Writing Tip — Attending a Mystery Writers’ Conference

police-w3284258_1920If you want to write crime fiction, you should investigate the possibilities of attending a writers’ conference for that genre. I attended my first crime writers conference in August. Killer Nashville International Writers’ Conference covers crime fiction in all its subgenres – suspense, cozy mysteries, whodunits, police procedurals, even YA and middle grade mysteries. Attendees ran the gamut from people who haven’t published anything to authors with multiple novels. The experience was so rewarding for a number of reasons.

1. It was small. At most there were 200 people at the conference. It was held in an Embassy Suites hotel in Franklin, just outside of Nashville. The conference rooms were a short walk from the hotel rooms. I didn’t have to navigate a huge conference complex to find my sessions. And with that number of people, it was easy to bump into the same ones over and over again and strike up conversations.

2. The variety of sessions. Each time slot offered six different sessions. I went to ones focused on writing, like what makes a mystery a cozy, writing mysteries for teens, and adding humor to your writing, Then they were the informational sessions. One was led by a recently elected sheriff from Tennessee, another by a retired officer in the Tennessee Bureau of Investigation, and another by a retired FBI agent. They provided us with the kind of information you can only get by talking to a person.

3. The professionalism and support. Since I’ve decided to purse mysteries with main characters who are police officers, I’ve been shy about approaching law enforcement professionals. After all, I’m just a writer. Clay Stafford, the conference director, encouraged all of us to feel free to ask the professionals any questions we needed to. He said they are flattered that writers with little or nor law enforcement experience have made an effort to learn about their profession so they can write accurately.

Most of the writers I talked to were published with several books or short stories to their names. Not one of them made me feel less of a writer because I only had one short story published. I thought I might be a fish out of water because I write Christian fiction. But there was a session on writing faith and fiction with five writers leading it.

4. I didn’t pitch. I know many writers attend conferences for the access to agents. At Killer Nashville, I didn’t think there was an agent who would be interested in my YA novel, and I was debating whether to scrap it and start on a new project. Without the pressure to land an agent, I was free to relax and enjoy learning. Maybe that should have been my attitude toward all the conferences I’ve gone to: go to learn and if I pitch and get an agent, that’s a bonus.

What writers’ conferences have you attended and would recommend?

Interested in my short stories or Christian fiction? Click here for my giveaway!

 

Writing Tips — Clues and Red Herrings

hand-251701969_1920A lot of the fun of writing mysteries is devising clues and red herrings and then figuring out how to insert them so the reader has a fair chance of solving the mystery but not a cake walk. For those who are new to the mystery genre, red herrings are the false clues that are designed to mislead the reader and the detective or sometimes, just the detective.

At the Killer Nashville International Writers’ Conference, I attended a panel with authors Jill Orr, Mariah Fredericks, Rich Zahradnik, and Saralyn Richard, who represented a variety of subgenres. With their advice and my own experience, here are some points to keep in mind when using clues and red herrings

Give clues and red herrings the same emphasis.

By that, I mean each should have close to the same amount of space on the page. If the detective finds three clues but only thinks about one in depth, the reader knows it has significance and the two others not as much. Giving almost equal space to all three will make it harder for the reader to determine which are the real clues and which are red herrings.

In “A Rose from the Ashes,” my teen detective Rae Riley must find out which one of three men is her father and the person who tried to murder her mother. One man could be both. To prevent myself from telegraphing the ending, I had share Rae two scenes with each suspect, creating interactions that might point to their guilt or innocence.

A problem with this approach is that I could waste a lot of space, and the reader’s time, on a red herring. So…

The red herring should reveal something important to the story.

To the story, not necessarily the mystery. The red herring can enhance a character, revealing some aspect of their personality or history. For example, the detective is sure an elderly woman is guilty when associates think she’s wrong. Later in the story, it’s shown that the grandmother of the detective abused her. Now the reader understands the detective saw similarity between the suspect and her grandmother and let her past sway her judgement.

This kind of red herring provides depth and fallibility to the main character. It’s difficult for some mystery writers to let their detective makes mistakes. No one wants to follow a detective who’s a blithering idiot. But by allowing the detective to fall for a red herring based on who he is makes the mistake more realistic and understandable.

Red herrings should mislead readers. Not trick them.

Above all else, writers must play fair with the readers of a mystery. Here is the way for me to check if I’m playing fair. This approach was recommended by the panel at Killer Nashville. Once the reader has discovered the solution, she should be able to go back through the story and see how the clues pointed to the solution. If she can’t, she has been tricked.

For example, the solution to the mystery hinges on knowing the Etruscan language. But the reader doesn’t know this is the key until the detective says so during the climax, adding that he’s studied Etruscan for years.

If a mystery offers that kind of solution, the reader has every right to throw the book across the room. If it’s an ebook, I hope she can restrain herself.

What mysteries have you read that used clues and red herrings particularly well? Or ones that tricked you?

If you’d like to win a copy of either anthology I’ve had stories published in, along with others prizes, check out my giveaway.

 

 

 

 

 

 

 

 

Blog Tour Stop

panelw1hn-1596587_1920Join me at author Sandra Merville’s Hart site, Historical Nibbles. Sandra’s site features history and food. If you like either, come on over! Sandra is also one of the six authors in Christmas fiction off the beaten path. Her story, “Not This Year”, was a change of pace since she usually writes historical fiction. I’ll be featuring Sandra next month in an interview. Click here to read.

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