Working Retail

Once a week I volunteer at a thrift shop whose income supports a social service agency in my small city and surrounding towns. The shop is wildly successful, with young people doing just about everything—taking in donations, pricing them, designing the sales floors (and changing the design and layout regularly), and holding sales when customers sweep in and come close to cleaning the place out. We are famous for our quality and variety and prices. My job is to put things out on the floor—to hang up clothes in appropriate sections and distribute items among the various divisions such as apparel, house wares, kitchen, home decor, crafts.

I’ve never worked retail before so this is a new experience for me. Just keeping up with the broad range of customers is a challenge. One person will examine an LL Bean jacket with attention to the seams and pockets, and another will pull out a T-shirt and frown at the color but throw it into their cart without further consideration. Sometimes the floor under a rack is littered with tops that refuse to stay on the hangers (thanks to the poor style of the designer), and I spend half my time rehanging things.

Items for housewares are lots of fun because I get to rearrange parts of a table to fit in something. I’ve never considered myself artistic in the design area but I surprise myself sometimes. When I return half an hour later to add to the cluster of knickknacks the one I put out is already gone. Confused, thinking I’m in the wrong spot, I spend a few seconds looking for it until I recognize that this is Bootstraps and few items last very long. Things are snatched up sometimes while I’m still appraising the location I’ve chosen for it.

But the best part are the people. Like most writers, I live in my head. I research for the current WIP, then disappear to that desk piled high with notes and books and a dictionary, hiding out from the world. Even when I’m out doing errands, I’m still in my WIP and the people I pass in the grocery store or on the street don’t hold my attention. But that’s not true at the thrift shop. This is where I learn what I’ve missed in real life, where I find the tiny fillips that bring a character to life.

A well-dressed man with a younger couple, male and female and physically smaller, are inspecting a jacket still on its hanger. I hear a little sound, like a foot scraping on the floor, though barely that loud, and keep walking past them. Another sound like a grunt and I turn to see the larger man looking at me. I ask if he needs help. He nods. Apparently both sounds were acceptable parts of conversation in his world and expected to get my attention, but I failed to respond appropriately. Communication reduced to its essentials.

Then there’s the woman who pulls a T-shirt off the rack and studies it as she follows me around the store until she finally asks if there are any more like it. I have no idea because I have no idea where she got it: from the $6 and $8 racks or the Boutique, or the Fresh Fits, which are a step below Boutique but above the discount racks. I go to work to track it down.

Another favorite is the petite woman in jeans, sweater, and sneakers who leans over the glass counter for the jewelry display studying each piece, her hands pressing on her thighs, until she gets really interested and rests her arm on the glass and peers down. She asks to see two pieces—a bracelet and a ring, which I pull out for her. She pulls out a loupe and studies the ring, then carefully replaces it on the glass counter. She handles the bracelet, turning it over in her fingers, holding it up, peering at it. “I found a nice bracelet here last month and sold it on eBay for $80. Sort of like this one.” Considering our pricing for most of the jewelry, she probably made about $60. She’s one of many who have found the thrift shop a lucrative source of income. Sometimes the managers even help them find something that might be rewarding.

Of course there is always the man or woman who wants the microwave, which works, for less than the $25 price tag, and decides she can do better elsewhere. Someone wants forks, but we don’t have any this week. They go fast. Spoons, no, knives, no. Forks, yes. Few people want all the glass we get, even though some of it is exceptionally fine. It eventually goes out onto the sidewalk in a cardboard box as a freebie, where it’s picked over but not taken.

Some people I see every week, and they pick through the new items in the carriage I’m pushing from table to table. The sign on the carriage asks them not to shop from the carriage, but we know how effective such signage is.

Once in a while I’ll spot a new volunteer walking around with a few items in her hands muttering I don’t know where to put this. I told one, “Put it anywhere. When I come in again, I’ll put it where I think it belongs.” A smile. Done.

Any place that puts human nature, personality quirks and all, on display is “home” to a writer. I’m typing this on Monday. This afternoon I head off to my “other home.”

To Do or Not to Do

I have a very long To Do List. I look at it every day, and rejoice when I can cross something off, but I always end up adding more items than I cross off.

Today, I need to write my newsletter. I’ve been neglecting it for a long time, hoping that some magical being will come along and write it for me. I typically only send out a newsletter when I have a new book out, but every marketing person I talk to, or listen to, lists a newsletter as your best marketing tool.

I’ve signed up for other author’s newsletters and I’m ashamed to say, I’m not good about reading them. Sometimes I skim them, sometimes I ignore them, and sometimes I read part of them. This doesn’t bode well for me sending out my own newsletters, does it? If everyone who signs up is like me, I’m not going to get much out of it.

Susan Elizabeth Phillips writes a very entertaining newsletter. She’s a funny lady and her newsletters are funny. I do read hers even though I’m not a huge romance fan. My friend, and fellow mystery author, Mary Birk, puts out an interesting newsletter that is always entertaining. I read hers.

Unfortunately, I’m not funny like Susan or knowledgeable like Mary. What can I put in my newsletter that will make readers want to read it? I’m a writer. Why is writing a newsletter so difficult?

I decided to google how to write a newsletter, hoping I’d get insight or inspiration, or both. According to google I need to:

  1. Pick a focused topic
  2. Write a catchy subject line
  3. Personalize the greeting,
  4. Adopt a conversational tone
  5. Keep it skimmable
  6. Include a single call to action.

Okay, I’ve got this.

Only I don’t. I’m stuck at the first bullet point: pick a focused topic. If I could think of a focused topic I wouldn’t be googling how to write a newsletter!

I have a new book coming out. I didn’t want to write about it until it was out, but I could send a teaser out in my newsletter.

This is the 4th book in my Hood River Valley Series. The books follow Detective Liz Ellisen through the ups and downs of life and solving crimes. In the fourth book, Liz and her partner, Detective Enrique Rodriguez, are called to the scene of a wrecked van full of girls who are being trafficked. One of the abductors is dead and the girls insist there was another man and a young girl who are now missing. Then a local judge and his wife go missing.

As Liz and Enrique work both cases, they begin to wonder if they are related. With their team stretched thin, and the sheriff nowhere to be found, they keep searching and asking questions. But the deeper they search, the more the lines blur. Is the sheriff involved? Or is something even darker going on in their small town?

Because someone is watching

Someone knows the truth.

And that someone has no intention of walking away.

Some writers write about their life, their travels, their pets, etc. I’m sure if I try hard enough, I can figure out something to write about. Little snippets of my life that someone might find interesting. I’m always interested in other people’s lives.

I’ve spent a lot of time in the last few weeks working at my son’s fruit stand because he is having trouble finding help. All of the college kids who worked there this summer have gone back to school. I love meeting people and talking to them. We’ve had people stop in from all over the world. It’s so interesting to ask where they’re from and talk about the fruit and the beautiful valley where I live.

Okay, I’m feeling better about the newsletter. Thanks for reading. If you want to see what I come up with, go to my website: www.lanamfox.com and sign up for my emails. Meanwhile, I’ll be busy writing the newsletter and working on the next book.

Guest Blogger ~ Claudia Riess

 The Love Imperative  

 by Claudia Riess

Love.  What state of being—or deprivation of being—requires a more expansive lexicon?  What adjective hasn’t been used to describe its properties or intentions?  Transformative, destructive, blissful, shattering, blessed, accursed. Love is entangled, in one form or another, in the entire spectrum of human experience.

     Besides being the most comprehensive of subjects, isn’t love, at least in its quintessential form, also the most compelling? Admit it, how many times have you read—or watched, in their numerous iterations—the stories of Wuthering Heights, Jane Eyre, Pride and Prejudice, An Affair to Remember?  We know the endings, they’re etched in memory, but we’re drawn to reliving—or reviving—them, with the same imperative every time.  As if through repetition, we can make the endings, or the ultimate fulfillment of love, or indeed, life itself, never end.

     If my take on the subject of love is biased, maybe it’s because I’m an incurable romantic with no wish to be cured.  I find it necessary, emotionally and tactically, for the element of romance to be a strong factor in my narratives. However, my focus on love, as both a predisposition and a means to enhance the plot, is not limited to the convolutions of romance.  Deep friendship, family loyalty, devotion to a political or humanitarian cause are, among others, forces that drive the narrative forward.

     To illustrate, I’ve excerpted a couple of passages from the books in my Art History Mystery series.  The protagonists are Erika Shawn, an art magazine editor, and Harrison Wheatley, an art history professor.  Book one, Stolen Light, brings them together to solve an academic mystery.  The mystery turns deadly; their relationship, stormy.  The series takes these initiates to the world of art-crime-solving through a number of multiple-murder, continent-hopping cases.  At the same time, it follows their evolving relationship, from roller-coaster romance to passionate partnering to devoted parenting.  Having an intimate story arcing alongside one with a more far-reaching effect, adds texture to the narrative as a whole—like musical instruments, which in concert highlight not only their own unique qualities, but in counterpoint, each other’s.

     From Stolen Light…  In a London hotel, Erika’s protective armor against falling in love begins to crack.  This is the prologue to their romance, which changes not only the course of their relationship, but affects the mystery’s narrative:

She didn’t want to be alone though she never minded it, mostly enjoyed it, in fact.  Except that in this moment being alone was uneasy solitude, and vaguely threatening.  She wanted to snuggle into conversation, hear her voice mingle with another’s…Minutes later she was poised in front of Harrison’s door…

     From False Light…By its very nature, Harrison’s playful and caring interaction with a little boy cannot but reflect his empathetic character.  It will impact the way he approaches people and situations:

Erika wasn’t sure if Sammy had been heading straight for Harrison or if Harrison had stepped into his trajectory, but within seconds, he was scooping the boy off the floor, legs still pedaling…Sammy, taken by surprise, smiled.  He stuck his clenched hand in front of Harrison’s face.  Chicken pâté was oozing from between his fingers.  “Yech!” he said, teasing a reaction out of Harrison…Erika stopped dead in her tracks as Harrison was opening his mouth to allow Sammy to jam it with a glob of pâté on crushed toast point.  “Yummy,” Harrison crooned dreamily, sending Sammy into gales of laughter.

     From Knight Light… On his own in Paris, Harrison’s faithfulness is tested by a beautiful colleague.  For both Harrison and Erika, loyalty, real and perceived, will figure in the arc of their love story and their progress in the investigation at hand:

It was impossible to miss the twinkle in her eye toying with the bluntness of her invitation. He thought it best to go with the least circuitous response: “That’s kind of you, but I’m married.”  Mugging confusion, Raquel looked about, as if for the stalking wife.  “And?” 

He shrugged. “There’s nothing to add.” 

She smiled in disbelief. “How about life is short?”

“Exactly. There’s no time to lose, perfecting a relationship. Call me a pompous prude—”

“You’re a pompous prude.”

“—but that’s how it is.”

     From To Kingdom Come…  Erika and Harrison, are in London, for the first time away from their toddler, Lucas. They are in the throes of a complex murder mystery pivoting around the looting of African art during the colonial era. At this moment, they are attempting to escape a life-threatening situation, and the power of love is over-riding the primal force of self-preservation:

“Go!” John barked, grabbing Erika’s forearm as she reached out for Harrison with her free hand. “It’s okay, he’s right behind us!”

“Go!” Harrison echoed, wanting her to forget him, beat him to the gate. Clinging to him now would hamper her movement.

But she resisted John’s tugging and both their urgings—even Lucas, calling her from across the ocean, failed to change her mind—and there was nothing Harrison could do but grab onto her hand and slow her down.

From Dying for Monet… Harrison is temporarily confined to a wheelchair after suffering a traumatic injury in London.  Erika is helping him handle the use of a commode; putting the inconvenience into broader perspective:

“We’re dealing with bodily functions.  News flash.  Everybody’s got them.”  She’d adopted a tone somewhere between a dental hygienist and a nun.

“I appreciate your stoicism, but I find this humiliating,” he said.

“I love you,” she said, maintaining the firm demeanor.  “This is another level of knowing.  Think of it as a dry run for old age, when we will be helping each other manage such challenges as hip replacements and incontinence.  Think of it as a new facet of devotedness.”

     There’s a caveat to keep in mind when writing a mystery with a romantic component: in a bona fide mystery, the mystery should remain the driving force.  I have a tendency to get swept into an emotional digression, and it’s only later, when reading through the section where the interlude occurs, that I realize the main thread’s been lost and I’ve got some pruning to do; even a major excision.  For love, a small price to pay.

Dying for Monet, Book 5 in the art history mystery series

A gala evening auction at Laszlo’s, an upstart auction house in New York City, is in progress.  Without notice, a much sought-after Impressionist painting is withdrawn from the block.  Moments later, its broker is found dead at the foot of an imposing statue in Laszlo’s courtyard.

Amateur sleuths Erika and Harrison Wheatley are once again drawn into an investigation involving an art-related homicide, this time sharing an unnerving coincidence with violent crimes occurring abroad.

As Harrison searches for clues in the archives at the Ashmolean Museum in Oxford, Erika is on a stakeout in Brooklyn Heights gathering information on the owner of the hijacked still life.  After Harrison experiences a disastrous encounter in London, he returns home, where he and Erika, along with a few of their usual cohorts, find themselves ever more deeply at odds with the movers and shakers of the dark side of fine arts commerce.

For links to purchase books in the series, visit www.claudiariessbooks.com.

Claudia Riess has worked in the editorial departments of The New Yorker and Holt, Rinehart and Winston, and has edited several art history monographs.  Stolen Light, the first book in her art history mystery series, was chosen by Vassar’s Latin American history professor for distribution to the college’s people-to-people trips to Cuba.  To Kingdom Come, the fourth, will be added to the syllabus of a survey course on West and Central African Art at a prominent Midwestern university.

www.claudiariessbooks.com

Where history meets mystery

Many writers are attracted to the historical mystery genre because they like weaving a mystery for readers to solve. Many other writers are history buffs and want to share their love of the past with readers in the present. I’ve learned you need both elements to keep readers turning pages. Two worlds are always at play in the historical mystery: mayhem and yesteryear.

Writing historical mysteries means focusing on both whodunit and whentheydunit. I recently taught a course on this subject and thought I’d share some suggestions for writers to help you travel back in time to commit your crime. For readers, it’s an inside look at the process.

cover of Conflagration! by donalee Moulton

Before writers plot the perfect murder, they need to be as comfortable in their historical setting as well as they are in their own living room. The time period shapes everything in the story: how people talk, what they eat, how they live their lives – and how they investigate when a life ends.

Three questions dominate the journey back in time:

  1. Why this specific time? What drew you in? What do you think will fascinate readers?
  2. What conflicts defined this time? Political unrest, economic hardship, social upheaval—these create natural tension.
  3. How did people solve crimes then? In the absence of DNA and surveillance cameras, investigations relied on observation, word of mouth, and intuition and maybe sneaking in a window to surveil a crime scene.

A historical mystery’s believability depends on accuracy. This doesn’t require reciting every historical fact—indeed, this doesn’t work—but the writer must be comfortable enough in this other world to enable characters to move through it naturally.

The investigator in a historical mystery guides the reader through clues and through the era. They might be an amateur or a professional. This might be the three-hundredth crime they’ve solved or the first. It doesn’t matter; they belong here.

In historical settings, investigators often have limitations modern detectives don’t—and this goes well beyond technology. Everything from restricted travel, class barriers, rigid gender roles. These limitations can be opportunities to connect with readers. Lean into them; they nudge creativity and add tension.

The sleuth’s personality and background should also reflect the era while also offering traits—curiosity, stubbornness, empathy—that transcend time.

If a detective needs to walk down a street in 1912 Montreal, the writer should know what that street smelled like, whether cobblestones rattled under carriage wheels, and how likely the character was to meet someone selling newspapers on the corner.

Sources for rich and authentic detail include:

  • Newspapers and periodicals from the time (full of language, concerns, and advertisements)
  • Diaries and letters for personal perspectives (where possible)
  • Historical maps for accurate geography
  • Material culture research what fabrics, foods, and objects were common

The goal is to take readers into this world by recreating it for them without overwhelming them with facts that will weigh the story down and bore readers. Instead, historical details work like seasoning, enhancing the flavour without overpowering the dish.

The best historical mysteries don’t just place a modern crime in an old-fashioned setting; they weave the mystery into the fabric of the time. A theft in 1920 might be tied to Prohibition smuggling. A murder in 16th-century Spain could intersect with religious persecution. These historical tensions add stakes and make the story more than a puzzle; they transform it into a lens through which readers experience the era.

Language is one of the quickest ways to immerse readers in the past, but it’s also a common pitfall. Too much archaic phrasing can make dialogue stiff and hard to follow, while overly modern speech breaks the illusion.

The key is selective authenticity:

  • Use period-appropriate vocabulary for objects, occupations, and social customs.
  • Avoid slang that didn’t exist yet (dictionaries can help here).
  • Keep sentence structure readable for modern audiences.

While the past moved at a different pace, the plot shouldn’t drag. There is a need to balance richly detailed scenes with moments of action and revelation. In historical mysteries, tension often comes from the slow build. This can be delays in communication, the time it takes to travel, the risk of misinformation spreading. But every delay should raise stakes, not stall the plot.

When the mystery is solved, consider how this crime fits the morality of the era. Would a killer from a higher social class face justice? Would certain motives be more understandable, or unforgivable, back then? The ending of a historical mystery should leave readers feeling they’ve solved more than a crime, but that they’ve understood something about the world that once was.

Would Someone Slap Me!

It seems like lately my brain makes decision without consulting my day planner.

First I was stewing and brewing up book 2 in my Cuddle Farm Mystery series and after writing two chapters, my brain decided that book shouldn’t come next. That I needed one in between to make the storyline of that book make more sense to the reader. (After all I know why a sister is acting they way she is, but no one else does, not my main character or any of my readers.)

I wrote a short story about the scene that is causing the trouble for Andi and Nina, the Weber sisters, in the Cuddle Farm Mysteries. After book 3 releases, I can put it in my newsletter for my readers. But they will have already learned why there is a conflict from the end of book 3.

Back to my brain. It decided that what I was working on was book 3, which meant I had to come up with another murder to solve in book 2. That’s where I incorporated my trip to 1912 Opera House and came up with Monologued to Death. It was a fun book to write, giving some of the secondary characters more color and starting a slight truce between the sisters.

Making the premise of what I thought was book 2, book 3, has made this a stronger series, I think. I hope the readers see it that way as well.

My process is I usually know what the next book I’m writing in a series is by the time I finish the current book in a series. I kind of had an idea of what the next Spotted Pony Casino Mystery book was going to be, but not really. Then I audited classes given by a Nez Perce Professor about Nez Perce History. The real history, not what is sugarcoated by history books. I have learned a lot and will continue to sit in when he starts up another class later this month.

Something he talked about seemed like a good topic that most non-tribal people don’t know about and is still a problem. I decided to make the murder in the book around fractionated allotments. (If you don’t know what it is, you’ll have to read the book. 😉 ) But I wanted the book to be not too far after the main characters were married, (the last book Full House).

Since Heath found out about a son, he didn’t know he had in the last book, I decided that they would have their first Christmas together in this book. Great! Except, I either have to get it written quickly to get out this holiday, or wait a whole year. I’m pretty sure my fans won’t like waiting, and I don’t want a book in between this one and the last one. Part of this story deals with what Heath and Dela did on their honeymoon. Which happened at the end of Full House. What they did and found out on their honeymoon was always going to be part of the next book.

The other stuff all changed.

Sooo, long post short, I am busting my fingers and my fanny to get this book, Santa’s Beard, finished, through beta readers and my line editor so I can get it released, hopefully, either the end of November or first of December. Would someone just slap me for letting my creative side of the brain take over and not even ask the logical side if it could happen.