Starting Over Again… Again


by Janis Patterson

If at first you don’t succeed, try, try again.


The definition of insanity is doing the same thing over and over again and expecting different results.


Small wonder we’re all confused.


I am a writer… and that was not a conscious decision. I am the third (or fourth, or perhaps even fifth – the family history is sometimes a little vague) generation of a wordsmith family. Writers, teachers, editors… they festoon the branches of my ancestral tree like sweet fruit. Obviously I didn’t have a chance to be anything else, as words are encoded into my DNA.

At the age of four I wrote – and illustrated and published, using a #2 pencil, typing paper and white sewing cotton to stitch it all together – my first book, of which the entire family was very proud. It was a timeless tale of several children walking home from school through the park where they captured a lion which had escaped from the zoo and still got home in time for dinner. I had a melodramatic imagination even then.


So – you’d think with such a strong genetic disposition and a supportive family by now I’d be on the top of the writing heap, wouldn’t you? Consistently on all the best seller lists, two major book tours a year, lots of tv interviews, maybe even a castle in France… Didn’t work that way. Even with over 60 books to my credit (there are more, but we don’t talk about them) I’m still clinging by my fingernails to the bottom of what used to be called the mid-list.


So what happened? In a word, Life. While I will pit my wordsmithing skills against any and all, Life – sometimes called the blind villain – does happen. After selling my first two novels (New York was all there was in those days) I fell in love and followed a false path that did not end well. When I came back to writing the editors I had known had found other pets and though I still had a good reputation and could of course write very well, I had to forge new relationships.


I sold a few more books, then my father entered the lengthy downward spiral of his final illness. As there was only my mother and me and both my parents were then considered almost elderly, I spent more and more time helping her with his care and writing slipped to a less and less important position in my life. Then when he finally passed away there was another half year of keeping my mother together. They had been a very devoted couple.


My editors had been very kind and understood my problem and tried to work with my situation, but we both knew they had slots to fill and schedules to follow and services to coordinate… and while the door was never closed to me, it swung to a very narrow entrance.


And did I mention that during this long stretch of time I was working a very demanding full-time job?


Time passed. I wrote, made still more new contacts and sold a few books. I still had a good reputation, though by now I was pretty sure whenever my name was mentioned it was prefaced with ‘poor’…


Several years passed in this pleasant semi-stasis. I sold several books, never enough to justify quitting my job, though, and when my job dissolved I went into a series of other, very unusual jobs, not career stuff but some were fun and they kept the lights on. I kept writing, though, because I am a writer.


Then my mother fell suddenly and disastrously ill and my world changed. Writing had to go totally by the wayside. Suddenly I was not just looking after Mother, I was working two jobs, and occasionally a third one as well, because she had something rather exotic and strange, and nothing but experimental medicines would budge it. Experimental medicines are expensive, and most of them were not covered by her insurance. This went on for almost ten years.


During this time, though, fortune did smile on me, because I met my husband and married. Then mother passed away three weeks after the wedding, and I went totally off the rails. It had been just her and me for twenty years. My poor husband deserved better, but he was and is my rock.
Until some five months after Mother’s death, when he was deployed overseas. (He’s an officer in the Navy, thankfully now retired.) When he asked me what I was going to do while he was gone I murmured something vague about getting a job, but he shook his head. All I had ever talked about doing that I really liked was writing, he said, so perhaps I should go back to writing.


Could I? I didn’t know. I thought about it long and hard. The long empty days wore at me, though, and the siren song of words, of creating worlds and populations out of nothing but caffeine and imaginations worked their magic on me. so I dusted off my laptop and began again.


He was gone a year, and when he returned I had sold two books – both to small publishers, as my cred in New York was totally gone. The editors I had known there had either been promoted to the stratosphere, vanished completely or died. Sigh. It was writing.


This was the beginning of the era of self-publishing, and with no little qualms I began to investigate, eventually ending up with my own publishing imprint, a freelance crew with skills that would rival those of any NYC publishing house. I reprinted my old books as they came back to me, did a book or two a year with a wonderful small press and released at least one new book a year.


At last, I thought, things are finally going my way. It’s been a long time, but I’m finally on the way up!
Humph! This past July my husband and I were at a Grand Ball, the conclusion of a convention which we always attend. I was so proud to be wearing the beautiful gold-embroidered dress we bought earlier in Cairo… and just as the dancing started I passed out cold.


Things went downhill from there. EMTs. Ambulance. Emergency room, then straight into surgery for a massive blood clot blocking my renal artery. Barely in recovery when suddenly a team of doctors ran in and snatched me back into the operating theater. Apparently either the clot had split, or there had been two of them. The doctors said nothing, but I heard my nurses whispering amongst themselves that I had died for well over a minute on the table. The writer in me stewed – one of the seminal events of life itself, an event people have discussed for millenia – and it actually happened to me, but I was under deep anesthesia and don’t remember a thing about it!


After a week in the hospital I came home, and moved into my own bed, where I didn’t move for weeks. Writing? I was doing good to eat. And six months later I’m still not up to speed. My own doctor said I was a bit long in the tooth for such extreme things. I told him it wasn’t my choice, and promised to be better. And I have been, sort of. Yes, we did take a Christmas Market tour of Southern Germany, a costly and long awaited trip and I was most definitely not going to deprive the husband, who had looked forward to it for months.


A fascinating but exhausting trip. I probably shouldn’t have gone, but I did and I survived it, even if I had to be wheelchaired off the plane and to the taxi. One small bright spot is if I do a story about it the entire trip is tax deductible. But I haven’t written a word in over six months. There are half-finished projects languishing on my computer which I cannot remember at all.


And so I am back to starting over. Again. Will I do it? That’s a dumb question. Of course I will, whether I choose to or not.


I am a writer.

Are You Listening to What They Are Saying?


by Janis Patterson

Books are a widely varying commodity. Some are so wonderful you could live in that world forever. Some are so bad you don’t even try to finish them. Most fall somewhere in the middle. Right now we’re dealing with a new kind of book, a kind of zombie product written by the abomination of AI and released by the overwhelming hundreds. Luckily – for now, at least – they are recognizable primarily for their lifelessness.


So what is it that binds these widely varying standards together – good, bad and zombie?


There are lots of things, but I believe a lot of it is dialogue. Good books have the characters speaking as if they were real people – not interchangeable cardboard cutouts. Of course, this is occasionally a rule that can be tweaked. In a futuristic sci-fi populated with human-android characters, the speech patterns and word choices would be different than in a light-hearted Regency romance, and each choice should be congruent not only with the time and setting of the book, but with the status/occupation/ethnicity of the individual character.


For an only slightly exaggerated example, everyone is familiar with the slave Prissy’s exclamation during the battle of Atlanta sequence in Gone With The Wind – “I don’t know nothing ‘bout birthing no babies.” As offensive as some modern readers might find it, her heartfelt cry is commensurate with her time, her status and the situation of the scene. Just imagine how jarring it would be if she were to say : “Good gracious, Miss O’Hara, I am completely ignorant of the processes involved in delivering a baby.” That would pull the reader right out of the scene. To a large extent, language equals character.


And the principle doesn’t really change no matter what the genre, though the actual words probably will. In a hard-boiled detective story, a police sergeant is not going to speak the same way as a career petty thief. In a western, a wealthy rancher with political aspirations will sound different from a brow-beaten saddle tramp. In a Regency romance a high in the instep duke will have a completely different vocabulary and range of meaning than a poverty-stricken dock worker. In a contemporary romance sometimes the difference will be less blatant, mainly because of the ubiquity of books and television acting as influencers, but there will be noticeable differences.


Just to make the convoluted even more so, know that all the above can be overridden if the plot demands. Perhaps the duke is working on the docks to find out who is stealing his fortune or something. Perhaps the weary saddle tramp is really a Pinkerton man out to investigate the rancher whom he thinks is really setting himself up as a dictator. Perhaps…. you get the idea. Confustication upon confustication. But you must play fair with the reader – not by telling him from the outset what is going on, but by allowing him to listen to the various people and find out the truth for himself.


Language equals character.


And if you’re writing a hard sci-fi about three-eyed, blue-skinned Orychiks from the Dyinolive galaxy with no humans involved you’re pretty much on your own… just remember that in almost every society the ‘elites’ (for want of a better word) speak differently than the ‘hoi polloi’ (again for want of a better word) primarily as a matter of status. I think this need for distinction, for individuality (even in a herd sense) is hardwired to people’s/being’s innermost self. Even among most animal species there is a distinct pecking order.


Just remember two things – language creates and showcases character, and you must play fair – enough that the reader can follow along with you and understand, even if you do pull a few tricks along the way.

You Want to Know What???

by Janis Patterson

Am I weird? (Wait – don’t ask my husband that – we all know what he’ll say!) But regarding writing, I think I really am totally out of step.

Got an ad this morning from yet another one of those proliferating ‘publicity’ sites offering a new site/protocol/scheme for publicizing my books and ‘helping me to personally interact with my readers.’ I don’t get that. Yes, I know the lifeblood of a book is publicity, and I’m willing to pay for that, but interacting with my readers on a personal level? Really?

I don’t want to interact with my readers and turn them into friends. I have a lovely bunch of friends, some of many decades’ standing, and don’t need nor particularly want to make loads of new friends ‘with whom I can share things’ – especially not through the mechanical grist mill of the internet. I don’t see why my readers would want to talk about – or even be particularly interested in – my private life. My biography is on my website, and it covers everything, if not a little more, about me than any reader should want to know.

What difference is it to the readers how I take my coffee or what color my kitchen curtains are (or if I have curtains in my kitchen at all!) or what I name my pets? How does knowing that affect their enjoyment of my books? Or, more to the point, what business is it of theirs? They are buying my books, but should that also give them access to my private life?

One thing that these ‘I really want to know the real you’ type readers never seem to accept is that the time spent with them discussing pets, kitchen curtains, coffee or any other personal thing is time taken from my writing the next book. ‘Oh, but I’ll only take a little bit of time,’ they croon, ‘I don’t want to bother you…’ without realizing that if I spend ‘a little bit of time’ with everyone who wants a piece of my life all my writing time will be gone and there will be no more books, as I refuse to sacrifice a moment of my family/home time for anything on this earth.

Why is being privy to another’s life – another whom you will probably never meet in person or have a real relationship with – considered so important? Isn’t it my stories that caught their attention to begin with? Why can’t they be satisfied with them? It’s none of their business how I drink my coffee or decorate my house or anything else.

I write the books. They buy and read the books. That is the basic equation, and is all both writers and readers should need.

And although the holiday is over, my new anthology THE FOURTH OF JULY MURDERS is still available on Amazon… Four authors. Four murders. Four wars. It’s great fun!

Following Through

by Janis Patterson

There is not much about writing in this post. Actually, not much about anything. Remember last month when I posted about the necessity and occasional dangers of researching? Well, I put my money (and lots of it this time!) where my mouth is.

As you read this I am – if our somewhat fluid itinerary is accurate – bouncing along in a jeep somewhere in the desert between St. Catherine’s Monastery in Sinai and Petra in Jordan. Am I researching a new book? Probably, though that was not the intent of the trip. However, I can do research on a book with a trip to the grocery store, so that’s not surprising.

No, my husband and I have decided to spend as much time as we can traveling – while we can afford it and are still physically able. I know it’s a luxury, but we’ve both worked hard all our lives and it’s something we want. And we don’t want to miss a chance to fulfill our dreams just because we got lazy.

We started a few days early in Cairo, to visit both a few of our favorite spots and to see old friends, then joined the small group of pilgrims to go on to the Dead Sea. I’ve been there before, and it is still as much of a moonscape as I remember. Then to the fabled St. Catherine’s… ah, but I’m telling too much. Next month I’ll talk a little about my trip and show a few pix. There will be more of both on my website, though, if you want to see more!

And – just a bit of writing news. I’m part of a new anthology called July 4th Murders – where every story takes place on July 4th, but each in a different time period. It’s a fascinating concept and one of which I am proud to be a part. I’ll let you know the exact date it goes up for pre-order.

After we get back from Petra, though. That’s been on my bucket list for years, and I intend to enjoy every second of it!

Research, or the Lure of the Rabbit Hole

by Janis Patterson

There’s nothing more frustrating than a novel which mangles history. Unless, of course, it is alternative history (at best a bastard genre) and clearly labeled as such. What raises my ire is when someone writes what is purported to be historical fiction but has such factual clangers in it as to stop the reader cold. My favorite example of this is from a contest I judged when a Regency hero – handsome, wealthy, arrogant as all of them are – pulls a fountain pen from his pocket to sign some important document.


Really? A fountain pen?


The bladder fountain pen that we all know wasn’t invented for at least fifty years after the Regency. Even the steel-tipped dip pen wasn’t invented until after the end of the Regency. Before that, writing was done with feather quills, usually goose.


Of course I dinged the writer severely for not doing proper research, and sent a rather kindly note of explanation of her low score, hoping to raise her consciousness about the necessity of research. Instead she attacked me viciously, not only in a private letter but on social media, ranting that it was an old-fashioned pen and who would know the difference anyway.


And there is the crux of the matter. Far too many people get their ideas of history from novels (and movies, and TV) and therefore as writers we owe them the honesty of real facts.


Such a high-minded ideal is not without its dangers to us, though. I was working on a fairly early Victorian Gothic where my librarian heroine had to make some ink. Now I knew she couldn’t just pop off to the allsorts shop in the village for a bottle, so I went online and looked up how to make ink.


Who knew there were so many ways to make ink? And there are so many people making it today? Well, it was a plethora of information and I started reading happily. Only thing was, I realized that some of the recipes used items to which my early-Victorian-working-in-remote-Scotland heroine would have no access. But I had to make sure of what was available, which took me to botanical sites and shopping sites and each of them led to other sites, most of which had little to nothing to do with Scotland, libraries or ink, and before I knew it hours later I was deep into the intricacies of making Scottish country cheese. Still don’t know quite how I got there, but it was fascinating.


Now I don’t know if I’ll ever need any minutiae about the making of country cheese in Victorian Scotland, but it did give me a deeper insight into the Scottish rural people of the time, their lives, their chores, their way of living. Besides, I believe that everything is useful in some way, some time, some how. Who knows when some snippet of rural Victorian Scottish life/mores/cheesemaking – or something influenced by them – will show up in a totally unrelated story? It’s one of the dangers and the magic of writing!


Doubtless by now you have figured out that I like research. And, having an inquiring (some say nosy) mind, I must admit I do. It’s one of the most fascinating things in the world. And one of the most dangerous. It can take hold of a story, turn it every way from up, then hand it back to you in a form totally different from the way you originally envisioned it. Or, if you are strongminded enough to corral your story to its original form, those little snippets of research are still there, adding depth and shading – and an occasional surprise – to your story.


A prime rule of good writing is Do Your Research. Another rule of good writing is Do Not Let Your Research Take Over. Usually I manage both, but it’s most definitely a delicate balancing act.