Author R&R With Katie Graykowski

Texas writer, Katie Graykowski, is a #1 Amazon and international bestselling author of 20+novels, including several romance and young adult series. She's also the author of the PTO Murder Club mystery series featuring Mustang Ridges who lives in the small town of Lakeside, Texas and whose police-chief husband fled to Grand Cayman with his mistress and a million dollars in diamonds he stole from the police evidence lockup. Now a single mother and chair of the Bee Creek Elementary Parent Teacher Organization, Mustang and her friends often find themselves in the middle of unexpected crime investigations.

In the fifth book in that series, Puzzled Pieces, Mustang finds the body of her son’s school bus driver, Imogene Puzzle. Mustang and her best friends Haley and Monica are on the hunt for anyone who might want Ms. P. dead, but she was seemingly loved by everyone. The only possible lead is Ms. P.’s true crime group, The Puzzlers, who were investigating the Hill Country Strangler, a twenty-year-old cold case. When two other bus drivers from surrounding school districts also end up with their throats cut, Mustang begins to think that the Hill Country Strangler might have decided that throat-cutting was a better way to kill. How many more people will die before Mustang, Haley, and Monica puzzle out the killer?

Katie stops by In Reference to Murder to take some Author R&R about her research and writing process:

 

My mystery novel series, the PTO Murder Club Mysteries, is set in the fictional town of Lakeside, Texas. My heroines are three mothers who ran the PTO (parent teacher organization) at their children’s elementary school. I like to incorporate current events into my mystery novels which means research.

I love research. Whether it’s reading everything ever written about a particular subject or binge-watching hours of the History Channel, listening to hours of podcasts, or searching the internet, I could happily OD on research. If I’m in an active writing phase, I have to limit my research because it’s a rabbit hole I will gladly dive into.

I tend to do my research either while I’m writing or if the words are really coming, I’ll make a note on the manuscript of what needs to be researched. After I finish the book, I go back and add in the researched information.

When I’m not in an active writing phase, I’m off the chain and down the research rabbit hole. I’ll find an interesting topic and immerse myself in it.

For example, female spies in World War II. Many women from all over the world risked their lives to help the allied forces. There are some really good books on that subject. While I haven’t written or have plans to write about women spies in WWII, it’s filed away in the back of my mind and will get worked into story at some point.

Or, Artificial Intelligence and how it will change our world. We are watching history in the making. This technology is in its infancy. Whether it’s good or bad remains to be seen. As a mystery writer, AI could be an incredible research tool. As far as AI as a character in a story, there is so much trouble it can get into.

It’s interesting, in 1889 Charles H. Duell, the Commissioner of US Patent Office at that time, said that the patent office would soon shrink in size and close, because “Everything that can be invented has been invented.” Man was he wrong.

See how random facts can pop up in a story?

For new writers wondering how to go about research, do it your way. Find what makes sense to you. Because I’m an auditory learner, I love listening to biographies and nonfiction audio books. If you’re a visual learner, try a site visit. If the smell of books helps you focus, go camp out at your local library. There’s no right or wrong way to research. Just remember, writing is about the journey and the destination. So, make it a fun ride.

 

You can learn more about Katie and her books via her website and also follow her on Facebook, Instagram, and Twitter. The ebook of Puzzled Pieces is available now via Amazon and the print book can be ordered from all major booksellers.

Author R&R with Simon Marlowe

British author, Simon Marlowe, often uses the thriller genre to tell stories which combine realism with a blend of the surreal. He published his debut novel, Zombie Park, in 2017, an intense and darkly comic drama set in a dysfunctional psychiatric hospital during the social and economic turmoil of the 1980s. Since then, Simon has published short stories and flash fiction while completing his second novel, The Dead Hand of Dominique. This is a post-Brexit crime thriller that centers on Steven Mason, a young career villain, and his journey through the underbelly of London and Essex searching for answers to his boss’s AWOL mistress and a way out of a heartless world to fulfill his own dreams. Marlowe's latest novel, Medusa and the Devil, continues the adventures of Steve Mason.

In Medusa and the Devil, Essex rogue Steven Mason has decamped to the Mediterranean, to escape his low life gangster world and start afresh. Keeping his head down while still laundering money for his old boss, Steven’s plans go awry when a former associate turns up and asks him to retrieve an unassuming ivory sculpture. As the story unfolds and Steven unexpectedly finds himself embroiled in an illegal immigration case, his attention turns to more pressing issues—being buried six feet under but still breathing.

Simon Marlowe stops by In Reference to Murder to talk about researching and writing the book:

Medusa And The Devil (Pub Cranthorpe Millner 23^rd May 2023) is book two of my darkly comic crime thriller trilogy Mason Made, and starts with the protagonist, Steven Mason, six feet under. The only problem is, he’s not dead. And that posed a question for me, one that initiated my first bit of research for this novel: how long can you survive buried alive in a coffin? I won’t spoil the outcome for you, but it is long enough for Steven to tell the story of his latest villainous adventure on a Mediterranean island.

Perhaps the best example I can give regarding my current approach to research and storytelling can be found in a key narrative event in Medusa. I had always envisioned a sea journey for my central characters that was going to be a choppy ride, in part because I’d had such an experience on a catamaran crossing the Med—and that was a vomit fest. What I didn’t know was anything about sailing, and our plucky involuntary sailors needed to sail. I knew this had to sound convincing, because imagination might get me through the storm, but it wouldn’t pass muster with anyone who had a crow’s-nest knowledge of the task of sailing. I read articles about sailing, making notes on the technical side and experiences of navigating storms and capsizing. Once I had enough detail, I could write this section of the novel by blending, or integrating, fact with fiction, the technical with the narrative, so much so that I could even enable the central character to tutor others in how to sail.

However, this approach of research integrated into the storytelling was not on my radar when I started seriously committing to fiction and creative writing. For instance, I did no research for my first novel, Zombie Park (Pub Matador 2017). It was based on my experiences of working in a psychiatric hospital in the mid-1980s. I fictionalized some things, dramatized others, and let loose a few surreal literary flourishes to create a mega-busting epic that was so intense even I struggle to re-read it! It took me seven years to write because I was also learning how to write, having earlier dropped out of my Masters in Creative Writing (there’s probably a good plot there for a self-conscious-author-led murder mystery!)

Anyway, I sold a few copies, and was resolute about using my life experience as the basis for my further fiction. Why? Because the thought of research tended to send shivers down my spine—I had spent far too long in academic study and believed that fiction meant the application of the imagination. It was only through my attempts to produce a second novel that I began to realize that things were not that simple. A failed novel followed next (which will never see the light of day) before I finally reached an understanding of what my creative writing was naturally suited to in terms of genre, and that research was necessary if the narrative required it, and if I wanted authenticity to back up some of the surreal and thematic content.

The Dead Hand of Dominique (Pub Cranthorpe Millner Nov 2021) was the result and is the first novel in this comic crime thriller trilogy. But my approach to research has evolved. I don’t head to the Reading Room at the British Library and emerge months later with a Pukka Pad full of illegible notes. Instead, I search for articles and news stories that give me just enough substance, however tenuous, to hopefully convince the reader that what they are reading is probable, likely, or just about possible. I also like to have sources that can be used to prove that fact is stranger than fiction. I haven’t yet resorted to producing documentary evidence when a reviewer has doubted the integrity of the plot, although I have been tempted. I would also like to add that, in The Dead Hand of Dominique, a process for smuggling illegal immigrants that I had invented without reference to news stories became a news story six months later! ‘Intriguing, don’t you think, Dr Watson…’

Finally, the preparation starts way back. My process of writing a novel does not consist of a eureka moment wherein I bury myself in my author grotto, emerging, bruised and battered, with a literary masterpiece (if only!). There is inspiration, the sparking of ideas, but those ideas take time to brew, ferment and mature. In other words, the process of transforming my ideas into a novel can take months, even years. I use a notebook (one of the few good pieces of advice I gleaned from my creative writing course), so I am constantly jotting down and developing story ideas.

Therefore, for me, the key preparation is thinking.

But not all ideas come to fruition, especially if I think the research required to realize the story is too great. That is where the conflict comes in for me. If there is too much research, and not enough scope for the imagination, I will abandon the project—at least for the time being anyway. As such, I like to believe it is in the hands of the author to convince the reader that a character can commit some egregious act, given certain predispositions and the right circumstances. Also, descriptively, I tend not to spend a lot of time on a murderous act, but I appreciate there is literary mileage in exploring how difficult it can be to murder someone.

That’s not to say I have experience of being overtly murderous. But, as someone who has done far too many jobs, I have had the experience of working with murderers—in a professional sense and not as an accomplice! And the murderers I have come across were all obsessed with their life sentences, perceiving the time they had to spend incarcerated as an injustice. They were generally evasive, with an inability to empathize. And dare I say it, they were also quite boring, ‘trapped people’ who were damaged beyond repair.

And that isn’t very exciting.

Which brings me to one more point I would like to make. Crime thriller authors, and I include myself in this category, make murder interesting. I use it as a vehicle to produce drama, to hopefully say other things that are more important—at least that’s what I try to do.

And with that, I must go and see my neighbour, who has been annoying me about the height of my garden hedge. In fact, I’m just going to take a hammer with me, not to use, of course, but this guy… I mean… he kind of deserves it…

You can learn more about Simon Marlowe and his writing via his website and follow him on various social media platforms. Medusa And The Devil is now available from Cranthorpe Millner Publishers and via all major booksellers.

Author R&R with Verlin Darrow

Verlin Darrow is a psychotherapist who lives with his psychotherapist wife in the woods near the Monterey Bay in northern California. They diagnose each other as necessary. Verlin is a former professional volleyball player (in Italy), unsuccessful country-western singer/songwriter, import store owner, and assistant guru in a small, benign spiritual organization. He has also turned his hand to writing crime fiction, with his latest title just released, Murder for Liar.

In Murder for Liar, private investigator-turned-psychotherapist Tom Dashiel doesn’t know it yet, but he’s hurtling towards discovering where his threshold lies—the point of no return for his sanity.  So begins a surreal spiral when George Arundel enters Tom’s Santa Cruz office on a Tuesday afternoon in April. To say George Arundel is a puzzle is an understatement:  the local psychiatrist who referred Arundel to Tom described him—rather astutely—as "a substantial challenge."  Working to treat the enigmatic Arundel, Tom soon realizes he has been tasked to treat a client unlike any he’s ever encountered.

But how is George Arundel related to the uncanny coincidences Tom begins to encounter?  Are these mere coincidences…or something else?  Could a young woman named Zig-Zag really be an angel?  How could a dog—a rather cute one at that—reveal one of the most important clues? What’s the deal with that alluring, albeit mercurial, woman named Dizzy?  And what’s Arundel’s connection to the escalating spate of unsolved murders plaguing the typically calm but always colorful Santa Cruz community? Swept up in a perilous world where nothing is as it seems, Tom struggles to make sense of the decidedly dangerous, downright deadly scheme in which he has somehow unwittingly become a key player. Tom is about to discover that in this treacherous reality, the truth is far, far stranger than fiction…but the real danger is not knowing which is which. 

Verlin Darrow stops by In Reference to Murder to talk about writing the book:

 

My need to research/prepare/plan varies a great deal from book to book. In general, as a distinctly seat of the pants writer, my plots flow after an initial notion or two occurs to me. And the characters say or do what they will, usually guided by God knows what. My first drafts are mostly comprised of dialogue and plot, so I need to add description, inner monologues, and all the rest later.

About a quarter of my projects have legs and make it past the first fifty pages, and all the early chapters need major revising. So this is a hit or miss process for me. When it hits, then research and preparation sometimes comes into play. Or not.

In my latest mystery novel, for example—Murder For Liar—the protagonist is a psychotherapist in Santa Cruz, California. So am I. Almost all the dialogue in sessions, especially with the bizarre client who draws Tom Dashiel into a baffling conspiracy, is drawn from my actual experience. Minus the murders, I have worked with some unusual, difficult to help clients in a variety of settings. Who would believe that someone would be deathly afraid of walking under trees because a bat might be in one, and it might be rabid, and it might drool, and the drool might fall into the client’s mouth? I’m not making that up. I wish I were for my client’s sake.

In this and other challenging therapy sessions, I know what went through my mind, so I’m able to realistically get into the head of the first person protagonist. I’m glad I’m not actually him—that our similarities as people are superficial now. But his depression, alienation, and cluelessness—his starting point in the book before he begins to transform—were the cornerstones of my much younger self. I believe I can accurately convey what it’s like to have these problems as well. So I didn’t need to do research about these central elements of my book.

Without divulging too much of the twisting mystery, I feel comfortable writing that some of the characters espouse eccentric, mystical spiritual beliefs, which drive their behaviors. Once again, for better or worse in this case, I can draw from personal experience to give the reader an authentic feel for dealing with these folks.

Quite a few years ago, after several years as a spiritual seeker and a pilgrimage around the world, I helped found a small, relatively benign cult, serving as the assistant guru—running a branch office, if you will. Ironically, when the head of our group sent me to graduate school to become a therapist, I learned that he had a delusional disorder, and I graduated myself and all the other members back into the world.

I think another author would’ve needed to do a great deal of research about the psychology of zealots, and how they speak about what they believe. I guess this is a case of my writing what I know. One of the reasons I chose to do this is that I consider my expertise in these arenas to be relatively rarified in the author world. I don’t mean to imply it’s better or any more valuable—just less common.

Of course, the meat and potatoes of a mystery is the mystery itself, and here’s where I needed to start googling like mad. I needed to be well-schooled in means, motive, and opportunity to create believable action. I never worked with murderers as either a therapist or a spiritual teacher. If I was going to imagine one (or more than one—no giveaways here), that character(s) needed to match up with reality. I also needed to look up hallucinogenics, a specific medical condition, angel and demon names, an arcane book, and several other details essential to the plot.

Here’s part of the blurb for Murder For Liar: “Private investigator-turned-psychotherapist Tom Dashiel doesn’t know it yet, but he’s hurtling towards discovering where his threshold lies—the point of no return for his sanity.”

Pushed to his limits, Tom has to learn how to accommodate all sorts of intense, confusing experiences in order to survive. So like most books, there’s an arc of change—how and why does the main character change because of what happens? In my case, letting readers such as my wife and others examine my ms helps a lot to ascertain if I’ve done a good job with this. Does Tom seem different as the novel progresses? Are the changes believable? Putting your self in his shoes—as authors must—can you see yourself responding similarly? Believability is essential in a mystery, especially one with an outlandish plot. It’s very challenging to know how a reader will experience the plot twists, the choices various characters make, and the solution to the mystery. So I needed outside eyes.

What else do I have to share? I guess I would add that over-preparing can be a problem, stifling the free flow of ideas, however misguided or inaccurate they might be. I find that writing something and then fixing it later works much better than halting my word production to delve into the real story about something. Almost everything can be fixed later if you can put aside your ego and let go of the original version you’ve created. Occasionally, I’ve had to toss entire sections of a ms because they just didn’t make sense in the light of day—and the glow of Google on my iMac. That wasn’t fun, but it also wasn’t any sort of tragedy.

The  main thing I’ve learned is that everyone has his or her own process—whether it’s about writing, grieving, or anything else. Some authors research and plan a lot. Some don’t. Once you discover what works for you, trust it. Second-guessing or comparing your process to others’ when you’ve got something that works is counterproductive.

Thank you for the opportunity to share all this.

 

You can learn more about Darrow and his books via his website and follow him on Facebook, Twitter, and Goodreads. Murder for Liar is now available via and all major booksellers.