Why Cozies by Karen Shughart

 

Shughart,Karen-0016_ADJ_5x7 (1)Whew! Haven’t these past several months been surreal? Did you ever think a year ago that your life would change in ways that you probably never could have imagined? Before COVID-19, we expected that there would be ups and downs, but in most cases our daily routines were pretty much the same. And then BOOM! In a period of weeks, we’re wearing masks and gloves, ordering online more frequently, having our groceries delivered or picking them up curbside and enjoying happy hours with our friends, neighbors and family members on Zoom or by standing across the street from each other for a shout-out while we walk our dogs. That is, for those of us who have stayed healthy.

So, what does this have to do with the title of this blog? Plenty. I did a search on Google to see if I could find the definition of a Cozy mystery and this is what I found:

“(A) Cozy mystery is the gentlest subset of the broad genre of crime writing. As its name suggests, it’s a comfort read that leaves you satisfied and at one with the world, rather than scared to sleep alone with the lights out.” Source: Debbie Young, Cozy author and blogger http://www.authordebbieyoung.com/

“Cozies are a subgenre of crime ficiton in which sex and violence are downplayed or treated humorously, and the crime and detection take place in a small, socially intimate community.” Source: Wikipedia

“The small size of the setting makes it believable that all suspects know each other. The sleuth is usually a very likeable person who encourage(s) community members to talk freely about each other. There is usually at least one knowledgeable, nosy (and of course, … reliable!) character in the book who is able to fill in all the blanks, thus enabling the sleuth to solve the case.” Source:  Cozy Mystery List.

I’m not sure about you, but for me the global pandemic and its consequences have been a bit unnerving, to say the least. Don’t get me wrong, I count my blessings and have a lot to be thankful for. But could any of us have imagined that when we turned on the TV, the news would almost completely be about a virus that was infecting and killing masses of people? That schools, non-essential businesses, cultural and sports venues would be closed? The world changed in an instant and we had to adapt to it without any time to prepare.MurderintheCemeteryfrontlarge - Copy

So, getting back to the title of the blog: Why Cozies? While this hiatus may have encouraged some of  us to take an online class or catch up on the classics, stimulating non-fiction or that documentary we’ve always planned to watch; truth be told, many of us want to be transported to a time, place and setting where we can escape for a while and read a great story with lots of twists, turns and sometimes surprise endings. In short, something fun. Cozy mysteries can provide just that. And what’s wrong with sitting by the fire or on your front porch, cup of tea in hand, whiling away the hours being transported to a place where you know the horrors of our world won’t encroach?

 

Guest Author Terri Reid

The origin of my main character – Mary O’Reilly

Gold leaves floated down from tall branches and then rushed with the wind across the concrete pavement of the playground only to be caught against the brick walls of the school. Children laughed and ran, along with the leaves, playing on equipment that would be considered criminally neglectful today.

In a corner of the schoolyard, with leaves swirling around their Mary-Jane shod feet, the young girls stood together, discussing the upcoming weekend. Dressed in the plaid uniforms of their Catholic School, one might think the conversation would have inklings of piety or, given their age, perhaps it centered on the cutest boys in class. But no, their conversation was much darker and more daring.

“You have to stand under the oak tree, leaning against it’s trunk.”

“And you have to have a rosary around your neck, not just a necklace.”

“Then you have to repeat three times, the words ‘I believe in Mary Worth.”

“The…then…what happens?

“She climbs down the trunk of the tree, grabs hold of the rosary, and tries to choke you to death.”

“To death?”

“Or she scratches your eyes out with her long, dead fingernails.”

“Dead fingernails?”

“You need to try it, on Friday night. It always works best on Friday night.”

This is where Mary O’Reilly was born, although I didn’t realize it at the time. My Irish-Catholic upbringing filled with stories of ghosts and ghouls fed the storyteller that was in my DNA. The stories weren’t only shared on the playground, they were told by parents, grandparents, siblings, and friends. Hearing ghost stories, especially true stories that people had actually experienced themselves, created a delicious terror that could not be duplicated by any other event. Then having a ghostly experience of my own gave me a clearer insight of not only the paranormal, but how people react when you admit you have seen a ghost.

My main character, Mary O’Reilly, was a fourth-generation Chicago police officer. One night, during a drug bust, a dealer darted out of a derelict apartment building. His eyes and his gun were trained on Sean, Mary’s oldest brother. She didn’t even think about her reaction. She stepped between her brother and the bullet. Then everything went dark.

The next thing she remembered was floating above the hospital room where the nurses and surgeons were working on her broken body. Then above the Waiting Room where she saw her parents and her brothers pacing, their faces drawn and pale. Finally, she drifted up to a place that felt peaceful and safe.

“Mary, you have to make a choice now,” the deep, gentle voice echoed in her head.

“You can continue on to the light,” he continued. “Or you can return to be with your family for a time. But if you choose to return, your life will be different. Things will have changed.”

She thought about her family, remembered the look on their faces, and made up her mind immediately.

“I chose to go back,” she replied.

When Mary recovered, she discovered the change was a little more than she bargained for. Mary now could see and talk to ghosts.

Mary’s character is smart, brave, athletic, and compassionate. She is loyal and she has a tender heart. She has learned that a ghost is only a person who happens to be dead. And, as she works with the dead to solve their mysteries, she has learned one compelling truth: often the true monsters are the living.

Loose Ends

Dying is what changed Mary O’Reilly’s life. 

As a fourth generation Chicago cop, she knew the risks of the job and stepping between another cop and a drug dealer’s bullet was just something you did.  She would have done it even if the cop hadn’t been her older brother.  Rushed into surgery; Mary flat-lined.  She actually saw it, because she was watching from the ceiling of the room.  She floated pass her family in the waiting room, looking worried and much, much older.  And then she started her walk towards the light.  She was nearly there when she heard a voice call her by name and give her a choice.  Continue on or go back.  But if she went back things would be different. Boy, was that an understatement.

Now, a private investigator in a small town, Mary’s trying to learn how to incorporate her experience as a cop and new-found talent of seeing and communicating with ghosts into a real job. Her challenge is to solve the mysteries, get real evidence (a ghost’s word just doesn’t hold up in court), and be sure the folks in town, especially the handsome police chief, doesn’t think she’s nuts.

Twenty-four years ago, a young woman drowned in the swimming pool of a newly elected State Senator.  It was ruled an accident.  But now, as the Senator prepares to move on to higher positions, the ghost of the woman is appearing to the Senator’s wife. 

Mary is hired to discover the truth behind the death. She unearths a connection between the murder and the disappearance of five little girls whose cases, twenty-four years later, are still all unsolved.  As she digs further, she becomes the next target for the serial killer’s quest to tie up all his loose ends.

Buy Link: https://www.amazon.com/dp/B003Y5H8IK

Terri Reid is the author of the Mary O’Reilly Paranormal Mysteries. An independent author, Reid uploaded her first book “Loose Ends – A Mary O’Reilly Paranormal Mystery” in August 2010. By the end of 2013, “Loose Ends” had sold over 200,000 copies and, has consistently ranked as one of the top selling books in its genre. This year she celebrates the 10th Anniversary of Loose Ends.

She has nineteen other books in the Mary O’Reilly Series and several other series including The Willoughby Witches, The Blackwood Files, The Order of Brigid’s Cross, and The Legend of the Horsemen.

Reid has enjoyed Top Rated and Hot New Release status in the Women Sleuths and Paranormal Romance category through Amazon US. Her books have been translated into Spanish, Portuguese and German and are also available in print and audio versions.

Reid has been quoted in a number of books about the self-publishing industry including “Let’s Get Digital” by David Gaughran and “Interviews with Indie Authors: Top Tips from Successful Self-Published Authors” by Claire and Tim Ridgway.

She was the keynote speaker for Book ‘Em North Carolina Writers Conference and Book Fair in Lumberton, N.C., a guest presenter at Love Is Murder in Chicago, a guest lecturer at a number of universities in Illinois, and has been the opening speaker for the Illinois Paranormal Conference.

Reid lives in northwest Illinois near Freeport, Illinois, the setting of the Mary O’Reilly series.  She writes a weekly blog called Freaky Friday through her website at www.terrireid.com and can be reached at author@terrireid.com.

Where? When?

by Janis Patterson

It is one of the so-called pieces of wisdom in mystery-land the body should appear as quickly as possible, just as in some parts of romance-land the hero and heroine have sex almost immediately after they meet. I’ve even read some stories where they end up in bed before they’ve been introduced!

Haven’t these writers ever heard the phrase “it’s not the destination, it’s the journey”?

This isn’t a new rant of mine – you’ve probably heard it in one form or another before, but I believe it bears repeating, especially in mystery-land. Murder is a terrible crime. It permanently alters everyone even remotely touched by it. It should not be treated as an hors d’oeuvre.

Back when I was traditionally publishing I allowed the house editor to convince me (convince, as in “We won’t publish your book if you don’t!”) to bring on the body as early as possible in the first chapter. I wanted to be published by this particular house, so always an over-achiever I put the discovery of the body on the second page, and it was a grand disservice both to the poor thing and to the story. The victim had no history, no backstory, no personality, and there was no emotion, no sense of loss in his passing. In other words, he was nothing but a stage prop. (“Hey, Fred, put the body down stage left!”) Even a villain – which he was – deserves a more fitting end than that.

Of course, we had learned something about him by the end of the book because to solve a murder you must know why someone would want to kill him, but it was dry and anticlimactic – nothing but tags that eventually pointed the way to his killer.

I am a whole-story kind of person. I believe that to feel the kind of outrage that murder should engender we have to know the people involved in the tale so that when there is a murder we feel a sense of loss, of outrage (even if the character deserved his ignominious and premature death) and a sense of satisfaction when the murderer is finally run to earth and justice is served.

Not everyone agrees with me. I have been severely dinged and chastised for having the murder occur close to the middle of one of my mysteries. It’s a good story, it has a large cast of characters (three of whom are killed) and it is a complex story, with the solution inextricably interwoven with the dynamics among the characters. But apparently that’s not fast enough to be acceptable for some readers. Neither, I hasten to add, was the setting – a scholarly Egyptological conference without a tea shop, a B&B or knitting store in sight. One correspondent was particularly incensed that the entire conference did not shut down in order to bring the murderer to justice. I don’t understand that; yes, everyone is somehow altered when murder enters their sphere, but unless they are close to the crime or the victim few change their entire focus. Most of us would probably cling desperately to what is normal in an effort to bring stability back – unless, of course, the murder affects them personally, which changes everything.

As I’ve said before, murder is an horrific crime. Both it and its victim need to be treated with a certain respect and dignity. To cheapen death is to cheapen life.

Revisiting a Vacation by Paty Jager

I went on a trip of a lifetime, for me, last summer. When I received an email about a literary trip set in Iceland and saw the itinerary and how well we’d be taken care of, I told my hubby it was my birthday gift and I signed up.

Now, almost a year later, I am getting ready to publish a book I set in Iceland. I loved the country- the people, the scenery, the history. I felt at home there. Hmmm… I wonder if I have more Norse in me than I thought? I’m ready to go back whenever my hubby would agree to it and the pandemic lifts.

The trip was put together by The Author’s Guild. It was a mix of half usual tourist sights and half literary sights. We had a meeting with Yrsa Sigurdardottir, a crime fiction author in Iceland whose books I had read and enjoyed. We went to a museum which had ancient Icelandic manuscripts. They were made of sheep skin and wood covers. And we visited the home of the 1955 Nobel Prize winning author, Halldor Laxness.

But I would have to say the highlight of my trip was getting the other writers, who mostly wrote non-fiction books excited about helping me find a good place to have a murder. Each place we stopped someone would say, what about this or that? And then as a group they would come up with how and why someone would be murdered in that spot. It was a lot of fun.

landscape at Kleifarvatn Lake

On the last day, which happened to be my birthday, all ten of us loaded up in the small bus we’d been travelling in all week, and headed to Lake Kleifarvatn. The landscape at this lake has been likened to a moonscape. It is sparse, barren, rocky surroundings. I took quite a few photos, thinking this would make tracking someone near impossible and would make a great place for a tracking specialist to be needed.

Boiling mud pools at Krysuvik

However, we continued on and as soon as I saw the steam and the bubbling mud I knew I’d found my means of murder! At Krysuvik, a tourist attraction of sulfurous steam escaping boiling mud pools, I could see a body half in and half out of one of the mud pools. The more I walked around the area taking photos, I solidified this was where the the murder would take place.

I asked our guide, Ragnar, lots of questions and scribbled in my little book. I asked him about Search and Rescue. He said they had a large SAR program. When I came home, I looked it up. I was so excited! They had a world reknown SAR conference every two years. I could send Hawke to Iceland to teach at the conference. And the best part, the conference was this year, well, we’ll see if it is still held with all the closures of conferences this year, but it would be held in the Harpa. The Harpa is a fairly new concert hall and conference center that is beautiful! It was a building across the street from our hotel and I had been in it for dinner one night and a play another. It was a building I knew.

This is Harpa. It has beveled colored glass panels all over it and is gorgeous when the light hits it just right.

Everything just seemed to fit together for my book! And I’m pleased to say, Fox Goes Hunting, book 5 in my Gabriel Hawke Novels is available in pre-orde and will release on June 1st. What a fun way to celebrate the anniversary of my trip- with a book set in Iceland.

Writing the book I was able to revisit several of the places I’d been, reconnected with our guide for some help with things I hadn’t seen or didn’t know about the country, and enjoyed putting my taciturn Native American Game Warden in an environment different than he knew.

Blurb for Fox Goes Hunting

While teaching a tracking class at a Search and Rescue conference in Iceland, Oregon State Trooper Gabriel Hawke discovers a body in a boiling mud pool. The body is the young man Hawke’s class is tracking.

Unable to walk away from the young man’s death without helping to find the killer, Hawke follows the clues and discovers the young man had few enemies, and all of them have alibis. The killer is cunning like the fox, but Hawke is determined to solve the homicide before the conference attendees head home in five days. 

Pre-order at all ebook vendors:

https://books2read.com/u/3yEjKv

Why A Writing Rebel is #SorryNotSorry

What do Elmore Leonard, Tim LeHaye; Rod Serling; Nat Hentoff; Mark Twain, Paula Danziger; Robert Cormier; Sidney Sheldon; Edgar Allen Poe; Jackie Collins; Mickey Spillane; Michael Crichton; Madelaine L’Engle; Maurice Sendak, and Theodore Geisel, aka Dr. Seuss, have in common?

If you said they’re all dead, good for you. As of this post, they still very much are (and with this COVID headache still with us, they died of that, I drop sarcastically 😏). But if you also said they were writers who were in my reading and TV library as an impressionable, rebellious, and misunderstood girl-rascal, you know me well. Brace yourselves–doing so is precarious. **smirk**

Need another hint? I’ll give you a minute to find the clue in the above paragraph. **insert “Syncopated Clocks” theme here.**

Time’s up.

Before #sorrynotsorry was a thing, they wrote rebelliously. For their time(s), they crossed lines and pushed comfort zones tame by today’s scary-dark and nakedly demonic standards. The thought was to push philosophical, societal, and imaginative boundaries and platforms within reason, and not to go against physical nature or humanity. This I was okay with. In fact, it kicked me to be a better author without having to plumb the scarier, darker side of what imaginatively could be.

In a critique of my 2nd book’s opening chapter, the now-fired editor said she loved it . . . but, despite my saying I’m a woman writing from a guy’s POV, she constructively found the female descriptions objectifying (but missed my other bigoted names briefly mentioned. Huh. 🤔). In today’s times beyond the hypocritical #MeToo movement, Harvey Weinstein, and the persistent tug-of-war between the sexes, it’s a tightrope balance between staying true to my unbridled imagination or being mindful of those finding “broad,” “cutie,” “honey,” “sweetie-pie,” “tomato,” “dame,” or the “C” word objectionable. None of these bother me if ever said IRT (in real time for those of you in Rio Linda), save for the “C” one. To be fair, I’ve use that for women being jerks when “basic bitch,” “thot,” or “nasty-ass ho” isn’t strong enough to call her (thank you, urbandictionary.com!) 😄😏. Justified, of course. Or muttered under my breath when it wasn’t.

Writing on the edge should happen by default no matter the genre; language is as perilous and nasty as it is sweet, lovely, and gossamer. Twain used nigger several times in The Adventures of Tom Sawyer and in The Adventures of Huckleberry Finn, and Stevie Wonder’s speaking parts in the “Livin’ For The City” track on his Inner Visions album mention this, too. I don’t shy from the questionable, objectionable, or downright frightening. To face it head-on to fine tune a moral and ethical compass, and to know where to draw a line I won’t ever cross. Children’s author Maurice Sendak told Maury Safer in a 60 Minutes interview he wrote about the monsters in Where The Wild Things Are because “. . . .the nightmares kids have–and monsters in those nightmares–are as real as their mommies and daddies are.” To put them down tangibly, he figured, not only gave kids something credible to show kids a grown up thought as they did, but that if kids faced their fears, they weren’t too scary big to fight them back, the kids weren’t too young to fight them at all, and to win. In his In The Night Kitchen story was where a naked child was shown for the first time, reasoning during the Safer interview, Sendak said he showed a naked child in the illustrations because he didn’t think kids were worried about clothes in their nightmares. I don’t fully remember the story, but if memory serves, the boy, dreaming he was in a dough suit, obviously couldn’t be clothed under the pastry; how much sense would this make? Sendak’s Night Kitchen was boldly, #sorrynotsorry controversial as Marilyn Monroe’s 1951 naked appearance in the first issue of Playboy. 🤔😏

L’Engle’s Wrinkle In Time held a God-heavy theme in the Murray kids and friend Calvin saving Professor Murray from an evil force (and notwithstanding, a genius five-year-old unapologetically using a vast vocabulary in his character, but still manages to stay an adorable Charles Wallace. This sparked an argument how can five-year-olds talk on a near Einsteinian level? Um, some can. And some do.). Danziger’s The Cat Ate My Gymsuit today could be deemed as fat-shaming in Marcy’s character, her mother a pushover in the shadow of her husband’s and Marcy’s father’s blustering bullying. But the story showcases a young teacher’s outside-the-box instruction in a conservative community determined to see their kids taught English by the book of English–Dead Poet’s Society, anyone? This wasn’t far off the mark of Danziger herself, since she’d been a full time English teacher before her writing career took off. In this story, Marcy’s high school teacher impacted her past the classroom.

Be they gentle stories showing a shy little black cat’s courage, or a Catholic family’s sons adventures in 1898 Mormon Utah, to grittier reads bearing themes in the plots that challenged my opinions and forcing my stances a closer look, these authors didn’t shy from their stories. They all pushed me past the story in their word choices, in the norms at their time, and letting their imaginations weave tales maybe the harsher themes and beliefs were better swaddled in than given so starkly. Whichever came first, it doesn’t matter and didn’t matter. They left a patina on me in their unapologetic storytelling to this day has gotten under my own storytelling skin. They were #sorrynotsorry doing that to me, so I pay it forward to anyone reading me, also unapologetically Sorry/Not Sorry. As one Logan McGuinness of the Casebooks and Threesome of Magic Mysteries would tell me: be bold AF, Missye. He’s right. I can’t let the kid readers and kids at heart ones, down. Or him, either.

Speaking of Mr. McG, I’ve a scene in my 2nd TOMM mystery I’ve finally smoothed the wrinkles from. Best I get to it. And best too, you, Dear Reader, find books and stories that push you past your easy, your simple, your familiar, your typical. For you Dear Authors reading this, your homework is to keep your imaginations deadly, unsettled, and untamed in good ways. That’s where the fun lies. In this wild ride we’re all on dealing with COVID, no one’s gonna much worry about writing dangerously anymore. We lived it.

And guess what? Even my lyrical writing, which was what the now-fired editor told me Casebook #2 is, is also writing lethally. But it’s lethal to the healing we’ll need on the other side of this COVID madness. Writing dangerously doesn’t always mean pushing, provoking, or even angering. Writing soft without the superfluous is a true skill to unapologetically be Sorry/Not Sorry for. I’m happy to be that rebel to do it.