each other, but in their own ways colourful. As The Salvation Army came into being, they attracted around them a ragtag collection of odd people, male and female, who excite, intrigue, and, at times, make you laugh or cry.



Catherine was a difficult person to argue with. She was smart and always seemed to have her arguments ready. On one occasion she had just preached at the opening of a new Salvation Army mission hall. Afterwards a man cornered her and said, “Did you know, Mrs Booth, that the Apostle Paul told the Corinthians that women should not speak in the church?” She responded, “Yes, but I am not a Corinthian and this is not a church.” Wow! I wouldn’t want to argue with her.

I have written two biographies of William Booth, a smallish one called William Booth and his Salvation Army (Even Before Publishing) and a two-volume book, The General: William Booth (Xulon Press). I have also edited, transcribed and published their letters to each other, Catherine’s diary, her reminiscences and her letters to her parents, which are all full of their love of Christ and their great desire to make Him known. 

I am now writing a two-volume biography of Catherine. The first volume, Catherine Booth: From Timidity to Boldness, has been accepted by Morning Star Publishing.

Making it Readable


I write two different kinds of biography. One I describe as dramatic. That is, whilst sticking to the main incidents of the subject’s life, I, in some cases, invent dialogue and assume people’s emotions, to make it read (hopefully) like fiction. The other type I write are more authentic, detailed and analytical, but still (I am told) very readable.

I think one of the tricks with non-fiction writing is to make it readable, which is easier than most people think. There are always plenty of exciting and dramatic events going on now and in the past. Write about them. What interests and excites you will almost certainly interest and excite others. And don’t use lots of long and complicated sentences. While some sentences should be long, keep most fairly short and some very short. Variety in sentence length is important in all forms of writing. 



Two people have told me that my PhD dissertation (The Origins of Left Behind Eschatology) was very readable. I confess that when I heard that, I thought, “It’s a PhD dissertation for goodness sake. It’s not meant to be readable.” You see, even some complicated subjects can be made readable.




David Malcolm Bennett has written over 20 Christian books, mainly biographies and church history. His book “From Ashes to Glory” was a joint winner in the CALEB AWARDS, biography section, and his “William Booth and his Salvation Army” was a finalist in CALEB. That book about William Booth has sold over 25,000 copies in its three editions, English, American and Australian. His latest book “Hudson Taylor and China” is a finalist in this year’s CALEB.

Monday, 1 April 2019

Exploring Genre: Slipstream

By David Rawlings


In this month's cross-post with Christian Writers Downunder, David Rawlings discusses slipstream, an ellusive mix of fantasy and literary fiction.

As an author, I’ve always had issues trying to throw a genre rope around what it is I’m writing. As an author yourself, you know why it’s important—it’s nice to have an answer for the inevitable question you’ll get after you announce you’re a writer: “So what type of stories do you write?” We all need a literary hook on which to hang our hat.

My answer has never fully satisfied me.

“A bit of contemporary. A bit of speculative.” It’s actually both but fully neither, and you want to have a descriptor that fully sells how you write. My stories take place in the real world but have speculative elements. I know that speculative fiction is often used as an umbrella term to cover anything “weird” but I’ve never thought my writing embraces science fiction, fantasy, horror or even dystopian fantasy. No aliens. No wizards. No clowns lurking in the gutters.

My debut novel, The Baggage Handler, is a story told in an airport and at 2019 locations of work, University and home – making it contemporary – but sets challenges for characters that are more fantastical. With my next novel – The Camera Never Lies – I’ve set it in the present telling the story of the marriage of a marriage counselor, but the story contains a mysterious camera that drives the story forward.

So I'm writing about a world we all know, but introducing elements that we don't.

How could I better define what I was writing? The best definition I could find is from the TV show Black Mirror, which focuses a lot on the technology we use in our society. Creator Charlie Brooker refers to stories that take place in society “in 10 minutes’ time”. It places stories in a world we can relate to, but adds an another element that throws off your equilibrium. That wasn’t bad as a description.

Then someone mentioned Slipstream.

Slipstream was first coined back in the 1980s and has remained an elusive mix of fantasy and literary fiction ever since. The best definition seems to be that it “falls between speculative fiction and mainstream fiction.”

Slipstream, like many other genres, appears to be a broad church; some argue slipstream throws you off your axis into cognitive dissonance territory. Others talk about slipstream being science fiction with less robots or aliens. Other describe slipstream as nonrealistic fiction; stories that take the best of both and apply it to a modern society. I found some attempted definitions that outlined the experience of reading a slipstream novel as “fantastical, illogical, surreal and jarring.”

That’s a fairly wide berth.

This genre plays with the edges of reality, and can even be found in Christian fiction. My favourite story by Ted Dekker – Skin – fits this description. This is the blurb:

A freak storm has spawned three tornadoes that are bearing down on the town of Summerville.

Yet under the cover of the storm looms a much more ominous threat: A vindictive killer known as Red who's left a string of victims in his wake and is now bent on exacting his final revenge on the unsuspecting town.

But there is an enigma surrounding Red that the FBI is unwilling to admit-closely guarded secrets of something gone terribly wrong beneath the skin of Summerville. Secrets that will destroy far more than one small town.

Wendy Davidson is caught in the middle. She's a recovering cult survivor who takes refuge in Summerville on her way to visit her estranged mother. And with her, four strangers, any of whom could be the next victim . . . or the killer.”

The longer you go into Skin, the more it feels like it’s playing with the edges of reality.

I won’t spoil it for you, but it’s set in a contemporary environment but stretches the bounds of what reality could be. And the final third of the book is mind-bending.

I’ve just finished reading The Pages of Her Life from James L Rubart (an advance copy, lucky me!) It’s the same deal with this book – it’s a story about contemporary issues surrounding a young woman surviving the games of the corporate world, but the story is driven by a fantastical element.

Modern problems with modern characters, but the central component is a journal – a mystical journal – that becomes one of the central characters.

One book belonging to Frank Peretti crops up – with Prophet telling the story of a newsroom, but brought into the mix supernatural voices.

I think it’s important to reflect both the contemporary and speculative elements of these stories, and mine. To say it’s contemporary says it’s accessible. To say it’s speculative says it will appeal to your imagination. Maybe the label of Slipstream brings both of those elements, and better encapsulates what you'll get when you read books like these.

Slipstream is one of those genres that appears elusive to find, but that’s what I’ve found as I’ve looked into it.

So which stories have you read that could possibly fit into this genre?


About David Rawlings

David Rawlings is a based in South Australia, a sports-mad father-of-three who loves humour and a clever turn-of-phrase. Over a 25-year career he has put words on the page to put food on the table, developing from sports journalism and copywriting to corporate communication. Now in fiction, he entices readers to look deeper into life with stories that combine the everyday with a sense of the speculative, addressing the fundamental questions we all face.

You can find David at:

Monday, 4 February 2019

Exploring Genre - Round Up

by Jeanette O'Hagan @JeanetteOHagan



In 2019, we are continuing the tradition of a cross-post between Christian Writers Downunder (CWD) and Australasian Christian Writers (ACW), with more forays into the different genres. You may wonder if, after two years, there are any more genres to explore. Well, yes, there are. In fact we haven't come close to covering them all. But before we launch into some more examples, I will give a round up of the ground we have already covered. This post can be used as a quick reference and handy resource on different genres.

What is Genre?

Literary Genre is a particular type or style of story which may be defined by style, tone, content and even length. Basically, genres define creative innovations and reader expectations that have developed over time with broader categories (fiction, non-fiction, or prose, drama, poetry, media), to larger families (e.g. romance, science fiction, fantasy, crime etc) and more narrowed or specialised categories (sweet romance or cosy mysteries or spaghetti westerns).

Why should I care about Genre?

Iola discusses why genre matters
- it  helps manage readers expectations and it also helps market books to our readers. Read more here and here.

When you are starting out, it is often a good idea (at least at first) to just write and learn the craft and worry about genre later.  This is especially true if writing is a hobby or release or therapy.

However, if at some point you wish to publish your writing and attract readers, understanding genre can also help you hone how you write or maybe help decide which aspects of the story to emphasise or which project to focus on (if you have more than one project on the go).  It can also inspire ideas.

Some genres have more defined expectations than others (e.g. category romance or CBA Christian Fiction), while others are more open to experimentation and cross-overs between genres (e.g. Young Adult fiction or Science Fiction).

Knowing your genre and your readers' expectations helps in both writing and in attracting a readership to your writing. Having an idea about Genre Trends can also be helpful.

Jeanette O'Hagan discusses Genre Trends (for 2018) here.


What Genres Are There?


Genres range across the broad categories like Fiction, Non-Fiction, Poetry, Children's Books and Young Adult etc.

Fiction


The major fiction genres are Romance, Science Fiction, Fantasy, Crime, Historical, Contemporary Drama and Literary.  Each broad genre often has a swag of sub-genres and some sub-genres may cross-over e.g. Romantic suspense includes elements of romance and suspense novels. Or a time-travel novel may be Science Fiction or Fantasy or even Science Fantasy.

Romance


This is a hugely popular genre with a large audience of avid readers.

While romance can often be a subplot or theme in a range of other genres, in category romance the focus is on the relationship and the obstacles to the relationship between the hero and heroine or romantic couple with an expected Happily Ever After (HEA).



There are a wide range of sub-genres with romance.

Carolyn Miller introduced us to historical romance (romance set before the present day) and in particular regency romance - romance inspired by Jane Austen and set in or around the regency period - e.g. early 19th century. You can find her delightful post here.

Nicky Edwards took us on a tour of rural romance (set in the country) and medical romance (with nurses or doctors as protagonists and which includes medical drama), usually set in contemporary times. You can read more here.

Romance can also include contemporary romance, paranormal romanceromantic suspense, romantic comedy, sweet or clean romance, or other more racy sub-genres.

Speculative Fiction




Speculative Fiction imagines a different reality - whether that be a variation of earth as we know it or different world altogether. It is generally divided into Science Fiction (where science or a imagined science explains the world) or Fantasy (in which a non-scientific - often supernatural - explanation is given), though these can cross-overs such as science fantasy and other mixtures.

There is easily over 100 sub-genres within this field - including crazy mash-ups like gaslamp fantasy or weird west.

Science Fiction


Adam Collings introduced us to Space Opera - epic Science Fiction set in space with a focus more on the story than a detailed or hard science - think Star Trek or Doctor Who. And, also the Superhero sub-genre which can used a scientific (e.g. Superman) or a supernatural (e.g. Thor) explanation for the special powers. Read more here.

Fantasy



Jeanette O'Hagan introduced Secondary World and Portal fantasy - both of which are set on an alternative (non-earth) world. In the first the world exists without reference to earth, whereas in the second, the protagonist travels through a door or portal to the other world. Read more here.


Other Speculative 


Alison Stegert explores the difference between Steam Punk and Gaslight fiction - both of which are inspired by the Victorian age of steam and Victorian science fiction writers such as Jules Verne and H. G. Wells. Steam Punk tends focus more on the science fiction aspects, while Gaslight has a more paranormal vibe. Read more here

Ian Acheson introduced us to Supernatural Fiction - which focuses on supernatural beings such angels, demons and/or ghosts (and is related to paranormal and urban fantasy). It can have a faith or Christian focus or be more 'secular' in its approach. Read more here.

Other speculative sub-genres include fairy tale retellings and fractured fairy tales, paranormal, urban fantasy, horror, dystopian, cyber-punk, cli-fi, solar punk, time travel, grim-dark or noble-bright etc.


Mystery and Crime


Mystery


Donna Fletcher Crow discusses crime mystery, in particular historical crime mystery such as medieval crime mystery here

Virginia Smith explores the different kinds of mystery novel from cosy, police procedural, private eye, etc. here. 

Other forms of mystery can be hard-boiled, noir, paranormal or even as specific as Scandinavian Noir.

Suspense

Suspense can be part of a straight thriller or mystery/crime novel or can involve romance as a major subplot in romantic suspense (where danger forms a backdrop to the romance).

Sandra Orchard discusses the elements of suspense here


Other significant fiction genres include Historical Fiction, Contemporary Drama, and Literary Fiction



Christian Fiction



Christian Fiction can be understood in different ways. For some, it can be any fiction written by a Christian, for others it has a much more defined and strict definition with overt Christian content such as bible verses, prayer, mentions of Jesus, conversion scenes and the absence of graphic sex, violence and strong language. Somewhere in the middle, others would include books that may have less overt religious content but are written from a Christian worldview, contain Christian values and themes, and include pointers to faith, but which would still be appropriate for a general market. See here and  here for more discussions.

Christian fiction can include the majority of the other genres we've covered, such as romance, mystery, historical, science fiction, fantasy etc.

More specific Christian fiction has subgenres such as Christian supernatural fiction (see Ian Acheson's post above), Biblical fiction and Christian allegory (like Pilgrim's Progress).

Biblical Fiction



Biblical Fiction re-imagines the characters and stories we find in the Bible, often filling in the gaps and fleshing out the historical setting.  While Biblical Fiction can be written from a non-Christian perspective, Christian Biblical fiction is true to the tenets of Christian faith and the Bible itself.

Susan Preston discusses Biblical Fiction here.

Non-Fiction


Nola Passmore introduced us to creative non-fiction (and how that differs from reportage). Read more here.



Non-Fiction can include historical works, memoir and biography as well as self-help books, devotionals, theological works, text books or informational books, books of essays, coffee table books, cookbooks  etc.


Poetry


Poetry can be non-fiction or fiction or a mixture of the two, it can be strongly narrative (ballads, for instance) or focus on a moment or a feeling or an image or be metaphorical or evoke shared feelings and realities.



Valerie Volk gave a wonderful introduction to Poetry (here

Jeanette O'Hagan explored Free Verse (poetry without a set rhyme) and Verse Novels (telling a narrative in verse) (read more here).



Targeted by Age and/or Gender


Children and Teens


Penny Reeve introduces us to the difference between picture books and chapter books in younger readers. Read more here.




Cecily Anne Paterson discuses writing for Young Adult or Teen readers (generally from thirteen to nineteen years of age). Read more here


New Adults


New Adult Fiction is a more recent category, ranging from nineteen to twenty-five year olds (or up to thirty), generally school leavers starting university or work, living away from parents, forging new relationships, learning what it means to live independently.  Read more here.

For middle-aged and older readers


Various 'lits' may target these age groups, usually with a humorous or even farcical tone. For instance 'chic-lit', then there is 'hen-lit' or 'nana-lit' targeting women of different age groups (thirty-somethings, middle-aged, older women). Women's Fiction tends to be more serious - and maybe more 'literary'.

Westerns and Military fiction (and non-fiction) may be primarily targeted to male readers.


Humour


Both fiction and non-fiction may be written with a primary focus on humour, whether witty and dry, or more slapstick in style, or farcical or satire.

Length and format categories


Shorts



Jeanette O'Hagan looked at 'short fiction' from flash to novellas (though it could also be non-fiction). Read more here.

Narelle Atkins explores novellas and novelettes in the romance genre here.

Collaborative Writing


Jeanette O'Hagan explores ways that writers can collaborate and that is in the actual writing itself in collaborative works such as ghost-writing, partnerships, anthologies and more. Read more here.



Where to next?


Being presented with the different categories and genres can be as overwhelming as looking at the different brands in the supermarket. Too much choice. On the other hand, it can be seen as freeing, for there is really something for everyone and opportunities for cross-overs and mash-ups.

Tell us - what genres (or sub-genres) do you love to read?  Which do you write in?  Which would you like to learn more about?

----



Jeanette started spinning tales in the world of Nardva at the age of eight or nine. She enjoys writing secondary world fiction, poetry, blogging and editing. Her Nardvan stories span continents, time and cultures. They involve a mixture of courtly intrigue, adventure, romance and/or shapeshifters and magic users.

She has published numerous short stories, poems, three novellas (Heart of the Mountain, Blood Crystal and Stone of the Sea) in her Under the Mountain series and her debut novel, Akrad's Children and Ruhanna's Flight and other stories. She has short stories and poems in seventeen anthologies and was thrilled that her story, Wolf Scout, was recently accepted for the upcoming Inklings Press anthology, Tales of Magic and Destiny.

Her latest release, Shadow Crystals (the fourth novella) will soon be available on preorder.

You can also find her on:

Facebook |Jeanette O'Hagan Writes | Twitter | Instagram | Pinterest

Monday, 3 December 2018

Exploring Genre - Collaborative Writing

by Jeanette O'Hagan





We often imagine writing as a solitary pursuit - the writer huddles alone in his or her attic, putting words on paper (or computer file) with a big do-not-disturb sign on the door.

In fact, while there are long stretches when writing requires peace or at least lack of interruptions, producing a book most often calls for a team of people from critique partners, beta-readers, editors, proof-readers, graphic artists, formatters, publishers, booksellers, and publicists. 

But there is another way, that writers can collaborate and that is in the actual writing itself in collaborative works. There are in fact quite a range of opportunities.


Types of Collaborative Writing



Ghost Writing



In ghost writing, an experienced and capable writer is employed or invited to write a story on behalf of someone else, often a celebrity or someone with a unique and fascinating story or both. This is most often done with memoirs, but can happen with fiction. In many cases the ghost writer is paid and his or her name does not appear on the cover or may appear but in a secondary fashion (eg Deva Star with Jane Smith).



Jeanette Grant-Thomson has done some ghost-writing, in addition to her own fiction and non-fiction.  For instance, Healing Song was co-written in connection with Merrilyn Billing and tells Merrilyn's story.


Illustrators



In picture books particularly, the illustrator contributes as much to the story as the writer. There are many wonderful examples of this synergy between image and word such as Wombat Books' Same by Katrina Roe and Jemima Trappel, Can God See Me by Penny Reeve and Shannon Melville, Do You Remember? co-written by Kelly O'Gara and Anna McNeil, and illustrated by Kelly O'Gara.



Though I do confess a particular affection for Colourful Memories, written by Catherine Bauer and illustrated by my daughter, Kathleen O'Hagan.

Partnerships



In some cases, a more established well known writer might partner with a newer writer with fresh ideas.

In other cases, two or more writers may combine together to write the one book or series of books.  In fiction, each writer may be the primary writer for one of the main characters.  Of course, the writers need to agree on a range of things like settings, the plot, the subject, the themes, characters etc and may need to write the other writer/s character in their own character's scenes.

Meredith Resce, Rose Dee, Paula Vince and Amanda Deed worked together to write The Greenfield Legacy together, each one writing one of the characters to produce a great story about the legacy of past decisions.

Anthologies


In anthologies, authors can contribute short stories and/or poems that may centre of a theme or subject matter, or genre, or setting.



Glimpses of Light (published in 2015, the International Year of Light and edited by myself and Nola Passmore), includes a range of short stories, non-fiction pieces, flash fiction and poems on the theme of light. Contributions were from both new and more established writers, including Jo-Anne Berthelsen, Jo Wanmer, Adele Jones, Lynne Stringer, Nola Passmore, Adam Collings, Paula Vince, Anusha Atukorala, Ellen Carr, Jeanette Grant-Thomson and others.



The science fiction and fantasy anthology, Medieval Mars, has stories set in a futuristic Mars conceived by Travis Perry, that is a Mars that has been terraformed, settled and then regressed to a medieval level of technology. Each story is set in different spots in the world and written by different authors, including Adam Colling's Lynessa's Curse. The stories were published both as the collection Medieval Mars and individually as short stories by the authors.

Book Bundles



In book bundles, multiple authors contribute their books (either full length novels or novellas) usually of similar genre, theme, or setting.

Narelle mentioned some romance book bundles in the November genre post



I've participated in two - On the Horizon - which involved 22 authors writing sci-fi & fantasy set in low technology worlds. Akrad's Children was included in this and the aim was for volume of sales over a short period. Over 900 copies were sold over the three month period the bundle was available.  The boxed set continued in an altered form in Limited Horizon - with 12 Fantasy and Science Fiction Novels, Novellas, and Short Stories from 12 authors, including my Heart of the Mountain. Many of the authors in this series are secular, but write in the same or similar genres to me.


Book Series



This year, I was part of a group planning on writing a series of full length novels set in the same world. Initially we had maybe 10-12 people involved. Three or four of the authors got together and formed a premise, setting and timeline of the world. I wasn't initially that keen on some of the elements, but after much thought, come up with a premise for a storyline that fitted into the world & which I liked.

We set up a calendar of publication for 2019 on a monthly basis (I had May), with the idea that each author would bring out a novel set in the world (and consistent with each other's works). We started with a lot of enthusiasm and I was quite excited about the idea though I had other writing projects to finish before I could get started. 

Then over time, one by one, people began dropping out for various reasons. Much to my disappointment, the main organisers decided to pull the plug on the project. I have still got my plot synopsis, which maybe one day I will write.

I think multi-author book series a great concept and would love have another attempt at something like this (novel or novella) again, hopefully with better success.

It has been done. Again, Narelle mentioned the Tuscan Legacy book series, romance novels with a common setting and plot thread.  There's also the Jane Austen project - in which various well established authors were invited to write modern adaptations of the different Jane Austen novels in a contemporary setting.


Pros and Cons


Advantages



Writing in partnership with other writers may spark imagination and creative energy. It may draw on the strengths of each writer and add depth to characterisation or setting. Plus it builds in feedback and editing on each other's writing.

Sometimes the more established writer/s brings visibility and connection with a larger fan base while the newer, up and coming author can bring new ideas and inspiration and a freshness to the stories or a particular insight (if, say from a particular demographic or culture).

In much collaborative writing, authors can be introduced to the fans of the other authors. While readers, attracted by an author they know and love, may discover new authors with similar writing styles, themes or genres.

Different forms of collaborative writing often enables authors to pool or share marketing efforts, thus allowing a bigger splash or more impact per buck.

Disadvantages


With partnerships, the partners may have different understandings of what needs to happen or want the story to go in different directions. So there is a potential for disagreement which may derail the project.

Logistics may be a problem; for instance, finding the time to plan, to share segments for feedback or  different writers may write at different paces etc. Finances, copyright, royalties, costs must all be worked through and agreed upon and then held to.


The bigger the group, perhaps the more likelihood that either the project may take a long time or fall apart altogether.



There are pitfalls to consider in collaborative writing, but such projects can be both fun and worthwhile.

Have you ever been involved in such a project or considered doing so? What advantages and disadvantages did you find? Would you do it again?




*****



Jeanette started spinning tales in the world of Nardva at the age of eight or nine. She enjoys writing secondary world fiction, poetry, blogging and editing.

Her Nardvan stories span continents, time and cultures. They involve a mixture of courtly intrigue, adventure, romance and/or shapeshifters and magic users.

She has published numerous short stories, poems, two novellas and her debut novel, Akrad's Children and Ruhanna's Flight and other stories.

Her latest release, Stone of the Sea (the third novella) is now available. .


Subscribe (here) to Jeanette's monthly email newsletter for the latest on cover reveals, new releases, giveways, and receive the short story Ruhanna's Flight for free.

You can also find her on:







Monday, 4 June 2018

Exploring Genre - Unraveling the Mystery of Writing Mysteries

by Virginia Smith | @VirginiaPSmith


Please welcome Virginia Smith to our blog today to talk about mystery. Now over to Virginia.

The contract for my first mystery came as a surprise. At a writers’ conference I sat beside an editor at dinner. During the meal she said she was interested in seeing proposals for mysteries. Though I enjoyed reading mysteries, I’d never written one. Still, ideas began pinging around in my brain. We were eating chicken with mushroom sauce. The week before I’d had lunch with a friend who was a wild mushroom specialist and was occasionally called to the hospital to consult on cases of mushroom poisoning.

Voila!

As we left the table I said to the editor, “I have an idea for a mystery. A kitchen klutz decides to impress everyone by making a casserole for the church potluck, but someone slips poisonous mushrooms into her casserole to poison a gossipy old lady.” The editor smiled and said, “I like it. Send me the manuscript.”

Naturally I was thrilled – for about 30 seconds. Then I panicked. I didn’t have a manuscript. I didn’t even have a paragraph. And I didn’t know how to write a mystery. I rushed to the library and checked out a book called Writing the Modern Mystery. And I learned. Several months later the editor bought that story, which became my first mystery, Murder by Mushroom.

When a writer approaches a mystery, the first consideration is the sub-genre. The differences may be subtle, but they are important in order to meet reader expectations. There are many mystery sub-genres, but the major ones include:

Cozy – A cozy mystery includes a bloodless crime, meaning the reader is not subjected to icky details of the murder or the murder scene. The story often takes place in a small town and may have an element of humor. The plot reveals a series of clues which the sleuth (usually an amateur) follows to solve the crime. Agatha Christie perfected the cozy sub-genre.

Police Procedural – These stories focus on the investigation by one or more law enforcement officers. The reader is treated to an inside look at the investigative process and analysis of the crime from a police perspective.

Private Eye – The sleuth is a professional crime investigator but not a police officer. Like the cozy, the plot movement is established by the sleuth’s discovery of a series of clues.

Legal or Medical – The plot progression and the resolution of the mystery center on the details of either a legal or medical process.

Suspense – Danger is a necessary element in these stories. The sleuth, or someone close to him, is in jeopardy for a large portion of the plot. Solving the crime may be of secondary importance. A successful suspense novel includes a ‘ticking time bomb,’ an element of urgency to find the criminal before disaster occurs.

Romantic Suspense – Like a suspense story, these books establish tension through the threat of personal danger but also combine a strong romantic element. In this sub-genre the romance is equally as important as the mystery. To create a tightly-plotted romantic suspense novel, the suspense element must be related to the romance in some way. The hero and heroine’s developing relationship is enhanced as they work together to solve the mystery and escape the threat of danger.


Once the genre is established, the writer can design the plot. What clues will be given to the reader, and at what point in the story? Who are the suspects, and what are their motives for committing the crime? How will the writer hide the identity of the perpetrator from the reader? When will the identity be revealed? (Many mysteries reveal the antagonist toward the end of the story, but suspense novels may differ.)

The placement of the clues is critical to maintaining tension from the first chapter to the last. A good mystery writer creates a series of questions in readers’ minds. When one question is answered, another is revealed. This technique keeps readers turning pages.

I’ll share two tips I keep in mind when writing a mystery. First, everyone has a secret. Every character is hiding something. It may not be relevant to the crime, but the sleuth doesn’t know that. She only knows Mr. Brown wasn’t where he claimed to be at the time of the murder. Did he commit the crime? She must find out why he lied.

The second technique I employ is to throw in a shocker. I build suspicion of one character throughout the first half of the book. Then, when the reader is convinced that Mrs. Blue killed her husband, I kill off Mrs. Blue! The reader is thrown into confusion – and they love it.

Since that writers’ conference I’ve been fortunate to have opportunities to write in several genres. The techniques I’ve learned while writing mysteries apply to nearly every story. I’ve decided that any book is better with a mystery woven into the plot. And to think – it all started with mushrooms.

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This post is being shared on the Australasian Christian Writers blog and the Christian Writers Downunder blog.

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VIRGINIA SMITH is the bestselling author of over 30 novels, more than half of which are mysteries. Two of Ginny’s romantic suspense novels were finalists for the Daphne du Maurier Award of Excellence in Mystery/Suspense, and two received Holt Medallion Awards of Merit. Learn more about Ginny and her books at www.VirginiaSmith.org, www.facebook.com/ginny.p.smith, and @VirginiaPSmith.

Monday, 7 May 2018

Exploring Genres - Crime Mystery

by Donna Fletcher Crow



The Mystery of Writing Mysteries—
Or Why Would an Author Kill Her Characters?
Saint Cuthbert made me do it.

I started out as a romance writer. I wrote wonderful, dreamy stories, historical or contemporary, set in lush locations that I loved researching and then living in in my mind. (Settings have always been one of the most important story elements to me.) I published several books and even won a few awards. Then one day I realized I couldn’t read another romance.

If you can’t read them, you can’t write them. So I concentrated on my lifetime love of English history and wrote a number of historical novels, including my Arthurian epic Glastonbury, The Novel of Christian England, still my best-known work.

Then I met Saint Cuthbert. Not in any mystical sense, but the way I meet most of my characters: researching another project. At Durham Cathedral I heard the story of this soldier-turned-monk who transformed the north of England by his holiness. I knew I wanted to tell his story. But what could I do with a character whose claim to fame was his sanctity?



My greatest challenge in writing had always been plotting. My family knew my struggles so well that when my writing flagged, my young daughter would say, “Mama, you don’t have enough conflict.” I seldom did. I had once mentioned my struggle to an editor who advised, “You need to read thrillers.” He promptly sent me a box of mystery novels he edited. I was hooked.

My love of history took me back to the Golden Age. I devoured Dorothy L. Sayers, Josephine Tey, Margery Allingham and, of course, Agatha Christie. I saw that mystery writing incorporated not only the rich backgrounds and alive characters that I loved, but also kept me involved with that all-important strong story question that must be developed early in the story and solved at the end.

That was it—what I needed for Saint Cuthbert was a story question strong enough to keep the pages turning. I needed to involve my reader with strong characters in interesting settings so they would care enough about what was happening to be willing to read about an ancient saint whose beliefs are still valid for our day and can transform our world as they did his own.

The Monastery Murders were born. I had understood the story question idea from the early days of my writing—I had some great teachers, especially Lee Roddy. But I had never applied the story question principle with blood before. Let’s face it—nothing keeps the pages turning like a dead body.

In this third permutation of my writing career I author three mystery series: The Lord Danvers Investigates, Victorian true-crime mysteries; The Elizabeth and Richard Literary Suspense series; and The Monastery Murders. In each of these I try to develop the rich backgrounds, vital characters and historical elements that have always driven my writing, but now I also concentrate on keeping the story question moving forward to what I hope will be a satisfyingly surprising conclusion.



Once I plant my story question—which may or may not be an explicit query followed by a question mark, but must raise a question in the reader’s mind—I then develop my chapters by focusing on small elements of the over-arching question. A clue or red herring leads my sleuths (in my books, all amateurs) to explorations, evaluations and then a new question to be explored in the next chapter. This is a mystery-writing application of the classic scene and sequel structure which I discovered many years ago in the classic Techniques of the Selling Writer by Dwight V. Swain. I highly recommend it—there’s nothing better for understanding the bones of fiction writing.

This question and answer method, which I first applied to A Very Private Grave, Saint Cuthbert’s story,  has carried me through the writing of  fourteen more mystery novels. I’ve never been bored for a minute—and I hope my readers haven’t either.










Donna Fletcher Crow is passionate about English history and loves telling the stories of the men and women who have shaped the world we live in. She is the author of some 50 books--all available on her website along with pictures from her research trips--something else she is passionate about. Her newest release is A Lethal Spectre, Lord Danvers Investigates 

Monday, 1 January 2018

ACW & CWD - What's the Difference?

By Jeanette O'Hagan and Narelle Atkins | @JeanetteOHagan @NarelleAtkins



Happy New Year and welcome to 2018!

We’re looking forward to showcasing the writing from Christian writers in Australia, New Zealand and the wider Australasian region on our group blogs this year.

On the first Monday of each month we share a cross-post on the Australasian Christian Writers (ACW) and Christian Writers Downunder (CWD) group blogs.

Many of our group members have asked why we have two group blogs for Christian writers in our part of the world.

Today we’re going to answer your questions concerning ACW and CWD and let you know how you can contribute to each of the group blogs.

Question 1. What’s the goal and purpose of ACW?

Narelle: Our overall goal for ACW is to connect writers and readers who enjoy reading a wide range of genres including fiction, non-fiction and children’s books. We're planning a few changes for 2018 to engage with readers more on our blog and in our Facebook group.

Our blog members include Christian writers who are traditionally published, indie published, and aspiring to publish. Some are writing for the Christian market, while others are writing for the general market. Many are targeting the US market, as that is where most readers are based.

Although we focus on supporting writers and readers in Australasia, we welcome international writers and readers on our blog and in our ACW Facebook Group. We actively promote books on our blog and social media, including FacebookTwitter @ACWriters and Pinterest.

Question 2. What’s the goal and purpose of CWD?

Jeanette: Christian Writers Downunder is aimed at Christians writers (and those associated with writing field, e.g. editors, illustrators, reviewers and publishers) who live in or are from Australasia. We aim to provide a safe and encouraging place for Australasian Christians who write – whether they are taking their first baby steps on their journey as a writer or have been travelling this road for some time – to ask questions, celebrate milestones (new releases, awards, or finishing a first draft), interact, pray, encourage, help and inspire each other. 

We encourage mutual support through social media and other means. We have a CWD Facebook GroupBlog and Twitter list. In the past we published an anthology with contributions from members, Glimpses of Light. Like ACW we are also an affiliate of Omega Writers.

Question 3. Who can join the CWD Facebook Group?

Jeanette: 

Christian writers – whether just starting out or veteran, whether writing non-fiction or fiction, poetry or blogs, whether published or unpublished, whether aiming for the Christian or general market or both, and also Christians associated with writing – editors, illustrators, publishers, reviewers. We encourage our members to share their milestones and new releases, but discourage spamming the page or being argumentative or disrespectful to others.

While we will accept applications from Christian writers from outside the Australasian area, if they have an active friend in CWD or a trusted recommendation, our primary focus is ‘Downunder’.


Question 4. Who can join the ACW Facebook Group?

Narelle: We welcome writers and readers from around the world in our Facebook Group.

We have group etiquette guidelines regarding self promotion by authors in our Facebook Group, particularly that we don’t allow promotion of books published by vanity presses.

Question 5. How can you contribute to the ACW blog?

Narelle: We post five days per week, Monday-Friday, and we set up our ACW blog calendar many months in advance. We will start organising the May-August 2018 blog calendar in early March.

I encourage all writers who are interested in contributing blog posts to join the ACW Facebook Group. Blogging opportunities will arise from time to time which we’ll post in the Facebook Group.

Please contact either myself, Iola Goulton or Jenny Blake if you’re interested in guest blogging on ACW.

We share new book releases on the ACW blog. In 2018 we’ll post New Releases on the second Monday each month. We collect new release book information in the ACW Facebook Group.

Question 6. How can you contribute to the CWD blog?

Jeanette: 

CWD generally posts inspirational blog posts related to writing (inspirational, craft posts, the writing and publication journey, short fiction and poems, conferences and events, and also new releases or member achievements) on Mondays and Thursdays. Our blog team are highlighted on the blogsite with images and a short bio.

In 2018, we are looking at some tweaking of this—with Mondays continuing our current content, with writing related and inspired blogs and Thursdays as a series of ‘Meet our Members’ interviews. We may also have occasional writing-craft series.

From time to time, we do have opening on our CWD blog team. If you are a CWD member and are interested in guest blogging for us, please contact myself or email. We also value comments on the blogsite as this encourages our bloggers.


Question 7. How do you see CWD and ACW as groups that complement each other and also connect with Omega Writers Inc.?

Jeanette: 

All three groups have historic connections and many members in common, with some different emphases. It’s been a delight to see the groups working together with strong connections and support between the administrative teams.

CWD aspires to provide an encouraging faith community for writers in which questions can be asked, achievements celebrated, and their books or other publications highlighted. We value interaction and mutual support between members.

Both CWD and ACW do not have a paid membership or financial backing, and are primarily active on social media (Facebook, Twitter, Pinterest, Blogsites).

Omega Writers’ paid membership and structure enables it to have local writing groups and to provide workshops, Book Fairs, the annual Writers Conference, and the CALEB prize. Omega Writers has made an enormous contribution of writers in the Australasian region and we would encourage you to become a paid member (it’s not exorbitant & has benefits), join a local chapter in your area, and/or one of the focused FB groups.


Narelle: ACW strives to promote and market books by Australasian authors. We want to share our love of books with readers and provide posts that will interest readers.

Our blog calendar is structured to include educational posts that support writers with relevant information on writing craft, publishing and book marketing.

We share a quarterly blog post with CWD from Omega Writers and encourage our members who live in Australasia to join Omega Writers.

Omega Writers offer many benefits for writers that aren’t available in ACW, including writing chapters with online and in-person meetings, writing contests for published and unpublished writers, critique groups, writing retreats and an annual writing conference.

We support Omega Writers in their goal to promote Australasian authors and books to the wider reading community.

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Do you have any other questions regarding CWD or ACW?

Jeanette and Narelle are more than happy to answer your questions in the blog comments on both blogs and discuss how you can become more involved in our vibrant Christian writing community in 2018.