Guest Blogger – Nev March

The Friend I Left Behind

Late night–no, was already morning. I read through an email when my gaze snagged on a name. I stared at it, incredulous. After forty years, I had found Zenia.

Zenia is not her real name. I’ve changed it to protect her privacy. When I was fifteen, I met her on her first day at school. A year older than me, she was a tall, statuesque teen with a well-developed figure and, as I discovered, a wild imagination. She was a “boarder”—a residential student; I was a day-student whose mother was also a teacher.

From almost the first minute, we became close friends. She was lovely, with long wavy hair. Plump and vivacious, she had travelled, and boy, could she talk. Her tales of dangerous train journeys enthralled me. Then, gradually details emerged. Some were shared in long, private conversations—I usually stayed after school to chat, and often rushed home an hour or two late.

As a teen, Zenia was full of imaginative stories. She dreamed. And she narrated those dreams in long, vivid tales of descriptions that would today be called ‘drone shots’. In turn I made up ghost stories to entertain her. We had our in-jokes too; we once disagreed about how to pronounce the word ‘obviously.’  She skipped the B entirely, while I stressed it! So, when one of us made a pronouncement, the other replied, “OVIOUSLY!” whereupon we dissolved into giggles.

She said her father had worked at Tata’s (a huge, respectable conglomerate) but that he had been unfairly accused of embezzlement. My father also worked in a subsidiary of the Tata Corporation. He said that Zenia’s father had been fired from his position. There was a protracted lawsuit, the outcome of which I never did learn.

Sighing, he also said that Zenia’s mother had committed suicide.

Separately Zenia revealed that she walked in on her parents one day while their legal issues were at their height. She must have been eight or nine years old. She said, “A bottle of pills was on the table between them. They were holding hands. They looked at me when I came in, and my mother said, ‘That’s why you have to stay.’” That phrase haunted Zenia. She repeated it over and over.

On our school’s parents’ day, I met Zenia’s father, a handsome, charming man with a boisterous manner. And I met Connie, an old, trusted friend who loved Zenia dearly. Connie had been close to Zenia’s parents for decades. A year later, she married Zenia’s father.

Then, in tenth grade (a crucial exam year in India), we broke up. I’d brought home a poor grade, and my mother was astonished. It hadn’t happened before. That night, she came to my room, sat by me on my bed, and asked me to stop spending so much time with Zenia.

I did; my grades skyrocketed. When Zenia asked why I didn’t stay late anymore, I begged off with excuses of homework. She got the message. I was sorry, but no harsh words were spoken and we both dived into exam prep.

Years after I’d migrated to the States, my mother mentioned that Zenia’s father had passed away. She must have had some common friend or acquaintance to know this. 

Decades later I looked for Zenia on Facebook and Instagram. She would have enjoyed these forums, full of color and variety. But I couldn’t find her. I checked LinkedIn; no sign of her there either. I assumed she had changed her name after marriage.

Now I know why she wasn’t on social media. That email said she had stage-2 respiratory failure. And Rheumatoid Arthritis, morbid obesity and a slew of other conditions. It was a community appeal to help with Zenia’s medical bills. She’d never married. Her stepmother Connie was caring for her.

That notice brought back a waterfall of memories. I wept for the girl with the big imagination, the gorgeous singing voice, who’d played a funny, eccentric Petruccio to my Katherina in our wacky adaptation of Taming of the Shrew. That girl had such big dreams, wanted an erudite, playful husband, and had plans to work in theatre. In the decade after school, I completed a master’s degree in economics, travelled to the States on a scholarship, married and had children. After my corporate career, I began to write novels about the wide spaces and colorful people of India, crime stories based on immigrants, and history.

Forty years ago, we were both at the starting point of our journeys. Then Zenia fell sick. Meanwhile, I was flying without the terrible weight she carried, the tragedies that had already shaped her at seventeen.

She was longwinded because she had no one else to talk with. She was loud, argumentative, because she imagined that other students were whispering behind her back. Now I wonder whether she was lonely because of a self-imposed exile from the other boarders.

And I wonder if they were cruel to her because she was so unlike them. Most boarders came from orthodox families in small villages and had rarely traveled beyond their own towns. Zenia had been abroad, read widely, loved Shakespeare and Mills and Boon novels. We shared so many interests, not least a penchant for short stories and poetry. What a writer she would have made!

These splinters of memory come alive as I write my novels. Faces from long ago return, embedding themselves into my chapters. Perhaps I’m trying to hold on to them, understand them, preserve the essence of who they were. In Murder in Old Bombay I built the Framji family based on people I’d known, and lost. Each book that follows contains fragments of me too.

Now regret escapes my eyelids, dropping wetly on my keyboard. Regret that I did not reconnect with Zenia when we were younger. Why didn’t I try to find her phone number? It didn’t occur to me. Youth can be stunningly self-absorbed. In the quiet past midnight, I mourn the friend I left behind.

The Spanish Diplomat’s Secret

In The Spanish Diplomat’s Secret, award-winning author Nev March explores the vivid nineteenth-century world of the transatlantic voyage, one passenger’s secret at a time.

Captain Jim Agnihotri and his wife Lady Diana Framji are embarking to England in the summer of 1894. Jim is hopeful the cruise will help Diana open up to him. Something is troubling her, and Jim is concerned.

On their first evening, Jim meets an intriguing Spaniard, a fellow soldier with whom he finds an instant kinship. But within twenty-four hours, Don Juan Nepomuceno is murdered, his body discovered shortly after he asks rather urgently to see Jim.

When the captain discovers that Jim is an investigator, he pleads with Jim to find the killer before they dock in Liverpool in six days, or there could be international consequences. Aboard the beleaguered luxury liner are a thousand suspects, but no witnesses to the locked-cabin crime. Jim would prefer to keep Diana safely out of his investigation, but he’s doubled over, seasick. Plus, Jim knows Diana can navigate the high society world of the ship’s first-class passengers in ways he cannot.

Together, using the tricks gleaned from their favorite fictional sleuth, Sherlock Holmes, Jim and Diana must learn why one man’s life came to a murderous end.

Buy links:

https://a.co/d/2R21eMg

The Spanish Diplomat’s Secret

Nev March is the first Indian-born author to receive the Minotaur Books/Mystery Writers of America Award in 2019. She is president of the NY chapter chair of MWA. Her debut novel, Murder in Old Bombay won an Audiofile award and was an Edgar and Anthony finalist. Her sequel Peril at the Exposition describes the gilded age which planted the seeds of today’s red-blue divide.

The Spanish Diplomat’s Secret she explores revenge for a real-world unresolved crime in the years before the Spanish American war over Cuba. Nev is presently working on book 4 of her Captain Jim and Lady Diana series. Her books deal with issues of identity, race and moral boundaries.

http://www.nevmarch.com

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Guest Blogger ~ Skye Alexander

Mystery Stories and Mystery Schools

What comes to mind when you hear the word “occult”? Evil cults that worship the devil? Weird rituals where animals are sacrificed? Wizards with nefarious aims wielding power behind the scenes? If so, you probably got those impressions from Hollywood or from fear-based religious groups. Let’s pull back the dark curtain that shrouds the occult arts to discover how supernatural elements can contribute to a mystery novel’s plot.

What Does “Occult” Mean?

First of all, the word “occult” simply means hidden, as in hidden knowledge. For centuries, people who practiced the occult arts had to hide what they knew and practiced in order to avoid imprisonment, torture, and murder at the hands of misguided authorities. They formed secret societies sometimes known as Mystery Schools, passed down wisdom through symbols and oral tradition, and wrote in secret code.

Yet occult ideas and practices––witchcraft, divination, spellcasting, incantations, and magic potions––continue to fascinate us to this day. Perhaps the most famous scene in literature comes from Shakespeare’s MacBeth where three witches stir a mysterious brew while they prophesy “toil and trouble” for the Scottish king. The Bard’s plays MacBeth and Hamlet also feature ghosts, and A Midsummer Night’s Dream involves faery spells and shapeshifting. More recently, J.K. Rowling’s popular Harry Potter stories have captured the imaginations of millions of young people worldwide and introduced them to some of the tenets of magic work––and its possibilities.

Using the Occult in Plotting a Story

Occult practices involve working with forces beyond the mundane, tapping into reservoirs of hidden power, and sometimes interacting with supernatural beings. Therefore, they let writers and readers step outside the ordinary limitations of a storyline. Ghosts and spirits can also expand readers’ knowledge into realms beyond the physical. In Alice Sebold’s The Lovely Bones, for example, a murdered girl shares a perspective of the crime from her vantage point on the other side.

Oracles such as the tarot, astrology, or runes can give veiled glimpses into the future. Is someone destined to die when the Death card turns up in a tarot reading? In my mystery novels What the Walls Know and The Goddess of Shipwrecked Sailors, a tarot card reader sees trouble lurking ahead for the protagonist Lizzie Crane, which adds to the stories’ suspense.

Authors can incorporate metaphysical ideas into their novels in various ways. For example:

  • Is a character a seasoned witch or wizard, or a novice dabbling with forces she doesn’t understand, like the Sorcerer’s Apprentice?
  • Does a character pursue a metaphysical path that leads him to a discovery or danger? How does he grow from this experience?
  • If this is a historical novel, what local customs, religious beliefs, and laws affected occultists at that time? Are historical events, such as the Salem Witch Trials of the early 1690s, worthwhile additions to the book?
  • Do nonphysical entities influence a character’s decisions, aid her in solving a problem, or guide her into a realm beyond the physical one?
  • Does a character conjure a spell that works––or goes wrong––and takes the story in an intriguing direction?

Oh, and by the way, writing is a powerful form of magic. When casting a spell, you envision an outcome you want to create. Then you infuse it with color, action, emotion, intention, and passion. You experience it as if you’re living it right now. In your mind’s eye, you see the result as if it already exists––and you’re the Creator who makes it happen. Sounds like writing a novel, doesn’t it?

The Goddess of Shipwrecked Sailors

Salem, Massachusetts, Christmas 1925: When the heir to a shipping fortune hires New York jazz singer Lizzie Crane and her band to perform during the Christmas holidays, she has high hopes that the prestigious event will bring them riches and recognition. But the evening the musicians arrive, police discover a body near a tavern owned by Lizzie’s cousin––a cousin she didn’t even know she had. Soon Lizzie becomes a pawn in a deadly game between her cousin and her employer over a mysterious lady with a dangerous past.


Buy links

Amazon: https://www.amazon.com/Goddess-Shipwrecked-Sailors-Lizzie-Mystery/dp/1685124348

Barnes & Noble: https://www.barnesandnoble.com/w/the-goddess-of-shipwrecked-sailors-skye-alexander/1144045510?ean=9781685124342

Author Bio:

Skye Alexander’s historical mystery novels What the Walls Know and The Goddess of Shipwrecked Sailors, the second and third books in her Lizzie Crane mystery series, use tarot cards and other occult ideas to provide clues. Skye is also a recognized authority in the field of metaphysics and the author of fifteen bestselling nonfiction books on the occult arts including The Modern Guide to Witchcraft, The Modern Witchcraft Book of Tarot, and Magickal Astrology.

Facebook link

https://www.facebook.com/skye.alexander.92

Goodreads link

https://www.goodreads.com/book/show/198671880-the-goddess-of-shipwrecked-sailors

Video trailer

https://drive.google.com/file/d/1IjHJjQYpVe35nvBkMD4sMn-o2zt0skA2/view (if you can’t access it here, it’s also on the first page of my website and on YouTube at https://www.youtube.com/watch?v=kgCT41caKrs

Guest Blogger ~ Sandra Gardner

A Mystery is a Puzzle       

The basis of a mystery story is a puzzle. There’s at least the main puzzle, and maybe even one (or two more) contained in the story as subplots – smaller plots generally connected to the main story.

Your job as a mystery writer is to start with a scrambled mess, the way it looks when you dump the pieces out of the puzzle box. There’s a body, an attack, a disappearance, etc.  Somebody — or maybe more than one somebody — is guilty. But who could it be: the wife, the husband, the girl/ or boy/ friend? Or maybe it’s someone who owes money to someone else.

As the story’s writer, you need to make the pieces fit together by the end of the story. So, you begin to work it out on the page. But sometimes what you thought would work, doesn’t, and you have to toss the pieces back in the box and start again. You take a different approach or look at your story from a different angle. You might change the POV (point of view) from first to third person or vice-versa, or multiple POVs. A warning about multiples: This is difficult to manipulate and sustain, so probably not a good idea for a new mystery writer. You might change tenses from present to past, past to present; use flashbacks or a prologue to set the scene.

A word about red herrings: For example, just when everything points to a certain person, that person turns out to be a cop. Or was somewhere else at the time of the murder. Or ends up as the next victim.

Used judiciously, red herrings can give the story more tension. You want to keep upping the tension, so that when the reader thinks everything (the pieces) looks like they’re going to come together – bang, the whole thing falls apart. There’s another crime — an attack or a murder. First this person looks guilty. Everyone is terrified, each person suspects everyone else. Take a look at an Agatha Christie Poirot mystery. In many of them, Poirot gathers everyone together and points out how each person could be the guilty one, before he finally reveals the real killer. Or in at least one Poirot story, there’s more than one guilty person.   

Here’s a confession: I’m terrible at jigsaw puzzles, being one of those people who process information auditorily, rather than visually. But I’m good at the crossword kind, which, when you think about it, isn’t too different: Here you have blanks that need to be filled in and have to fit together to solve the puzzle.

Another confession: When I begin writing, I don’t know how the puzzle will work itself out. I have to wait until my characters tell me, in their thoughts and actions. So I just wait. And listen.

There are usually plenty of clues. But reader, beware. Just like in a jigsaw puzzle, what first looks like it will fit, might not.

The Murder Blog

Philomena Wolff was 17, walking home from school with her best friend, when her friend disappeared, ending up as one of several young women abducted and murdered in upstate New York by a clever killer who eventually disappeared from the area.

Philomena was terrified that the man caught a glimpse of her when he took her friend.

Many years later, young women have been ending up dead again.

Philomena, now an investigative reporter, hosts a crime-solving blog, “Who Killed Who?” With the help of her friend, a psychic gravedigger, her friend’s boyfriend, a P.I., and the blog’s readers, Philomena is on a mission to hunt the killer down. Her readers are with her. But so is the killer, posting vile notes and vicious threats on the blog.

Could the killer be the same one who murdered her friend long ago, trolling for more young women – and Philomena?

Buy links: https://www.amazon.com/Murder-Blog-Suspense-Novel-ebook/dp/B0CK9RVT9V

https://www.barnesandnoble.com/w/the-murder-blog-sandra-gardner/1144100569?ean=9781685133450

Sandra Gardner is the author of seven traditionally published books: four novels and

three nonfiction books. 

         Gardner’s new suspense novel, The Murder Blog, was published by Black Rose Writing in December 2023. Her last two novels — both mysteries — Dead Shrinks Don’t Talk and Grave Expectations were published by Black Opal Books in 2018. A coming-of-age novel, Halley and Me, won the Grassic Short Novel Prize from Evening Street Press and was published in 2013. Her nonfiction books include Teenage Suicide (Simon & Schuster); Street Gangs (Franklin Watts); and Street Gangs in America (Franklin Watts). Street Gangs in America received a book award from the National Federation of Press Women. Previously, she worked as a journalist and was a contributing writer to The New York Times.

https://sjgardner6.wixsite.com/mysite

Author Central: https://author.amazon.com/home

Author’s Den home page: https://.Authorsden.com/sandragardner

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Guest Blogger ~ M. E. Proctor

The Long and Short of It

If writing a novel is a long-lasting love affair—and it better be passionate because there’ll be a lot of time spent in close quarters—what are short stories? A brief encounter burning bright, a summer romance, a little walk on the wild side … It sure feels like that for me at times. Short fiction is a gulp of fresh air after completing a book draft, a welcome reprieve from obsession, and a new way to look at writing when the work-in-progress leaves me so cross-eyed I don’t see anything anymore.

Short stories are like stretching exercises. Tension is released, relaxation ensues.

A character pops into my head, a place triggers an image, a memory surfaces, a sentence rings true, and an idea is born. Could it turn into a book? Maybe, and some have grown wings and gone the distance, but not all stories deserve a 300-page treatment. Often their strength is in the instant. Their intensity cannot be sustained without dilution in a full-length narrative.

“Rabbits”, one of my favorite stories in the Family and Other Ailments collection, is a good example. It is told from the perspective of a twelve-year-old boy who blanked out a dramatic event. We meet him when he starts remembering. There’s fear and confusion, and a growing sense of panic that is more acute and more immediate for being at the core of the story instead of distributed over book chapters.

I love the spontaneity of short stories, and the best ones are written in a feverish rush with very little rework. They scream to get on the page. I often go back for inspiration to Ray Bradbury, who knew quite a bit about short fiction. One of his quotes is printed in my brain: In quickness is truth. The faster you blurt, the more swiftly you write, the more honest you are.

I can ponder a scene in a book for days, finetune and rewrite it endlessly. That kind of needlepoint doesn’t work for my short stories. The struggle doesn’t improve them, it tends to suck all the life out of them. My files are full of false starts and abandoned fragments. No regrets, they just didn’t make the cut.

Then there’s the guilty pleasure of genre-hopping. I write mostly crime, both in short and long form. The rules of the genre are infinitely flexible and accommodate pretty much everything. Yet, sometimes I feel myself slipping into horror or science fiction. I have a soft spot for cool vampires and conflicted androids. They would not fit in my contemporary detective series. Or I may decide to take a stroll in the 1950s because I’m a sucker for fedoras and hardboiled dialogue. Short fiction is like a pastry shop. All these colorful macarons. And there’s no sin in wanting to sample them all.

There are twenty-six tasty treats in my short story collection, Family and Other Ailments. Have a bite and tell me which one makes you want to come back for seconds. The main character of the book’s title story has already earned a return engagement. In a book.

Family and Other Ailments – Crime Stories Close to Home

Blood ties. The family we’ve been given, the friends we make, the loves we keep, and those we lost. The twenty-six stories in Family and Other Ailments (Wordwooze Publishing) teeter on the brink, hover at the periphery or even the possibility of crime.
The collection opens with “Spy Head,” a tale of friendship after a crushing trauma. In “Texas Two-Step,” brotherhood leads to a wicked double-cross. “Razorbills” shows a young woman seeking freedom from the prison-like caring of her sibling. “Black and Tan” slips into domestic horror, as does “Mutti,” with a hint of the fantastic. “Hour of the Bat” and “Bag Limit” are deep woods Texas noir, while “A Head for Numbers” and “No Recoil” go west, to the stark unforgiving beauty of the desert.

Buy Links:

Family and Other Ailments is available in eBook, paperback, and audiobook.

All links are accessible here: https://books2read.com/u/3Lx0v5

From reviews:

“Channelling distinct voices, subtle humor, and endings that plant a fist in your gut, Proctor’s Family and Other Ailments is a terrific collection of crime, suspense, and fear. The tales are carefully calculated, with each scene, each piece of dialogue building to that oh so important final strike: a crescendo point that leaves the reader jarred.”

M.E. Proctor was born in Brussels and lives in Texas. Her short story collection Family and Other Ailments is available in all the usual places. She’s currently working on a contemporary detective series. The first book comes out in August 2024 from Shotgun Honey. Her short fiction has appeared in VautrinBristol Noir, Pulp ModernMystery TribuneReckon ReviewBlack Cat Weekly, and Thriller Magazine among others. She’s a Derringer nominee.

Author Website: www.shawmystery.com

On Substack: https://meproctor.substack.com

Facebook: https://www.facebook.com/martine.proctor

Twitter: https://twitter.com/MEProctor3

Guest Blogger ~ Erica Miner

Prelude to Murder: Bringing Murder and Music Together

Everything about my journey to the mystery genre was connected to my love for writing and my life as a violinist with the Metropolitan Opera in New York.

Though I had played the violin most of my life, I had started writing before I began studying the instrument. In grade school, at the age of 7 or 8, I was placed in an afterschool program for Creative Writing. I don’t remember much of what I wrote (it was about 100 years ago!). But I do remember loving the entire process: creating characters and plot lines and weaving them all together to tell stories. Then I discovered I also had a talent for the violin. That fiendishly difficult instrument monopolized my creativity, though my passion for writing never left me.

Eventually I ended up in the orchestra of the most prestigious opera company in the world, where I was part of a uniquely exciting, glamorous subculture. What I hadn’t anticipated was the hotbed of intrigue behind that famous “Golden Curtain”—an operatic Tower of Babel with clashing egos, rampant jealousies, and nefarious happenings. I then realized an opera house was the perfect place for mischief and mayhem. Why not bring murder and music together in that milieu? My Julia Kogan Opera Mystery series was born.

When it comes to the old adage “Write what you know,” I was not immune. My main character, Julia, is a young violinist much like me when I first started out at the Met: a starry-eyed neophyte who knows nothing about the backstage conflicts that take place between the fascinating but maddening characters who work there. In the first book of the series, Aria for Murder, on the night of Julia’s debut performance at the Met, an unthinkable tragedy occurs, and suddenly she becomes entangled in a murder investigation. Julia’s sleuthing makes her the target of the killer, and she uses her own ingenuity to survive.

There was little research involved in my Met Opera mystery, since I had been there for 21 years; but Prelude to Murder, the recently released sequel, takes place in a totally different atmosphere: Julia goes off to the desert to perform with the Santa Fe Opera. I had never been to Santa Fe, so I visited the area to do copious amounts of research on its history and culture. It was a revelatory experience, and the book is infused with rich details. Of course, no sooner does Julia arrive in Santa Fe than operatic chaos ensues, and she finds herself involved in yet another murder investigation, this time with the added element of Santa Fe’s ghostly activity. Her wits carry her through, and in Book #3 she goes to San Francisco for more operatic mayhem.

Though I find the mystery genre the most difficult to write, it also is the most challenging. The potential for murderous intrigue against the background of a theatre, where the turmoil behind the scenes is often more dramatic than what occurs onstage, is limited only to the number of opera houses in the world—and to my wicked imagination.

Prelude to Murder

Young, prodigious Metropolitan Opera violinist Julia Kogan, having survived her entanglement in an investigation of her mentor’s murder on the podium, and a subsequent violent, life-threatening attack of a ruthless killer, is called upon for a key musical leadership position at the Santa Fe Opera. But at the spectacular outdoor theatre in the shadows of the mysterious New Mexican Sangre de Cristo Mountains, she witnesses yet other operatic murders, both onstage and off. Dark and painful secrets emerge as, ignoring warnings from her colleagues and from Larry, her significant other, Julia plunges into her own investigation of the killing. Ghostly apparitions combine with some of the most bloody and violent operas in the repertoire to make Julia question her own motives for searching for the killer. But this time the threat to her life originates from a source she never would have imagined.

Buy links:

Amazon: https://www.amazon.com/Prelude-Murder-Julia-Kogan-Mystery/dp/1685124429/ref=monarch_sidesheet

Barnes and Noble:

https://www.barnesandnoble.com/w/prelude-to-murder-erica-miner/1144067662?ean=9781685124427

https://www.thirdplacebooks.com/book/9781685124427

After 21 years as a violinist with the Metropolitan Opera, Erica Miner is now an award-wining author, screenwriter, arts journalist, and lecturer based in the Pacific Northwest. Her debut novel, Travels with My Lovers, won the Fiction Prize in the Direct from the Author Book Awards. Erica’s fanciful plot fabrications reveal the dark side of the fascinating world of opera in her Julia Kogan Opera Mystery series. Aria for Murder, published by Level Best Books in 2022, was a finalist in the 2023 Eric Hoffer Awards. The second in the series, Prelude to Murder, published in 2023, glowingly reviewed by Kirkus Reviews (https://www.kirkusreviews.com/book-reviews/erica-miner/prelude-to-murder/), finds the violinist in heaps of trouble in the desert at the Santa Fe Opera. The next murderous sequel takes place at San Francisco Opera. As a writer-lecturer, Erica has given workshops for Sisters in Crime; Los Angeles Creative Writing Conference; EPIC Group Writers; Write on the Sound; Fields End Writer’s Community; Savvy Authors; and numerous libraries on the west coast.

https://www.facebook.com/erica.miner1

https://twitter.com/EmwrtrErica

https://www.instagram.com/emwriter3/

AUTHOR WEBSITE:

https://www.ericaminer.com