Author Interview: Amy Patricia Meade “Million Dollar Baby” Midnight Ink Press By Julie Obermiller Amy Patricia Meade's bio will tell you that she graduated cum laude from New York Institute of Technology and currently works as a freelance and technical writer. She shares her abode with husband Steve, his daughter Carrie and two feline companions named Scout and Boo. A member of sisters in crime, Amy likes to travel, do needlepoint and entertain friends and family. Outside the official bio clip, Amy is a wonderfully talented writer who is part of the new family of writers out of Midnight Ink. Those technical writing skills help to recreate a wonderful era of long ago without weighing you down with history lessons. “Million Dollar Baby” was an absolute delight! Readers will enjoy the laid back journey and look forward to the next romp with Marjorie and friends. See the review of Million Dollar Baby in this issue of Mysterical-E and watch for more from Amy Patricia Meade! From the author:
Q. Do you write what you, as a reader, enjoy? What makes your own personal reading list?
I do write what I enjoy reading. I'm a tremendous fan of Agatha Christie – in fact my husband, Steve, bought me the entire hardbound collection of Agatha Christie books for my last birthday. She has a style and a feel all her own. I can't possibly compare my work to hers, but she laid the groundwork for female mystery writers and the effects of her career are still felt today. She set the standard – she's the bar by which mystery writers still measure themselves.
As for my personal reading list, there is, of course, Christie, but I also enjoy Martha Grimes and Carolyn Hart. They have both done a lot for the mystery genre. Ms. Grimes' books say a lot about the fragility of human relationships. Carolyn Hart writes in more of the ‘cozy' style, but she shows a great amount of caring in her writing – when you read her books you say to yourself, “Here's someone who genuinely enjoys people.”
I'd like to think that ‘Million Dollar Baby' tows the line between the styles of those two authors. I tried to write it so that it incorporated both moments of great humor and moments of great tenderness or pain. For me, humor is an important part of the human condition – a smile can veil many emotions. It can bond two people, it can help someone cope during a difficult time, it can hide feelings that we choose not to deal with, and it can also help us manage feelings in a way we never thought imaginable.
As far as non-mysteries, my tastes generally include anything that deeply touches my heart. I loved ‘ Cold Mountain ' when it was first published – the movie was excellent, but it didn't compare with the power of Charles Frazier's words. My favorite book of all time is “The Great Gatsby” - it was written in the 1920's, but the image of that green light at the end of the dock haunts still haunts readers today.
Q. When writing a story, do you have a beginning, a plot and an end before you put it down, or does it evolve as you go?
I think, in mystery writing, you have to devise the plot before writing. At the very least, you need to know where you wish to wind up, otherwise you'll devise a very complicated plot for which there is no satisfying solution. It may sound strange, but I usually know exactly how I want the book to end well before I know for certain how to arrive there. I visualize the sort of ending I desire and then sit down and plan out how to achieve it – and, before you know it, I have fleshed out the important details. Most of the conversations and repartee, however, tend to occur to me as I'm writing. It has to be spontaneous, otherwise it doesn't seem ‘real' to me.
Q. What finally made you start writing; at what stage of your life?
Wow, you're really going to get all the good stuff! Looking back, I think I've always enjoyed a good story. My grandfather was Irish-American and a true character. He's the basis for Marjorie's father in the book – he's long since passed away, but he's a still a guiding force in her life, as the near-death scene in MDB proves.
As a little girl, I would ‘borrow' my grandfather's Polaroid Instamatic (oh boy, I'm really telling everyone how old/young I am!) and run around the neighborhood snapping pictures. Once they had ‘developed', I'd take good old fashioned Elmer's glue and paste them into my scrapbook with an accompanying story. I suppose you could say I was a budding photojournalist.
Once I was older, however, I allowed practicality to take hold. I loved my English classes and writing, but I never thought one could make a living from it – so I focused on business and practical skills. Upon graduation, I took a job with a document imaging company acting as an operations manager. I was miserable! After packing up my belongings with absolutely no notice, I decided to start writing a novel. I was in my mid-20's, married (for the first time), being pressured to start a family and here I was living out a fantasy that kids usually dream of...I felt irresponsible, and yet, having gotten married at a very young age, for the first time in my life, I felt free.
Q. Knowing the serious fans love serial books with familiar casts and settings, do you plan to continue with the Marjorie McClelland series as long as fans show interest?
Absolutely! I told you I took business courses in college! ;) Seriously, though, I love the characters of Marjorie and Creighton, and even the so-called ‘lesser' characters of Jameson, Schutt, Mrs. Patterson and Sharon. I already have enough exploits planned to fill many books to come.
Q . What made you choose the 1920's as the setting for your story? Is there a lot of ongoing research for period authenticity?
(Actually it's the 1930's – but it's ok, Julie!) I chose the Great Depression because, as a child, I heard my grandparents tell stories of their respective childhoods and the hardships they had endured. I hold a great deal of admiration for the people who lived during that era. Today, a good deal of effort is extended in trying to generate material wealth and accumulating more toys and gadgets. I think it's refreshing to view a period in our history where people gauged their success by their ability to feed their families without the assistance of charitable institutions. They had to be resourceful – from making their own clothes or patching up old ones, to making meals out of leftovers, to entertaining themselves without television or internet.
As for research, I do a lot of it, but not when others may think. Generally, I write my novels as any other author would, but then I'll reach a specific detail or plot point and I have to ask myself, “Did that exist back then?” or “Would someone have said that?” and then I need to delve deeper. The internet is a great asset for such investigations, but, I must admit, my local library was a huge help!
Q. The setting in a bygone era gives your book a demure elegance rather than shock value. Did you deliberately steer away from the shocking sex, bad language and violence so prevalent in modern popular writing?
Yes, I must admit I did. Between CSI and Law and Order, the average citizen has so much information regarding modern forensics that I'm surprised that his/her head doesn't explode. Don't get me wrong, I enjoy those shows as much as the next person, but I knew I didn't want to go in that direction with my novel. I think there's a certain amount of violence inherent in every person's nature - a certain morbid curiosity that lurks beneath the surface of civility – and that's what I find intriguing. Likewise, I prefer a certain amount of ambiguity in love scenes. I'm not a prude, by any means, but there's something wonderful about a couple closing a door and letting the reader's imagination run wild.
Q. What's a typical writing day like for you?
Hmmm... as I'm not currently in a position to pay all my bills through the Marjorie McClelland franchise (although I'd like to be able to!) I wake up, pour myself a huge mug (a Mrs. Incredible “stretched to my limits” mug to be exact) of coffee, sit down at my laptop, and work on content for websites, compose human resource testing company products, do some laundry (I work from home), get dinner started, eat dinner, clear the dishes and maybe dedicate an hour or so toward novel writing. In a perfect world, I would get up at 9 am, pour the same mug of Mrs. Incredible coffee, and write a load of Marjorie-Creighton-Jameson adventures, all the while speaking the dialogue aloud, much to the consternation of my two cats, who only understand the words ‘num-nums' and ‘food.'
Q. Is editing harder than writing the actual novel, as some suggest? How hard is it to edit, and cut, your own work?
I don't find editing harder. I tend to be my own worst critic so, any scenes that the editors disliked were generally scenes with which I was never truly satisfied. In MDB, they worked hard to prevent the pace from slowing down and I thank them for that. As for my next book, Ghost of a Chance , they asked that I beef up some parts and, again, the parts they named were exactly the parts that I felt were lacking depth. In short, so far, we've been totally in-synch regarding edits, which makes the editing process much more pleasant. Thanks Valerie and Karl! :)
Q. Do you write with "the movie version" in mind or are you content to have readers your only audience?
I think I'm a very ‘visual' author. I know several people who have read Million Dollar Baby and have suggested that it should be a screenplay. I had no intention of it being such; I simply write so that the reader can form a picture in his/her mind. Being from a generation raised on movies and television, I think it's important to allow the reader to form a strong visual image while still allowing him/her a certain amount of creative license.
As much as I would love a film to be made of my book, I would be extremely satisfied writing for a loyal bunch of readers who awaited the next Marjorie-Creighton-Jameson adventure!
Q. What's your opinion of the current mystery/suspense offerings? Do new writers have a chance to break the ranks of prolific best-selling authors? Do you think "brand name buyers" are reluctant to "go generic?" Does that make it tough for new authors?
I enjoy the mystery and suspense books that are currently on the market. There a lot of brilliant writers out there – however, there are a lot of brilliant writers who are having a tough time seeing their work in print. Do I think new writers have a chance to break the ranks of prolific best-selling authors? Of course I do, however it's occurring less and less often. Publishing, like any other business, is concerned about the bottom line and therefore is reluctant to take a chance on an ‘un' - unknown, unpublished and unproven author. I certainly don't fault them for that – it's a competitive marketplace. Not only are publishing companies vying against each other, they're competing with films, television and the internet for the audience's attention. As a result, new writers are often forced to go to the smaller, independent publishing houses in order to see their work in print. The only problem with many smaller houses is that they simply don't have the clout to get their authors' books into the big bookstores, or, they offer terrible restock policies, so booksellers are reluctant to carry their titles. Hence, the titles by big name authors or celebrities wind up in the front of the store, while the smaller names get moved to the discount table. I don't think the problem is with “brand name buyers” per se. Most serious readers are dying for a good story or a well-researched piece of non-fiction. The problem is that their only source for finding out what's “good” is through the media or by word of mouth. If a smaller publishing house can't position their titles with those of the larger houses, then those titles tend to fall through the cracks.
Q. When a book is finally written, edited and printed, the hard work is just beginning; don't you agree? Do you have any final cautions or advice for the hopeful beginner?
Yes, I do agree. The writing, editing and printing processes are insular; you know who's reading your work and you know they liked it because they've paid you to print it! Once the printing is finished, however, your work is being sent out for reviews, which is a nerve wracking experience since, as I said, I'm my own worst critic. And then there's the publicity campaign. Midnight Ink has provided me with a wonderful publicist, Brett Feichheimer, but authors have to do their share of work as well. By building and maintaining a personal website, joining writers' groups, attending conferences and making themselves available for interviews, writers can become an essential part of the marketing campaign. It may sound silly, but I tell just about everyone I meet about my book – true, it may not reach a lot of people, but you never know who's in front of you on the supermarket checkout line: a book club president, someone looking for a guest speaker for their women's club, or just a mystery fan who can recommend your book to their 12 siblings. Every connection is an opportunity to network.
Advice for the hopeful beginnner? First, don't expect anything to happen overnight. I completed MDB in the year 2000 – that's 6 years before seeing it in print. So, don't give your day job! Second, focus on the here and now. Once you have completed your first manuscript and start querying agents, let it go. Don't obsess over it. It's tempting to run to the mailbox every day looking for ‘that' letter, but the truth is, you will receive LOTS of rejections from both agents and publishers. If you notice a theme in those rejections letters – i.e. changing writing style or content – heed that advice before querying anyone else. Make your manuscript the best it can be, resubmit, and then keep writing! Just because you haven't been published doesn't mean it should prevent you from doing something you enjoy. Besides, fate has a funny way of giving us exactly what we want when we're not actively thinking about it.
Author Interview: Karen MacInerney Midnight Ink By Julie Obermiller Fans who have visited Maine with Jessica Fletcher and the “Murder She Wrote” gang never tire of re-run visits with the homespun cast and crew. Karen MacInerney's Gray Whale Inn Mystery add a new dimension to your Maine memories and you'll fall in love with a new family from Cranberry Island . MacInerney lives in Austin , Texas , but vivid recollections of visits to the Maine Coast as a child have blossomed into a quaint new fictional series. A former public relations writer and ad executive, MacInerney spends her time gardening, hiking, whipping up culinary delights to share with readers and writing more adventures for Natalie Barnes and the folks at the Gray Whale Inn. Here's a bit of insight into the creator of “Murder on the Rocks.” Q. Do you write what you, as a reader, enjoy? What makes your own personal reading list?
I love writing cozies – and I also love reading them. I got hooked on mysteries early with Nancy Drew, graduated to Miss Marple a few years later, and have been addicted to them ever since. Why did I choose to write one? Because I enjoyed reading them – and also because I had read hundreds of them, and internalized the form so well that I felt I could write one. So I wrote the book that I had been searching for in the mystery aisles of the local bookstore – and fortunately, it paid off.
In terms of my own personal reading list, it's very eclectic – I love mysteries, of course, and am addicted to good travel writing, but I also read a lot of mainstream fiction, some fantasy, some chick lit, and a wide variety of weird non-fiction books. (I just finished a fascinating book on magic in America .) Some of my favorite cozy authors are Susan Wittig Albert and Diane Mott Davidson (although I think Davidson prefers to be referred to as a culinary mystery author). In other genres, favorites include James Herriot, Diana Gabaldon , Frances Mayes and J.R.R. Tolkien. Generally, though, I just go to a bookstore or a library and pick up what grabs me – and that could be just about anything. Although if it's got a serial killer or feels too gritty, too dark, or depressing, I probably won't pick it up.
Q. When writing a story, do you have a beginning, a plot and an end before you put it down, or does it evolve as you go?
For Murder on the Rocks , which was my first book, I had more of an outline – largely because I got to chapter four and stayed up half the night, not knowing how I was going to fill the yawning gap between chapters four and twenty-four. (At three in the morning I finally turned on the light and made enough of an outline that I could go to sleep.)
Things changed as the book developed, but it was comforting to know that I at least had some idea how I was going to get to the end! In subsequent books, I've had a general plan, and I tend to do a rough outline for the second half to make sure I get everything tied up and have the pacing right, but these days I find myself much more willing to let the book have its lead. Now that I have a few books under my belt (two or three more are scheduled for release in 2007), I'm more confident that whatever happens, I'll be able to see it through. Besides, the story is more exciting when you don't know what's going to happen next, either!
Q. What finally made you start writing; at what stage of your life?
I've always wanted to be a writer – but for a long time, I wasn't sure what to write! When I first moved to Austin ten years ago, I joined a group called Saturday Morning Writers, which was a writing practice group along the lines of Natalie Goldberg's Writing Down the Bones . You showed up at a restaurant table with a half-dozen other people and ordered coffee. Then someone gave you a few topics and you sat down and wrote for twenty minutes. When everyone was done, each person read his or her work aloud. No comments, negative or positive. After all, it was just practice!
I did that for about eight years, on and off; at the time, although I loved the process, I was frustrated that I couldn't seem to find a book to write. Now, though, I realize how valuable that experience was. I learned to write fast, I learned to share my work with others without fear, and the practice taught me a lot about the mechanics of writing – things like dialogue, description, and scene structure. And working to make your writing sing the first time through. Also, even though no one was allowed to say anything, I could always tell by people's faces when something worked – and that was very helpful.
After years of writing little vignettes, I was reading a cozy mystery one day, and about halfway through it I put it down and thought, “Gosh, I could do that. And it would be fun!” Writing a book had always been a dream of mine, so I figured, “Why not go for it?” The next week I hired a babysitter to come three times a week, set myself a goal – and a non-negotiable writing schedule – and the Gray Whale Inn was born.
Q. Knowing the serious fans love serial books with familiar casts and settings, do you plan to continue with the Gray Whale Inn series as long as fans show interest? Are you a big fan of B&B Inns yourself?
Absolutely. I love the setting, and I love the characters – writing the books is like taking a vacation to Maine – and I'm enjoying getting to know Natalie and the gang better and better. And yes, I do love B&Bs… in fact, the publisher of Bed and Breakfast America Magazine recently asked me to do a series of Gray Whale Inn short stories for their publication, so look for the first installment, Blueberry Blues , this summer!
Q. Your book fits the cozy niche perfectly and will appeal to readers of all ages. What are your thoughts on the trend to gratuitous violence, sex and shocking language in popular writing?
Good question, Julie. Each genre has its own ‘rules,' and one of the things I've always loved about cozies is that there isn't a lot of gratuitous sex and violence. I think someone once said that mysteries are morality plays, and in a lot of ways, that's true. In cozy mysteries, of course, sex and violence are there – after all, we're talking about murder! But the focus is more on characters and their motivations and secrets – and mending the tear in the fabric of the community – than on lurid scenes. For me, that's more intriguing than rampant sex and violence. But to each his or her own!
Q. Natalie Barnes certainly seems to subscribe to the "food is love" theory! Are you as comfortable and accomplished in your own kitchen?
Food and cozies go together; I grew up reading about Miss Marple in Saint Mary Mead while popping Callard and Bowser butterscotches, and food has always had a special place in my heart. I love cooking, and spend a lot of time poring over cookbooks and experimenting with recipes – even my kids are catching the cooking bug! (My six-year-old daughter has spent the last week coming up with new recipes she'd like me to include in Dead and Berried .)
With all this experimentation, of course, I've had my share of culinary misfires! I read the other day that there's no such thing as a mistake in the kitchen – just new recipes – but I've served up a few things that no self-respecting cook would ever attempt to replicate. (Apparently Diane Mott Davidson has done the same, so at least I'm in good company.) I love to cook, particularly sweet stuff, so the recipes in the book are a pleasure – several of them are favorites I've been refining for years. And I am very comfortable in the kitchen – although my penchant for always trying something new has on occasion resulted in a last-minute pizza order!
Q. What's a typical writing day like for you?
For someone who used to abhor schedules, I'm surprisingly regimented. After dropping off my kids in the morning, I go for a run or a walk for about an hour (often mulling over what I'm going to write that day), then spend a little time watering or weeding my garden. Then I hurry home, change, and head to my favorite coffee shop – hopefully by 10:00, but sometimes a little later. I usually start by reviewing yesterday's work – cleaning things up and getting back into the story. Then I do my daily quota of 1,000 words. Some days I write a little more, but I never write less. If I finish before 12:00, I have permission to go and browse the bookstore next door, but the writing must come first. (I do take weekends off, unless I'm on deadline.)
Going to the same place every day is helpful – I'm not at home, so there are no dirty dishes to distract me, and since writing is the only thing I do when I'm there, my brain has been trained to perform. It knows writer's block isn't an option – I can't get up until it produces the word count, no matter how bad those words are! (And when I reread them the next day, they're usually better than I thought they were at the time.)
Oh – one note – I tend to do the ‘scene-plotting' before I sit down – often while I'm walking or running. That eliminates the blank page syndrome; when I sit down, I know exactly what needs to happen next in the book – all I have to do is execute a scene, not come up with ideas!
Occasionally, if I'm a little stuck or worn out, I'll take a day or two off to rejuvenate (which is hard to do), but I never stay away from work for long, and I'm always thinking about it. In the afternoons, when the kids are home, I sometimes do rewriting – it doesn't take the concentration that composing does – but usually I focus on book promotion tasks – that is, when I'm not distributing cheese sticks or cleaning up juice box spills. I keep the two sides – the creative work and the revision/promotion tasks – very separate.
Q. The Maine setting makes one immediately think of Angela Lansbury/Jessica Fletcher and the hometown cronies of Cabot Cove. Natalie is every bit as endearing as Jessica and the series promises to be just as comfortable to readers of the genre. Do you mind the comparison?
You know, it's almost embarrassing to admit it, but I never made the connection until someone pointed it out to me just a few months ago! I used to love watching Murder She Wrote , yet when I was coming up with ideas for Natalie and Cranberry Island , it never even occurred to me that people might think it was similar to Jessica Fletcher and Cabot Cove! In fact, I remember thinking “I wonder why no one has done a series in Maine ?” Ha!
On the plus side, I loved Murder She Wrote, and the comparison is flattering. For me, though, as long as readers enjoy the book – and come away feeling like they've had a whirlwind adventure at the Gray Whale Inn – as a writer, I'm thrilled.
Q. Is editing harder than writing the actual novel, as some suggest? How hard is it to edit, and cut, your own work?
That seems to be the general consensus. I probably do less rewriting than most authors I know, and it's usually the first few chapters that receive the most attention. I have friends who love rewriting, but honestly, it's my least favorite part of the process. Lawrence Block once said that if there were any way to make his computer produce galley proofs, he would, and to some extent I feel the same way. It's the process of creating the story that satisfies me – the rewrite is a necessary evil.
That being said, once I get started with a rewrite, it goes fast, and I enjoy the sense of satisfaction that comes with smoothing out the rough edges. And if you're careful only to write scenes that move the story forward, the rewrite is easier, because it won't involve too much cutting (except for those challenging first chapters, when you have to have the perfect blend of action and back story). I do try very hard to get it right the first time, though – I love telling stories and have millions of ideas, so the cleaner the first draft is, the sooner I get to move on to the next adventure.
Q. Do you write with "the movie version" in mind or are you content to have readers your only audience?
I am, above all else, a reader, so my consciousness is pretty much entirely focused on the written word. When I write, I ‘run a movie' in my head and record what I see, but I don't ever think of things in terms of the screen. Although now, when I watch TV or movies, I tend to analyze scene structure just as I would scenes in a book – where does the scene start, what happens – I even notice camera angles these days! So that may be changing.
Q. What's your opinion of the current mystery/suspense offerings? Do new writers have a chance to break the ranks of prolific best-selling authors? Do you think "brand name buyers" are reluctant to "go generic?" Does that make it tough for new authors?
I am always delighted by the sheer creativity that's out there – some of these genres have been around for decades, yet authors are still dreaming up new takes on them! I'm always curious to see what someone will think of next… the possibilities are endless, and authors are always coming up with new ones.
In terms of best-selling authors, of course there are opportunities to join them! People do read ‘name-brand' authors, because they've read and liked their work in the past. But there's an unquenchable appetite for something new and different – and every year brings a new crop of ‘break-out' authors.
Certainly it's difficult for new authors – the competition is fierce, after all – but as a reader, I am always looking for something fresh to catch my eye, so there's plenty of room for growth. And even if one book doesn't catch on like wildfire, who says the next one won't? Writers have to keep going, keep stretching, and above all, be willing to take risks… you never know what you'll come up with next!
Q. When a book is finally written, edited and printed, the hard work is just beginning; don't you agree? Do you have any final cautions or advice for the hopeful beginner?
The entire process involves hard work. And courage. Just taking that leap and deciding you're going to write a book is scary. Then there's finishing the darned thing, sending it out to agents, followed by (if you're lucky) waiting to hear what the publishers think, then waiting for your first reviews… and in between, there are rewrites to do, new concepts to develop, and that big scary thing called book promotion… It's not for the faint-hearted. On the other hand, it's a fantastic ride – and enormously satisfying.
As far as aspiring writers are concerned, I think the most important thing is to believe in yourself and to keep writing (and reading – we learn by reading), no matter what anyone says. Opinions will differ – one person might think your book is a terrible waste of tree pulp, but another might love it. Lord knows there are bestsellers that interest me about as much as a bowl of cold oatmeal, but obviously that's not universal. If you see a theme in your rejection letters, that's valuable information that can help you in your work. Otherwise, just toss them, or file them in the back of the drawer, and keep going.
I've run a critique group for almost three years, and have seen how hard it is to let go of a book that has consumed months, perhaps years, of a writer's life. It's hard to think all that work might go unrewarded – or at least unpublished.
But think of it this way. Career writers don't stop at one book; most don't even stop at ten or twenty. So think like a professional writer, and keep going. The moment a manuscript leaves your hands and goes out into the world, you need to kiss it goodbye, wish it well, and then start working on something else. (Preferably not the sequel to the book you just sent out – you might want to have a concept in mind, and maybe do a chapter or two, but that's it.) Maybe your first book will sell. Maybe it won't. But jump into that next project with both feet. With all you learned writing your first book, just think how much better your second will be!
And remember this: Harry Potter and the Sorcerer's Stone was rejected by twelve (twelve!) publishers before it was finally picked up – and the advance was nothing to write home about. Opinions are subjective. (That being said, don't hang onto one manuscript convinced it's an undiscovered Harry Potter – keep sending it out, but keep working on something else!)
So keep the faith, keep sending your stuff out… and keep writing!
Karen MacInerney
The Gray Whale Inn Mystery Series: Murder on the Rocks (May 2006) and Dead and Berried (February 2007)
Tourmaline Teal with Barbara Burnett Smith (Fall 2007)
www.karenmacinerney.com |
