Author: Margaret Lucke

Taking Stock of Taking Stock

~ Margaret Lucke ~ 8 Comments

By Margaret Lucke

One reason that English is so delightful, and so befuddling to people who are trying to learn it as a second or third language, is that the same word or phrase can mean so many different things. For example, take stock of some of the ways to take stock.

To a cowboy, stock is the herd of animals being raised on a ranch or farm. In the 1870s and 1880s taking stock meant a long dusty journey driving cattle from Texas to Kansas.

A shopkeeper’s stock is the goods on hand that are being offered for sale. Taking stock involves counting all of the items in the inventory.

A photographer who takes stock is shooting photos that others can use in ads, as book covers, as illustrations, and so on. Agencies handle the business end of licensing the rights. You can browse through millions stock photos on the Internet.

A cook thinks of stock as a rich broth made from bones and trimmings of meat and vegetables. Stock serves as the basis for soups, risottos, paellas, and many other delicious recipes. Take stock, put it on the stove, and get set to prepare a wonderful meal.

For an investor or a businessperson, stock is an ownership share, or many shares, of a publicly traded company. A corporate executive may take stock as part of a compensation package, hoping the value of the shares will go up.

When my husband and I owned a printing business, stock had to do with the paper required for a job. We would, for instance, take card stock for posters or 20-pound stock (about the lightest weight that would go smoothly through our press) for flyers.

To a gardener or a florist, stock is a flower of the species Matthiola incana, with a spicy scent and showy white, pink, or purple blooms. Take stock, and you have a beautiful addition to a garden or a bouquet.

When a genealogist or archeologist talks about stock, they are referring to an individual’s or group’s ancestral background, as in “they came from European stock” or “their forebears were of Asian stock.”

A firearms enthusiast knows that the stock is the part of a long gun, like rifle or shotgun, that is placed against the shoulder to hold the firearm steady when it is fired.

To a writer or reader, stock is something standard or conventional or unimaginative, such as a stock character or a stock phrase.

Stock can also refer to the opinion or regard with which something is assessed, as in “I take little stock in what that person claims” or “the candidate’s stock with voters is high.”

And around this time, as the year winds down, a lot of us are taking stock – by which we mean we’re reflecting on the events of the past twelve months, assessing our goals and achievements, and making our plans for 2026. We’re looking at where we are, how got here, and where we want to go.

I hope that your taking-stock process goes well, whatever that phrase means to you, and I wish abundant joy in this holiday season.

* * * * *

If your plans for 2026 include making progress on your novel, you might be interested in the class I’ll be teaching this winter for University of California, Berkeley Extension: “Writing Genre Fiction: Science Fiction, Mystery, Romance and More.” 10 Thursday evenings, January 22–April 2, with February 26 off so we can attend the Left Coast Crime convention in San Francisco. Info about the class is here.

My Muse and I Talk About Writer’s Block

~ Margaret Lucke ~ 8 Comments

by Margaret Lucke

My Muse wanders into my office, tea mug in hand. As usual, she’s late.

“Finally!” I say. “Where have you been?”

She comes around behind and peers over my shoulder at the screen.

“That page is blank,” she announces.

Talk about stating the obvious.

“Well, duh,” I explain to her.

She leans forward to look closer. Tea splashes on my shoulder. “Why are there no words on it?”

“Because I haven’t started yet. I don’t know what to write.” Rubbing at the wet spot, I whine, “It’s your fault. If you would just show up on time …”

“Oh, you don’t need me.”

“Yes, I do.” Then I make my dire confession: “I have writer’s block.”

She laughs, which is not the response I was hoping for. “What a silly notion.”

“Are you claiming there’s no such thing as writer’s block? Because I can assure you it’s real. I can’t tell you how often I’ve been afflicted with–”

“—with fear, lack of confidence, perfectionism, procrastination, other things in your life that demand time and attention, and outside distractions. You know, your neighbors really should get rid of that annoying rooster–”

A loud cockle-doodle-doo from the adjoining backyard punctuates her point.

 “–but all of those are only excuses,” my Muse concludes. “All you have to do is start putting down words.”

By now I’m up from my desk, pacing around. The sight of the empty page has become unbearable. “I can’t just fill a page by writing blah blah blah one hundred times. The words have to make sense. They have to tell a story. They have to be exciting and compelling so the reader will get hooked and keep on reading.”

 “No, they don’t. You know what Nora Roberts has said: ‘I can fix a bad page. I can’t fix a blank page.’ At this point it’s okay to write drivel. Let your characters loose to wander around. They’ll stumble on the story sooner or later. Once they do, you can go back and pretty up the words.”

She sits down in my chair and sets down the mug. For a few seconds her fingers fly across the keyboard. Then she gets up again and dusts off the seat. “Okay, your turn.”

I read what she’s written: Once upon a time. Not much help. “What comes next?”

“Oh, you can figure that out for yourself.”

“But this is your job. You’re the Muse. You’re supposed to inspire me.”

“I just did.” She takes a sip of tea.

I stare at the words. No matter how hard I strain my brain, no thoughts are forthcoming. Finally I say, “I really need your assistance here.”

She shakes her head and giggles. “No, it’s up to you.”

“I can’t do it alone. What will it take to get your help?” I think for a moment, then say, “Suppose I bribe you with chocolate?”

My Muse breaks into a grin. “Well, why didn’t you say so? I prefer the dark kind. Almonds in it would be nice.”

I go to the kitchen and bring back a treat for each of us. When I sit down again, she places her guiding hand on my shoulder. I retype her phrase—Once upon a time—and then I make myself keep going.

Words tumble onto the page. They are clunky. They are awkward. To be honest, they are a hot mess. But slowly, oh so slowly, I can see that a few good ideas are beginning to emerge.  My Muse and I can fix the words later—so long as I remember to replenish my supply of chocolate.

* * *

I’m honored and delighted to be teaching a class called “Writing Genre Fiction” for University of California–Berkeley Extension this winter – 10 Thursday evenings, January 22-April 2 (no class on February 26 because I’ll be at the wonderful Left Coast Crime convention). It meets on Zoom so you can attend from anywhere. We’ll explore popular genres of fiction—mystery, thriller, science fiction, fantasy, horror and romance, covering techniques that are essential to all fiction while examining the characteristics, conventions and reader expectations associated with each genre. You can learn more here.

The Freedom to Read

~ Margaret Lucke ~ 2 Comments

by Margaret Lucke

When I was twelve and in the seventh grade, I read On the Beach, by Nevil Shute, a grim novel about people facing death from radiation in the aftermath of a nuclear war. I chose it for the best of reasons—a cute guy in my class was reading it and I wanted to impress him.

A friend of my mother’s who was visiting saw me with the book and said to Mom, “Are you really letting her read that?”

Mom’s reply: “I don’t worry about what she reads. If a book is too adult for her, she won’t really understand what it’s talking about. And if she does understand, it’s already too late.”

When it came to my sisters and me, my parents set firm standards for behavior but not for ideas. While they urged us in the direction of certain attitudes, opinions and beliefs, they let us read whatever we liked. They understood that books can fire a child’s imagination and give her an experience of ideas, cultures, and aspects of the human experience far beyond the boundaries of her own family and community. They knew that books are a good investment yielding lifelong benefits.

Not everyone understands this. I’m all for parents being aware of what their children read, of discussing with them the books and the ideas they contain, even sometimes making them set aside a particular book until they are older. But too many people, afraid of the power books have to change lives, feel they have right to dictate what others can read—not just their own children, but other people’s kids. Other adults too.

This week, October 5-11, is Banned Books Week 2025, sponsored by the American Library Association, and today is Let Freedom Read Day, when the ALA asks everyone to take at least one action to help defend books from censorship and to stand up for the library staff, educators, writers, publishers, and booksellers who make them available. Every year the ALA compiles lists of hundreds of books for which people have filed written complaints requesting that the book in question be removed from schools and libraries. The reasons cited: the books have too much sex or violence or bad language, or they depict lifestyles or beliefs with which the complainant disagrees. Too often, the jurisdiction in question agrees and pulls the books off the shelves.

According to the free-of-expression advocacy group PEN America, this sort of book ban happened almost 7,000 times between July 1, 2024, and June 30, 2025. The Washington Post reported that during this period, the author who was subject to the greatest number of bans was Stephen King.

This is in the U.S., where free speech and freedom of expression have traditionally been dearly held principles. In many countries it’s the government that steps in to ban books, afraid of what its citizens might do if they had unfettered access to ideas.

I don’t know if On the Beach was ever banned or challenged anywhere, but a book I read and loved soon afterward made the list: Margaret Mitchell’s Gone with the Wind. Here’s a random selection of a dozen other favorites (among many) that have been so “honored”:

Where the Wild Things Are, by Maurice Sendak
Charlotte’s Web, by E.B. White
Green Eggs and Ham, by Dr. Seuss
Winnie-the-Pooh, by A.A. Milne
The Merriam-Webster Dictionary, 10th edition
The Great Gatsby, by F. Scott Fitzgerald
To Kill a Mockingbird, by Harper Lee
The Grapes of Wrath, by John Steinbeck
The Kite Runner, by Khaled Hosseini
Huckleberry Finn, by Mark Twain
The Glass Castle, by Jeanette Walls
Born a Crime, by Trevor Noah

Banned Books Week is an opportunity for librarians, booksellers, publishers, journalists, teachers, writers, and readers come together to celebrate the freedom to read and draw attention to attempts to restrict that freedom. You can learn more about it here.

A good way to celebrate? Find a book that has somewhere, at some time, been challenged or banned. Read it. And pass it on.

A Tribute to a Fine Writer and Great Friend

~ Margaret Lucke ~ 4 Comments

By Margaret Lucke

The literary world lost a bright light last week­—the redoubtable Chelsea Quinn Yarbro. To me, she was a muse, mentor, and great friend. To her many readers and fans she was, in some of their own words, “a brilliant writer and an amazing person,” “a consummate professional,” and “a truly extraordinary human being.”

We met in 1978 when I went to my first meeting of the Northern California chapter of Mystery Writers of America. She was the chapter president at the time, and gave me a warm welcome that grew to one of my closest friendships.

She defined what it means to be a prolific writer, having around 100 published books to her credit, along with numerous short stories and essays. Her work spanned just about every possible genre­—science fiction, fantasy, Westerns, romance, crime fiction, and horror. She won a Bram Stoker Lifetime Achievement Award in 2009 and received a World Fantasy Award for life achievement in 2014. 

Quinn was a Lady of Mystery in her own right, as the author of two mystery series, one starring the Native American attorney Charlie Spotted Moon and the other featuring a 1920s journalist Poppy Thornton who investigates crimes with the help of a ghost named Chesterton Holte. But what she is best known for is her groundbreaking novels that follow the vampire Count St. Germain across several continents and centuries. In a departure from the norm, her vampire was the good guy. “The horror in these books,” she said, “comes from what human beings do to each other.”

I shared with Quinn an appreciation of a good red wine, an affection for the cats with whom she shared a home, and two memorable trips to Italy. She shared with me a great deal of wisdom and encouragement when it came to writing.

She gathered some of that wisdom into a workbook called Fine-Tuning Fiction, which evolved out of a popular seminar she offered through the Writers Connection in Cupertino. She organized it five sections, or what she called The Five Ps, each covering an essential aspect of an fiction writer’s craft: People, Plot, Presence, Pacing, Poetics. A quick sampling:

PEOPLE – “All fiction begins with people, no matter how they are packaged, and the premise that people—which covers all species and forms of characters, human or otherwise—are interesting.”

PLOT – “When most people say plot they mean story-line, or the steps the characters take to get from one end of the narrative to the other. A plot is much more basic than that. It is the means by which the argument or conflict between two or more characters is resolved.”

PRESENCE – “The environment of a story is as much a character as the people in it. Presence is what pulls the reader in with your characters and convinces them that their experience is complete.”

PACING – “Pacing has to do with how quickly events occur in a story, and how much reaction time is allowed before another event occurs. Every story will reveal its own internal rhythm if you are willing to take the time to work the story through.”

POETICS – “[Words that seem mean the same thing] contain nuances that make them not quite synonyms, and therefore each has a slightly different meaning. These nuances are the province of poetics, or the esthetics of words. Just as presence and pacing each contribute to the impact of story-telling, so poetics give any piece of fiction its particular voice.”

You might be amused to know that the list of not-really synonyms she uses to introduces the Poetics discussion is: nude, naked, bare, unclothed, undraped, stripped, starkers, in your birthday suit, bare-assed, disrobed, in the altogether, exposed, in the buff, in a state of nature, unattire, unclad. I’m sure that list caught her readers’ attention. All of those terms mean “not wearing any clothes,” but the impression each of them conveys is different, sometimes strongly and sometimes subtly, from the impact made by any of others.

Ciao, Quinn. I’m going to miss you. Tonight I’ll raise a glass of your favorite red in your honor. Have a good time cavorting in the afterlife and telling everyone there great stories.

Words, Words, Words

~ Margaret Lucke ~ 4 Comments

By Margaret Lucke

The other day I fell down another internet rabbit hole. While working on a scene in my latest novel-in-progress, I was looking up some words to make sure I was using them correctly. I always like to catch these things, if I can, before the book is published and readers start pointing them out to me.

A couple of hours later, I resurfaced, the sought-after definitions in hand along with quite a few more that were totally irrelevant to the scene in question.

Doing the research can be more fun than doing the writing. It’s a great way to procrastinate while persuading myself that I’m actually working, just as much as if I were putting words on the page. Once I get started doing research like that, one interesting fact leads me to another, and to another. I’m especially fond of fun facts about words, writers, and literature. Here, for your amusement, are some of my discoveries:

*    The longest word in the English-language dictionary is pneumonoultramicroscopicsilicovolcanokoniosis, which is a lung disease contracted from inhaling volcanic particles. It contains 45 letters (I counted so you wouldn’t have to). But its primacy is challenged by the chemical name of a giant protein known as titin, which has 189,819 letters and, it is estimated, would fill around 57 pages if printed in a typical book. A YouTube video of a man pronouncing the word runs almost as long as the film Gone with the Wind. No wonder the dictionary leaves it out.

*    That long p-word disease isn’t much of a problem for writers, who are more likely to be afflicted with colygraphia, which sounds serious enough to earn us plenty of tea and sympathy. Most of us call this problem by its more common name — writer’s block.

*    After you recover from your colygraphia, it’s time to get back to work. Before you know it, you may find yourself complaining about mogigraphia, or writer’s cramp

*    Someone who probably suffered from mogigraphia was Peter Bales, who earned fame in Elizabethan England for his skill as a scribe and calligrapher. In 1590 Bales transcribed a complete copy of the Bible so tiny it could fit inside a walnut shell.

*    Though Bales was known to engage in contests and rivalries, I don’t know if he produced his Bible to win a wager. But some have taken pen in hand in order to win a bet. For instance:

>>   Editor and publisher Bennett Cerf bet Dr. Seuss $50 that he couldn’t write a book using only 50 words. Seuss responded by writing Green Eggs and Ham.

>>   Ernest Hemingway famously won a bar bet when his drinking buddies each put $10 in the pot and challenged him to write a story using only six words. Hemingway scribbled these words on a napkin — “For sale: baby shoes, never worn” — and collected the cash. This has led to an entire genre of six-word stories, some of which can be found at http://www.sixwordstories.net/

>>   Agatha Christie wrote her first book, The Mysterious Affair at Styles, after her older sister bet her that she couldn’t write a mystery novel in which the reader couldn’t guess the murder even though given the same clues as the detective – who in this case is Hercule Poirot.

*    Christie’s other famous sleuth is Miss Jane Marple. But Miss M. was far from the first female detective. That honor may belong to the heroine of a novella by E.T.A Hoffman that was published in 1819, more than a century before Miss Marple made her appearance. Both the sleuth and the novella are named Mademoiselle de Scudéri. That’s the same E.T.A. Hoffman, by the way, who wrote The Nutcracker and the Mouse King, which formed the basis of Tchaikovsky’s Christmastime ballet.

Who knew all these cool bits of trivia? Well, I know them, thanks to my research journey and the stops I made along the way. And now so do you. I’ll conclude this list with one final entry:

* A literarian is someone who loves literature and is dedicated to sharing that love with others. In other words, me.

What are some of the odder entries in your literary lexicon?