Category: Janis Patterson

Confessions About the Covid Crazies

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by Janis Patterson

How are you surviving the Covid lockdown, which – thankfully – is finally fading away?

While my office is in my home and I don’t go out too much in normal times (which, please Heaven, are finally coming back!) just the idea of not being able to go out or have any place to go to have driven me crazy. Crazier.

For the first time in many years I am not face-up against a deadline, usually multiple deadlines, which come racing at me like an express train. Well, I do have one, but it isn’t until October, and the way this year has been going who of us is positive there is even going to be an October this year?

And that’s why this post is so frightfully late. I forgot until last night, when the lights were out, our goodnights said and The Husband had drifted off to sleep. Suddenly I remembered and sat bolt upright, gasping at my unprofessionalism. Dragged from sleep he wanted to know what was wrong, but when I told him he merely snorted and said to go back to sleep. The sad thing is I did, which is very unlike me. This lockdown has activated my inner sloth – I chose the sloth as my spirit animal a few years ago when a prolonged bed rest was dictated while recuperating from a surgery, and the wee little beastie has played havoc with my work ethic ever since.

One good thing about this lockdown is that The Husband is only working half weeks – 2 ½ days – and this makes a perfect rehearsal for when he retires in the not-too-distant future. One thing I’ve learned – he is ignorant of the writing process, as I do 95% of it when he’s not here. Plus, he’s a science person, not a word person. I’ve been writing in our den for years, and not too long ago made the decision to turn the guest room into my office, a task about which I have been distressingly dilatory. I need to get on it NOW, so when he does retire fully I can retreat in there. I’m working on it every day, and trying to decide whether or not I can install a moat.

Plus, during this time of plague I have been slowly morphing from a writer who works at home into a housewife, a strange and alien creature I have never been before. I’ve been excavating the dining room (verb chosen deliberately) and for the last three days sorting through ancient tax papers that go back to 2007. So far The Husband has taken two enormous tubs of old papers to his office to shred in their commercial shredder.

I won’t bore you with tales of the strange wonders I’ve found during this time of excavation, but I did find my iron which I lost several years ago. It’s a fine example of cleaning making more work for you, because now I’m going to have to go to the trouble of losing it again, and do you know how hard it is to lose an iron?

Well, the clock is ticking (yes, we still have one that ticks, a Seth-Thomas kitchen clock that was a wedding present to my father’s parents in 1899) and I need to get this posted. I hope you all – assuming you have read this far – are safe and well and all in your world is good. Please take care of yourselves and believe we will get through this. At least, I hope so, because housework is making me crazy! Crazier.

Where? When?

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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.

We Are The Other?

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Janis Patterson

In these tiresome days of Political Correctness and ‘woke-dom’ there is a small battle raging about using italics for non-English words in book manuscripts. “It is divisive,” shriek the PC crowd. “It fosters other-ness and is not inclusive.”

Well, duh!

When speaking of a book written in English for the use of an English-speaking audience, of course the writer should use italics for foreign words and phrases. The words are foreign words, not English words – they are ‘other.’ Italics show that. It’s not divisiveness, it’s clarity, showing the reader that this is a different language. Some words in other languages are spelled the same but have wildly different meanings. (For example : douche (French) and douche (English) while having the same familial root are totally different things.) Without italics to differentiate what is English and what is another language, the reader can be confused and pulled out of the story to puzzle it through, and no writer wants that. Of course, that homophonic mayhem happens in all-English books, too – if I read one more story that mixes up ‘grizzly’ and ‘grisly’ that book, like a number of others, will end up smashing against the wall. Words are the tools of the writer, and one should learn to use one’s tools properly. To do less is to disrespect both the art of writing and the intelligence of the reader.

To make things even more confusing, the PC crowd applauds the use of a bunch of weird self-chosen pronouns that a small portion of the population uses to describe themselves which, while doubtless emotionally satisfying to them, are linguistically and societally bizarre. How can there be anything else but a deliberate ‘other-ness’ when an individual refers to him/her/itself as ‘they’? Talk about mixed signals!

Of course an individual has the right to call themselves anything they like; that is freedom of speech in its purest form and is guaranteed under the First Amendment. Those who want to use the ‘new’ pronouns are most definitely free to do so, but no one has the right to demand that everyone else use them, most especially in a written format. The result is a linguistic minefield.

The essence of language is communication. Language is nothing but a collection of sounds and syllables to convey ideas, but it only works if everyone understands what those sounds and syllables mean. This is especially true for writers, for they must communicate by written symbols only, without the supporting means of vocal intonation and facial expressions.

Can you imagine the delicious confusion (or might it be deliberate obfuscation?) in a mystery when a single individual obviously speaking in the first person refers to himself as ‘they’ or ‘we’? How does the poor confounded detective/sleuth react, especially if he is not up to speed on this linguistic trend? That could almost be a subplot in itself.

Conversely, the essence of communication – especially for writers and the written word – is language. We need the same reference points, the same starting points for efficient interaction. Standard linguistics offer this universal base. If a non-English word in an English language book is italicized, everyone knows it is not English, even if it is identical in spelling to an English word with a totally different meaning. If a writer uses the ‘new’ pronoun structure, he’d better have a really good reason that forwards the story or risk confusing and perhaps even alienating his readers.

Years ago someone coined the phrase K I S S – Keep It Simple, Stupid (or Silly, depending on to whom you’re talking). It’s still good advice. Good communication is simple, and the foremost tool in the writer’s toolkit.

 

Personal Note – if you have been a reader of this blog for a while doubtless you have been accustomed to seeing my picture with blonde hair. It’s red now, both in the picture and on my head. I finally decided that it would be a charitable act to give the general populace a warning label.

Clothes Make The… Really, Clothes Make Me Crazy

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SAD NEWS

Well, I had been afraid of this… the American Research Center in Egypt has just announced that because of the Coronavirus situation the 2020 Conference has been cancelled. That’s all the official email said. I’m going to have to reach out to my team at National headquarters to find out how/if/when/whatever this affects the auction. I am heartbroken, but cannot see any other resolution to this situation. I’ll keep everyone appraised of what transpires. Sigh.

 

by Janis Patterson

I like a pretty outfit, sure, but I’m not one of these obsessive types who reads fashion magazines and watches all the TV shows about what’s new.

So why am I sitting here wishing for my very own personal wardrobe coordinator?

Because I NEED one, and right now.

It’s all ARCE’s fault. The Husband and I are preparing to go North (Toronto is a long way North from Texas) to attend the American Research Center in Egypt International Conference. Originally we had planned not to go, as Toronto isn’t very high on our ‘must see’ list, but once my book contract with ARCE was agreed upon, finalized and signed (nine months in the making) we simply have to go.

This is a first for both ARCE and me – they have never worked with an author on fiction before, nor auctioned off character naming rights in a novel, and I have never written a book where three people have bid (hopefully a lot of money!) to have their name put in the book as a secondary/tertiary character. It’s going to be interesting!

However – writing the book is something I can do. I’ve done it many times before, and if I have three characters whom I did not create to do honor to, so be it. This is my gift to a scholarly organization with which I have worked happily for almost 30 years.

So what is the problem?

Basically I am a simple person. Like a lot of writers I spend my days alone in my office surrounded by all my invisible friends, usually wearing comfy sweats or t-shirts and shorts, depending on the season, or occasionally my nightgown. Obviously I don’t get dressed up very often.

The Toronto conference is going to be different, though. Part of my job is to talk up the book project and convince the attendees to bid, bid often and bid high. I’m officially the Glamorous Author, which means I have to dress the part. During the day I have to appear glamorous but businesslike, so there will be lots of blazers, slacks and boots. (I don’t do pantyhose. Ever!)

There are going to be parties every night, which means at least four evening outfits. Luckily I saved all my ‘sequiny’ party clothes from the time I was a SAG/AFTRA talent agent, and they’re all old enough to be back in style, so it’s just a matter of figuring out which jewelry goes with what. You all know I’m a hopeless jewelry junkie, so accessorizing is a real consideration; black evening sandals, a plain black faille evening clutch – easy peasy. Jewelry… now jewelry is important! Do I wear the rubies with the red and black sequin jacket, or the fluffy black silk dress, or the spangled red lace blouse? The gold bracelet or the rutilated chunky quartz? Jet drop earrings or simple studs?

See why I need a wardrobe coordinator? There are so many things I could be worrying about instead of what necklace goes with what dress. However – I don’t have a wardrobe coordinator, so I’ll just have to do the best I can. That’s why I spent most of this afternoon with a pen and small notebook putting one entire outfit – earrings to shoes – to a page. Every outfit sounds good on paper; it’ll be interesting to see if my notes translate to reality.

I’d rather write a book any day. It’s easier.

If you’re curious about how these outfits end up, I’ll be posting photographs of most of them on my website in the second week of April, a couple of days after the conference ends.

Confession Of A Pixelated Writer

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by Janis Patterson

When I first started writing computers were the stuff of science fiction and cheesy space opera movies. If you wanted to write a book, you either wrote in painful longhand, talked into a recorder for someone else to transcribe or typed it yourself on a typewriter. Just to set the record straight I learned to type on a Smith Corona manual portable the summer before I entered the fourth grade and have regarded any kind of handwriting more than a simple signature as cruel and unusual punishment ever since!

Now, of course, like most everyone else I use a computer. It’s faster, it’s easier to edit (I remember in the old days when ‘cut and paste’ meant exactly that!), there’s no need for multiple filing cabinets to hold different versions of different manuscripts, you don’t have to go scrabbling for cheap or even pre-used paper to use for rough drafts, there’s no need to do a complete retype in order to have a clean copy… all in all better. A single thumb drive or dvd can hold every version and every note or bit of research on several novels. Several filing cabinets’ worth of data can be held in a small box on your desk.

So why isn’t my house neater?

I digress…

Since I still tend to mistrust technology, I not only keep dvds of my projects in my desk and in the safety deposit box, I also have them in cloud storage and… wait for it… in a paper copy. Yes, I know what I just said about paper, but this is different. I print out a copy of the final manuscript using both sides of the paper, the narrowest margins I can manage, single-spaced and in a tiny type – 8 or 9 point – not so large as to be bulky, but still able to be retyped if the unthinkable happens. This can reduce the biggest book to a manageable size. Then I drill the manuscript and put it in a 3 ring binder, along with a dvd (yes, that’s 3 copies per book on dvds), a photocopy of my contract (the original is in the safety deposit box as well as scanned to my computer), and any other ancillary things specific to the book. Usually I can get 3-4 novels or 6-8 novellas in a ring binder. It’s a lot smaller than a couple of file cabinets!

I have been writing for a long time, which means I have a lot of partials, multiple copies and extras of all kinds of manuscripts. My husband and I are living in the house where I grew up, and boxes of old manuscripts are still turning up in the garage and attic. I think they’re breeding.

Still, I hate to lose any of my work, even if it’s juvenile or unfinished or just plain unworkable, so I scan what I don’t already have copies of. Then, once assured that I do have a record or that the manuscript I just found is one of many duplicates, I split the pages in half and stack them up for notepaper.

For someone who hates to handwrite, I use a lot of notepaper. Have a quick idea for a cute or a scary scene? A great idea of a different way to do murder? A reminder of an appointment? An appealing name that may fit a character in a future project? Whatever? I scribble it down and affix it to a huge corkboard against the wall. When it starts to resemble some weird sort of scaled creature I do have to go through that board and pare it down. The paper recyclers just love it when that happens…

So, even though I am an admitted techno-naif with only the sketchiest kind of détente with technology, I have to admit that the computer has made this writer’s life much more simple. I have no choice but to do so. I sold all my filing cabinets.