Interview with Author Leslie Wheeler by Jacqueline Seewald

I’m interviewing award-winning author of American history books and biographies Leslie Wheeler who has written three living history mysteries: Murder at Plimoth Plantation, Murder at Gettysburg, and Murder at Spouters Point. Her new book, Rattlesnake Hill is the first in a new series of Berkshire Hilltown Mysteries. Leslie’s short stories have appeared in such anthologies as Day of the Dark, Stories of Eclipse, and Level Best Books’ New England Crime Stories series, where she was formerly an editor. A member of Mystery Writers of America and Sisters in Crime, she is Speakers Bureau Coordinator for the New England Chapter. Leslie divides her time between Cambridge, Massachusetts, and the Berkshires, where she writes in a house overlooking a pond.

Question: What is the title and genre of your novel?  Why did you select them?

Answer: The title of my novel is Rattlesnake Hill; the genre is mystery/suspense. I chose the title Rattlesnake Hill, because much of the important action takes place on a hill with that name in the fictional town of New Nottingham, in the Berkshires. I chose the genre of mystery/suspense, because the book contains a mix of both. While there are mysteries to solved in the novel, it does not have the structure of a traditional mystery in that a crime occurs in the beginning and is solved by the end. In Rattlesnake Hill, the crimes are in the distant and more recent past: one murder occurred over a hundred years ago, and the other five years previously. When my main character begins her quest, it relates to another mystery connected to a missing piece of family history; she has no idea that in the process she’ll discover these two murders, or that the more questions she asks, the more she’ll risk becoming a victim herself. So, the story is more that of a woman in danger (“fem jep”) that about solving a crime.

Question:   What inspired this novel? How did it come about?

Answer: Rattlesnake Hill was inspired by my deep love for the Berkshire Hills of Western Massachusetts, where I’ve lived for many years, first full-time, now part-time. I call the book my “dark valentine” to the area. Like the novelist, Edith Wharton, I’m enchanted by the beauty of the landscape, but am also aware of the region’s dark side in the grim lives of some of the locals. One story, in particular, about a love triangle turned deadly haunted me, until I knew I had to write about it, especially because I knew some of the people involved.

Question:  Could you tell us a little bit about the heroine and/or hero of your novel?

Answer:  My heroine, Kathryn Stinson, is a curator of prints and photographs at a small private library in Boston. Although not a New Englander by birth or upbringing—she was born and raised in Southern California—her ancestors lived in the small New England hamlet of New Nottingham--and that’s where she goes to solve an old family mystery.

A woman in her early thirties, she’s described by her boyfriend as “pretty without trying to be”: she doesn’t wear make-up and keeps her long, light brown hair pulled back from her face in a pony tail. Although not aggressive by nature, once she sets her mind to something, she doesn’t give up easily. An unhappy childhood with a seriously depressed mother, and a grandmother with a gloomy outlook on life have made her wary of other people, especially men, and she has yet to experience real passion.

Ruggedly handsome, athletic, and charming (when he wants to be), the hero, Earl Barker is the “golden boy” offshoot of an otherwise disreputable local family, known for their hot tempers, said to stem from the rattlesnake blood in their veins. In his early forties, he’s divorced from his wife, who was his high-school sweetheart, and with whom he had three sons. An excavator by trade, he cleared the land and built a pond for a couple from New York City, and he and the wife had an affair. She was murdered five years ago, under mysterious circumstances, and Earl still mourns her. When Kathryn Stinson rents the very house his dead lover once occupied, Earl resents her presence and wants her gone.

Question:   Can you tell us about some of your other published novels or work?

Answer:  

Three books in my Miranda Lewis Living History Mystery series have been published: Murder at Plimoth Plantation, Murder at Gettysburg, and Murder at Spouters Point. I call these books “living history” mysteries, because they’re set in the present-day at historical sites, which enables me to weave in a lot of history. Murder at Plimoth Plantation takes place at the re-created Pilgrim village in Plymouth, Massachusetts, where first-person interpreters portray the seventeenth-century residents. Murder at Gettysburg is set at an annual reenactment of the famous battle, while Murder at Spouters Point takes place at a fictionalized Mystic Seaport and a fictionalized Foxwoods, the Native-owned casino that’s nearby. An important theme in Murder at Plimoth Plantation and Murder at Spouters Point is the often troubled relationship between white people and Native Americans, past and present. With its focus on Confederate reenactors, Murder at Gettysburg explores the ways in which some people in this country are still fighting the Civil War.

Question:   What are you working on now?

Answer: 

I’m currently working on the sequel to Rattlesnake Hill, tentatively titled Shuntoll Road. It picks up the story where Rattlesnake leaves off, with my main character and her romantic partner trying to rebuild their relationship that was almost destroyed in the first book. It’s June, a beautiful month in the Berkshires, and Kathryn and Earl Barker look forward to spending some relaxed, quality time together. But the sale of the house on Rattlesnake Hill that Kathryn has been renting to an unsavory real estate developer from New York not only puts the kibosh on those plans but creates conflict between the couple. For excavator Earl, the proposed development means much-needed work, while for Kathryn it means the destruction of land she’s come to love and wants to protect.

Question:   What made you start writing?

Answer:  Ever since I was a young child, I enjoyed making up stories that I’d either tell or sing. The next logical step was to write them down, and I’ve been doing that since grade school, though none were published until much later in my life.

Question:   What advice would you offer to those who are currently writing novels?

Answer:

The best advice I can offer is summed up in three words: Don’t give up! But before I launch into my pep talk, give yourself a big pat on the back for starting to write a novel. Many people never get beyond a wistful, “I wish I could write novels like you. How do you do it?” But when you tell them that it’s not always fun or sexy, and can involve many hours sitting at the computer, sometimes writing, sometimes simply staring at a blank screen, they lose interest. That’s why you deserve kudos for getting beyond that point and committing yourself to writing a novel. But having made that commitment, you’ve got to work hard to maintain it through times of discouragement and even despair.

Think of novel writing as a journey, where you must reach your destination no matter what. Don’t give up despite critics who’ll pick at your writing until there’s nothing left but a skeleton. Don’t give up when you reach a crossroads and aren’t sure which road to take. Take a chance, try one, and if it doesn’t work out, try another. Don’t give up when a seemingly enormous roadblock brings you to screeching halt. Leave your vehicle and do something else: go for a walk, take a shower, cook a meal, and you’ll be surprised at how soon the road clears and you can continue your journey. Don’t give up despite characters who insinuate themselves into your story at the last minute. Hear them out and if they make a good case for being in your book, let them stay, even though it means a lot of backfilling. Ignore the doomsayers who tell you agents and editors aren’t interested in your kind of novel. Ignore the people who want you to follow their own maps for your journey. It’s your book after all, and you should stay true to your vision. The only time you should consider changes is if two people, whose opinions you trust, give you the same advice.

And if your first novel isn’t picked up, write another, and yet another. In other words, don’t put all your apples in one basket. I’ve known writers whose second and fifth books have been picked up for publication. Cheer yourself up with stories of famous writers like F. Scott Fitzgerald who papered the walls of entire rooms with rejection letters before getting an acceptance. Try not to envy those lucky few who do get to “yes” right away. And know that you’re not alone if it takes you a lot of “no’s” to get to “yes.”

Question:  Where and when will readers be able to obtain your novel?

Answer:

Rattlesnake Hill is available right now. Bookstores in the Boston area that carry it are Porter Square Books (where I’m having my launch party on March 15) and the New England Mobile Book Store. Or you can order it at your local bookstore. As a last resort, because I think it’s important to support the indies, you can find it on Amazon and Barnes and Noble.

*****

Leslie, thanks so much for being our guest today.

Note: Leslie is available to answer questions and offer responses to comments.

When is the murder? by Susan Oleksiw

Back in the dark ages, I struggled with my first mystery novel. Just about every reader I knew talked about how important the opening pages were. Hence I labored over them, writing and rewriting the opening chapter. If what I had didn’t seem to work, I wrote another opening chapter. After weeks of agony, I had three opening chapters, one right after the other. It took a tactful inquiry from a former Knopf editor to set me straight.

“Couldn’t we get to the dirty deed a little sooner?” Natalie asked. When I realized what I’d done, piling one opening onto another, I got the point. The murder came much, much earlier in my first mystery, Murder in Mellingham.

I’ve been wishing there were more Natalies in the world these days. Over the last year or so I seem to have zeroed in on mysteries by writers who prefer to delay the inevitable, so long delayed in fact that I begin to wonder if the murder will ever happen. Which raises the question, when should the murder occur?

In one book set in New York City, the author takes eighty pages to set up the crime, introducing the two sleuths and the core characters, which are eight. We see these individuals repeatedly but the writer doesn’t go deeply enough into any one of the suspects to leave me feeling I know him or her well. It’s all a lot of bantering and bickering.

Another author whose two books I’ve enjoyed immensely doesn’t even admit that a death perhaps long ago was even a murder. She meanders for two hundred pages exploring the possibilities and just as the book ends manages to have a character make a decisive statement that indicates that yes, indeed, a crime was committed. But just as the book is about to end, the reader grasps that enough detail has been uncovered to ensure that the now curious detective will solve the crime. The first book was annoying, the second one confusing but riveting.

When does a murder have to occur, or be recognized as the central crime of the story?

I took Natalie’s advice and excised almost seventy pages of fabulous, deathless prose—hundreds of darlings were cast aside—and introduced the murder at the end of the first chapter, within the first fifty pages. I consider that a good guide—first chapter, first fifty pages. If it takes me longer, perhaps I’m not sure what the story is about.

By pushing myself to bring in the murder sooner rather than later, I am forced to think through the characters and their motivations, set up the major points of tension, and make choices about subplots. I can establish the setting rather than indulging my pleasure in talking about a place I find interesting, which is not the point of the novel. I draw in the reader to the story and characters, and get started. All of this can be changed as I write and make discoveries. But I’m not wandering in the first chapter. I’m establishing the basic thrust and outline of the story, and setting a path for me to follow.

My rules or guidelines may not be for everyone. After years of reviewing for mystery and general review publications, I have come to be accepting of the many ways writers get into their stories. But there is the key. Get into the story, and don’t make the reader wait, flipping to the end of the book to see how many more pages, or wondering when something really interesting is going to happen.

The murder holds the reader’s attention and tells her what to focus on in the coming chapters. But it’s not the only way to tantalize the reader. Find what works and use whatever holds the reader’s interest and satisfies that ideal reader sitting out there waiting for our next books.

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What makes a book resonate?

Most good writers are avid readers. 

Do you ever wonder what it is about a book that speaks to you as a reader? Do you ever dissect a story to see what hits all the important notes? Namely, the: 

• Head
• Heart
• Gut
• Spirit

If a novel resonates in all of these areas it's a five star read for me. If it makes me think, then my head is satisfied. If I feel emotions (laugh, cry...) then it has reached my heart. If something in the story gets me in the gut, you know that intense episode that makes your breath catch or gets you really angry, that's a gut buster. And last, but never least, does the novel or characters within it touch my spirit or give me the feeling of peace or move me to the depths of my being?

A novel that does all that is a totally winner!

Many of the books I've read satisfy three of the four. I can't really say why, except that not all of these components are completely addressed. Some quiet or fun books are great for spending a few hours of entertainment and relaxation and that's quite all right. When I read a book that addresses all four I sometimes need a break and the quiet/fun read fits the bill nicely.

What is your go to genre for entertainment only? A little romance is always nice. Or maybe a fantasy romp fits the bill. Many of us prefer to read a couple of genres most of the time, but spice it up occasionally with something different. I love mysteries, historical and contemporary women's fiction. That's a broad arena that also generally gives me a bit of romance, too. Consequently, I write in these genres.

 

Do my books hit all of the magic four, probably not? I can only think of a few books that impacted all four for me and I've given them all five stars on Goodreads.com. "To Kill a Mockingbird" was the first novels that nailed all four items for me. Recently, "The Nix" and "The Kite Runner." Most novels fall in the four star range, "I really liked it", which is satisfying but not life changing. Fast reads that I enjoy fall in the "I like it" category, but not "love."

I have a note on my desk blotter with Head, Heart, Gut and Spirit written on it and always visible. When I'm writing and I pause to clear my mind or allow my train to get back on track my eyes often fall on those words. It's a good goal to reach for all of these in your writing.

Much good luck and keep up the good work, fellow writers. I hope you enjoy the journey.

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The Name Game by Jacqueline Seewald

In Romeo and Juliet, Shakespeare has Juliet ask: “what’s in a name?” Well, apparently a whole lot! For instance, choosing the right name for a character is a key element in reader conceptualization of a character. Hollywood understood this a long time ago, and that’s why so many actors and actresses were told they had to change their names to conform to their motion picture images. It’s the same way people choose their pets’ names. If you have a toy poodle, for example, you might name it something like Fluffy, while if you own a pit bull you might select a more aggressive moniker like Killer.

What about author names? Should authors use their real names on their writing or should they use pseudonyms? Is branding a help or hindrance to writers? There’s been a lot of discussion among writers as to whether it benefits authors to be branded--by that I mean that writers want to market themselves by promoting their name, associating their name with a particular type, genre or style of writing.The premise? This is the best way to build a readership. For instance, when we see the name Nora Roberts we immediately think of romantic suspense. “Nora Roberts,” real name Eleanor Marie Robertson, also writes under “J.D. Robb” for her mystery series. The name Stephen King is immediately associated with horror, but he has chosen to write under other pseudonyms as well. Jayne Ann Krentz writes her contemporary romances under that name, her sci-fi/fantasy under Jayne Castle, and her historical romances under Amanda Quick. The advantage is that fans know what to expect.

Many writers choose to use pen names. They write in a variety of genres and assume a different nom de plume for each. The theory is that it will confuse readers if writers use the same name for different types of work. There is also a tendency for publishers to try to place writers in neat categories. It’s more convenient to connect a name to a particular format. Harlequin was famous for insisting that writers have romantic sounding nom de plumes.

But what if you resist branding? Are you destroying your chance to be taken seriously as a writer or build a readership? I don’t have the answer to this question. I can only admit that I don’t limit myself to one particular format in my writing. My books are not “in the box.” I have written romantic mysteries, historical romances, YA mysteries and romances, as well as children’s books and stories. All of these appear under my own name.

However, there is an exception. When I write short stories from a masculine viewpoint, I use my initials. So, for example, my novella for SHERLOCK HOLMES MYSTERY MAGAZINE (Issue #19) entitled “Letter of the Law” is credited to “J.P. Seewald” rather than Jacqueline Seewald. A lot of female writers do this because men seem to prefer reading stories and novels ostensibly written by other men, especially when presented from a masculine viewpoint.

Personally, I am very comfortable writing from a male viewpoint and I also enjoy reading books written by members of the opposite sex as well as other women. My husband and I had two sons to raise which made me accustomed to the male perspective. However, male readers may not find a female author writing from a male perspective acceptable or credible. For this reason I chose to write THE BURNING, written entirely from a male point of view, under the author name J. P. Seewald. This was not to fool readers but merely to make clear that the novella was appropriate reading for both men and women. It is not a romance or a mystery but a serious literary work.

                             http://annorlundaenterprises.com/books/the-burning/

There are also a number of male authors who write women’s romances as well as mysteries under female pseudonyms. I know of several, and their novels are very popular.

What is your opinion? Does branding by name recognition benefit writers or is it not really important? Your thoughts and comments are welcome.

Titles, by Susan Oleksiw

When I begin a story, I want to have something to put at the top of the page so that when I save it, I have some sort of identifier. I know by now that whatever I use may well not last until the work is finished. I consider these titles place holders, convenient tags so that I can locate the ms later on my laptop or in a file. There’s nothing special about any of this.

I did this with my first mystery novel, expecting to later develop the “perfect” title that would capture the attention of readers. Such dreams. Apparently I forgot about this after my ms was accepted by the publisher. Only when I got my proof copies (ARCs) with my place holder title on the cover did I realize I meant to come up with a better one, a real one. I didn’t expect my first mystery novel to be called Murder in Mellingham, but it was. I don’t know what I planned to replace it with, but I learned a lesson from that experience. The book isn’t finished until the title is.

Some people are gifted when it comes to titles. Ernest Hemingway thought F. Scott Fitzgerald had the gift and most writers agree. Raymond Chandler had the gift sometimes, and when it worked, it glowed on the page. Others may disagree with me but I love the titles The Big Sleep and The Long Goodbye. More recently, Louise Penny has come up with some especially attractive ones, such as How the Light Gets In and A Trick of the Light.

I envy a lot of cozy mystery authors because they’ve created a package with a setting and lead character that gives them a head start on inventing a title. Agatha Christie was no slouch in this category, but her nursery rhyme books featuring Hercule Poirot stand out, the first being One, Two, Buckle My Shoe. The Body in the . . .  series by Katherine Hall Page is well known. I especially like Edith Maxwell’s titles for her nineteenth-century Quaker midwife, Delivering the Truth and Called to Justice.

When I began the Anita Ray series I thought about how I wanted to construct the titles long before I finished writing the first draft. The name of a Hindu deity would give a sense of the story to follow, and an image of the god would show up somewhere in the plot. The title of the first book, Under the Eye of Kali, came easily as did those for the subsequent three books. (Of course, I failed to appreciate how little Americans know about India.)

The hardest titles for me are those for short stories. Some time ago I finished a short story I was happy with but the title sat like a dead tree on the front lawn. I put the story aside until the perfect title came to me, which it did a few weeks later.

Not every writer wants to spend so much time mulling over titles. I don’t either. But in my view every part of a story or novel has to be the best I can make it, and if I see a flaw in one part—the title, a chapter ending, a minor character—and leave it, then the work is unfinished. I take the time to work on anything that feels less than it could be. And that includes titles.

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