by Richard Castle, of course!
I had forgotten I hadn't mentioned this book, arrived as it did late in the year amid everything I've been doing. I continue to like this series, but I have to wonder about the editing process. Psychologists don't prescribe meds, okay? Psychiatrists do. You have to have a medical degree, which psychiatrists do (as in "MD"). Psychologists have doctoral degrees, which are PhDs—which are simple things enough to remember, and you'd think that both Jameson Rook and Nikki Heat are smart enough, and educated enough, to know that.
I think the problem here (or I should say my problem because I can't forget it), or perhaps multiple problems, is that the dual realities here (well, there are three, but let's not confuse things, because things are already confused), while mostly sliding past each other, are beginning to bump against each other. In this novel, Nikki has been promoted to a supervisory position, and using an old subplot from Castle the TV series, Rook is briefly a suspect. But that was a few seasons ago on the series, so unless you've seen every episode (which I have, I realize now), that might be a fresh twist out of nowhere. Whoever the ghostwriter is this time, he or she has done a journeyman job, and it was a good-enough read, but not great. Happy ending, at least.
Part of the malaise is because of the thorough disenchantment with the current season, which seems to be a pervasive attitude among its viewers. Castle the series just went through the first half of the season with Castle and Beckett separated for the flimsiest of reasons, and even with the guest stars (who were top rate in themselves), it seemed sad and weird. Not well organized. If you're dealing with a rom-com-dram (you can figure that out, can't you?), you can't cut out the rom-com part and then wonder why the audience is shaking their heads at dram only.
Anyway, there is speculation about the end of the series because of all this, and I assume that would mean the same about the books. One supports the other, and in the past, that's worked well. The cracks are showing now. Can the writing and the editing be brought up to snuff? Can the series be tightened and a series editor who can be kept on board be in the near future? I hope so!
Wednesday, December 30, 2015
Friday, December 25, 2015
Monday, December 21, 2015
By Elizabeth MS Flynn, writing as Eilis Flynn
I was asked to be on an authors’ panel for a local writers’ group (the Evergreen RWA chapter up in Everett, WA) recently, along with Pam Binder, Darlene Panzera, and Laura Navarre. It was definitely an honor to be on a panel with these authors, that’s for sure. Since these days I’m spending more time editing (because that’s where the money is, and since it’s the full-time job right now, thank goodness for that!) and writing as a sideline (since the rights to all five of my non-self pubbed books are back in my hands), my replies were a little more of the editor/author side versus author/editor side.
1. Do you have an agent? If so, are you happy with him or her?
I had an agent, long ago, but back then I assumed that I would need someone to be organized and network with editors. After a year, when she lost three manuscripts of mine (one at a time) and she moved four times, I figured I was more organized than she was and she was not good with networking, either, so I let her go. At this point I don’t see the need. It’s one of these situations that I’ll hunt for an agent when I need formal representation. Most of the time, I can pay an attorney to look over a contract. So right now, I can talk to whomever I need to without an agent. It’s true what they say: no agent is better than a bad one.
2. What’s your writing schedule—how do you balance it with daily life?
I have a full-time editing and writing business, so it IS my daily life. I write my own fiction when I don’t have a paid editing or writing gig. And I spend nine hours a day at it at least. I stagger into my home office at 8:30 a.m., take a break for lunch if I remember to, and I’ll close up shop to make dinner. And if I don’t doze off early, I’ll write some more. I am a very fast editor but a very slow writer, so I need more time to slog along.
3. Personal favorites to read—who inspires you?
Besides my clients, whose work never fails to charm me and inspire me every time? My current favorite authors include Susanna Kearsley, who writes historical/time travel/fantasy romance, Naomi Hirahara, who writes Japanese-American mystery, and Craig Johnson, who writes the Walt Longmire mysteries. Come to think of it, Kearsley’s work often includes a mystery, so I guess I’m on a mystery kick. Kearsley’s stories often include a slip in time so that there’s always a possibility that out of the corner of your eye you’re going to see another time, and I’ve always enjoyed that aspect of historicals. Getting absorbed in that othertime, otherwhere of historicals is always fun. And makes you want to go take a trip to see a restored village!
Now, Naomi Hirahara writes about Asian-American culture in Southern California. Not only are the Asian cultural bits enlightening because she explores all kinds of Asian-American culture, her descriptions of the neighborhoods make me want to go to Los Angeles and ignore all the sparkly parts. Her detectives are Japanese-American; she has one who is an elderly Hiroshima survivor, a Kibei, who is a Japanese-American who is born here and educated in Japan, and her other detective is the opposite, a young police officer who is half-Japanese, half-Caucasian, who has a very different viewpoint of the world.
And Craig Johnson’s books are surprising; part mystery, part Western, and even, surprisingly, part fantasy. The sheriff has had a number of visions throughout the series pertaining to the mystery of the day, and in the latest book, he’s finally admitting that the visions are starting to worry him.
4. Pet peeve in a book—how would you tweak it to make it work?
My pet peeve is if I can predict what’s going to happen. Surprise me! I’ve edited more than 60 novels in the past couple of years, and after a lifetime of reading everything I could, I have developed an instinct. It’s different from when you’re writing a novel; when you’re writing a novel, you’re immersed in creation. But when you’re editing one, you’re on the lookout for making sure the novel—like a home that’s been built—has good structure, building what comes after the creation itself, pacing and plotting and character, as opposed to enjoying the experience.
Now, I’m charmed by surprises. IF you can give an unexpected twist, IF you can make your reader smile and exclaim, “I did not see that happening!” you have succeeded. You know the adage about if you’re stuck on what should happen next, you make a list of ideas—and keep coming up with ideas? All the logical, rational ideas get thrown out. And you pick the one that comes out of the blue and ramps up the unexpected twist, and your reader is flipping the pages to find out what happens next. And sometimes, so is the author.
5. First sale? Most recent sale?
My very first sale was a comic book story when I was 18, long ago. My most recent fiction sale was for a futuristic for a small press that went out of business and hasn’t bothered to submit final royalties and it’s been a year, so self publishing does have its strong points. I’ve got five books I have the rights back for, so I have to deal with those this coming year. I’ve re-edited three out of the five, with sequels either finished or in progress for them. And a novella based on a novel I wrote back in 1986, made into a graphic novella along the way, finally coming out as a prose production. Only 30 years after the fact!
6. Most important lesson you’ve learned as a writer.
Persevere. Every time I’ve wanted to quit writing and do something that’s more lucrative, I am reminded that if I quit, I don’t know the end of the story!