Category Archives: Guest Posts

WRITING & PUBLISHING ADVICE FROM LOUISE PENNY

Louise Penny is a Canadian crime-fiction / mystery writer and international BestSelling author of the Chief Inspector Armand Gamache series. Louise graciously shares her thoughts behind her phenomenal success and on what it takes to get recognized in today’s traditional publishing world.

AA1ALike most writers – I was turned down more often than I care to remember, or cared to admit to my agent. Now, when it’s too late for her to dump me, I might as well admit it. A few things would have helped had I known them earlier. This is a small attempt to make your life a little easier, if you’re an unpublished author.

First – finish the book. Most people who start books never finish them. Don’t be one of those. Do it, for God’s sake. You have nothing to fear – it won’t kill you. It won’t even bite you. This is your dream – this is your chance. You sure don’t want to be lying on your death bed regretting you didn’t finish the book.

Read a lot.

AA2ARead books on writing and getting published. I read Writing Mysteries, edited by Sue Grafton and published by Writers Digest. I also read Bestseller by Celia Brayfield and a bunch of other books including The Idiot’s Guide to Getting Published.

If this is your first time writing a book – why would you assume you know what you’re doing? Why put that sort of pressure and expectation on yourself? You might very well have an innate appreciation of character and structure and pacing. Some people do, and don’t need these books. Frankly, I’m not totally sure how much good they did me. But I know for sure they did no harm. And it was comforting to ‘listen’ to other writers and know they struggled with the same things. I felt much less alone and inept.

‘The cure for writer’s cramp is writer’s block.’
Inigo DeLeon

I suffered from writer’s block for many years. Terror had taken hold. I was afraid that, once tested, I’d prove my worst fear true – I was a terrible writer. What cured me was a sudden realization that I was taking myself way too seriously. And that I was trying to write the best book ever published in the history of the world. And if I didn’t, I was a failure.

I decided instead to just have fun with it. To write what I loved to read. And to people the book with characters I’d want as friends.

AA3Clearly we all choose our own characters – but make sure you’re going to want to spend lots of time with them. They don’t have to be attractive, kind, thoughtful. But they do need to be compelling. Look at Scarlet O’Hara. A petty, jealous, willful, vindictive character, almost without redeeming traits, whose tragedy is her failure to change. But she’s riveting.

‘Better to write for yourself and have no public, than to write for the public and have no self.’
Cyril Connolly

Be true to yourself.

Write what you want – even if friends and relatives think you’re nuts. And – be very careful who you show the first draft to. Once finished, I’d strongly suggest you make a list of ‘readers’, friends, acquaintances, friends of friends, who’ll read your work and critique it. This is a crucial stage. But remember, your ‘baby’ is fragile – as is your ego at this stage.

AA4Mine certainly was. I’d invested so much of myself a too harsh criticism or cruel critique (always said with a knowing smile) could have made me toss the whole thing away. I wish I could sit here and tell you I was strong and determined and centred and courageous about the first draft of STILL LIFE, but I wasn’t. And you’re probably not absolutely sure your first book is any good either.

Here’s the trick.

You need to get it into the hands of other people. You need to be open to criticism and guidance and suggestions. But you need to choose those people wisely. Some people are simply petty. Some people see it as their God-given purpose to find fault. This process isn’t about finding fault. Frankly anyone can do that. It’s facile. No book is perfect. It’s about making the book even stronger. You need supportive, encouraging, thoughtful readers. People who’ll offer critiques in a kind and constructive way and who understand the difference between truth and opinion.

‘A good writer must be willing to kill her young.’
Unknown

A novel should be more than 70,000 words in length.

AA5BPublishers and agents judge length not by the number of pages, but by the number of words. Your computer will have a word count option. In Microsoft Word it’s under the ‘tools’ heading. You might aim for between 60 and 90-thousand words for a first book. There are always exceptions – some very successful debuts are mammoth, but you’re simply making it more difficult to find a publisher. Still, more than anything, you need to be true to yourself. If it needs to be 150,000 words, then go for it. But my first draft was 168,000 words. I cut it in half and it made the book much stronger. Once my ego and pride was set aside I was able to kill my darlings.

‘You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. You send that work out again and again, while you’re working on another one. If you have talent you’ll receive some measure of success – but only if you persist.’
Isaac Asimov

Persevere. Believe in yourself.

If you’ve actually finished your first book – well, you’re AMAZING!

AA16You’re already so far ahead of the pack they can barely see your dust! Most people never even start that first book. Of the few that do, most never finish. If you’ve actually finished, well done! Frankly, as far as I’m concerned, the pact you made with yourself, probably as a child, is complete. You wrote the book. You did it. And, if it’s never published, you should have no regrets. I’m serious.

You’ve accomplished something most people only dream of.

Still, chances are, you want to get it out there, and why not. Here’s how I did it, and my suggestions – remembering that every writer has their own story and no one of us is ‘right’ – it’s just our opinion and experience.

Make sure your manuscript is as good as you can get it. Edit. Edit. Edit!

‘Don’t use words too big for the subject. Don’t say ‘infinitely’ when you mean ‘very’, otherwise you’ll have no word left when you want to talk about something really infinite.’
C.S. Lewis

Print out a copy for yourself. When you think you’ve finished set it aside for a few weeks then sit down and read the hardcopy. For convenience sake I print it out single-spaced, double sided and get it bound. Much easier to hold, and it feels like a real book! Thrilling.

AA6When it’s time to send it out, print double spaced, in 12-point, on white paper, single sided and do not bind the manuscript. Print your name and a key word from the title on the top of each page, in a corner. Eg. Penny/Still. There’s an automatic function for that on your computer as well. You don’t have to do it manually.Number the pages from the first page to the last. Don’t start the numbering fresh with each chapter. Don’t worry that the manuscript will appear to be huge. Always scares me when I see it at first. Looks like a dog house.

Aim high.

AA8AMight as well be turned down by the best. Buy those huge thumpin’ bricks of Guides To Agents and Publishers in your country – read them carefully. There will be essays on writing query letters, and each listing will tell you what the agent/publisher specializes in. Don’t waste your time – or theirs – by sending them a mystery when they only deal with non-fiction.

Send multiple queries. It takes a long time for them to get back. Go to conventions and network. Enter contests.

OK, here it is. This is how I got a leading London literary agent and three-book deals with Hodder/Headline in the UK and St. Martin’s Minotaur in the US. Ready?

I entered a contest.

AA9I was surfing the web and came across the Crime Writers Association in Great Britain and noticed their Debut Dagger contest. The Debut Dagger competition is open to anyone who has not had a novel published commercially. Click here to view the official CWA website.

There were 800 entries worldwide in my year (2004). They shortlisted 14, and I was one. I knew then my life had changed. As a reward for being shortlisted, we were all invited to the awards lunch in London. My husband, Michael, and I went.

AA8BI came in second – and networked like mad. I cannot overstate the importance that award has had on my career. I met Teresa a couple of nights later, actually at a private party – but she knew my name and my submission. All good London agents who deal with mysteries read all the shortlisted CWA submissions.

‘There are three rules for writing the novel. Unfortunately, no one knows what they are.’
W. Somerset Maugham

Now – I did something else that was crucial to my success.

Before the awards I did my homework and found out who were considered the top agents in London. When Teresa introduced herself at the party I was able to look her in the eyes and truthfully tell her I’d heard of her and she was considered a top agent. I think that made an impression. If nothing else it showed a degree of work and commitment on my part.

In my experience you get out what you put in.

AA10The harder you work, the more research you do, the more knowledge you have, the better your chances of success. Which isn’t to say some people don’t walk in totally unprepared and have great success. And why not? I have no problem with that at all. Anyway that works is fine with me. But for myself, the more prepared I am, the calmer I am, the better my brain works. Again, it’s giving myself every chance of success, instead of handicapping myself through either fear or laziness.

There are other awards out there.

AA11The Crime Writers of Canada has the Arthur Ellis Award for Best Unpublished Mystery. It’s very exciting. The website for more information is: www.crimewriterscanada.com. Another important and exciting one for writers of traditional mysteries, like STILL LIFE, is given out by St. Martin’s Press and Malice Domestic, which is a fan run convention in Washington. Very prestigious. Very knowledgeable and sophisticated people. The great thing about this prize is that St. Martin’s agrees to publish your book if you win. You’ll find information on it at: www.minotaurbooks.com . You have to kind of root around in the site to find it, but it’s there.

There – my brain is empty.

If any of you have other suggestions for unpublished writers, please go to the ‘contact me‘ page on my website and send them to me.

AA17For instance Elizabeth Kimmel, a very successful writer of children’s books, wrote with a fabulous tip. She suggested that after you send out your first book to agents and publishers, while you are waiting for their response, instead of fretting – you might consider starting your second book. That way you pass the time doing something constructive and creative. Elizabeth did exactly that, and while her first book actually didn’t sell, her second – the one she wrote while waiting – did!  And launched her career. Brilliant idea, Elizabeth. Thank you.

We need to support each other.

Isabelle Allende once said that the end doesn’t justify the means, the end is decided by the means. If we’re petty and greedy and shallow and put our need to win ahead of our humanity, then nothing good will come of our careers.

Others have helped me and I consider it a real privilege to help you by sharing this on DyingWords.

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AA18Louise Penny is a prominent Canadian crime-fiction/mystery writer and a #1 New York Times and Globe and Mail BestSelling author. She’s best known for her series featuring Chief Inspector Armand Gamache of the Surete du Quebec mystery novels.


AA18Louise has won numerous awards, including a CWA Dagger, an Anthony Award, the Agatha Award (five times), and was a finalist for the Edgar Award for Best Novel. Her work has been published in 23 languages. In 2013, she was made a Member of the Order of Canada “for her contributions to Canadian culture as an author shining a spotlight on the Eastern Townships of Quebec” where she lives with her husband.

Here’s a look at Louise Penny‘s books:

Visit Louise Penny’s website at http://www.louisepenny.com/

GRIEFINK – HOW MEMORIAL TATTOOS EASE PAIN OF LOSS

So pleased to have Susan Salluce as a guest on DyingWords. Susan is a thanatologist, or grief counsellor, and author of the best selling novel Out Of Breath. 

A4 PoemAfter a loss, individuals can find comfort in creative expressions of grief: creating a memory stone for the garden or yard; planting a tree in memory of the deceased; incorporating ashes into a piece of jewellery; writing poetry, and song.

In the past decade, another creative expression of grief has grown exponentially: Memorial Tattoos

A13 911Tattoo artists in the United States observe that a large majority of those coming in for tattoos are doing so to honor the death of a loved one, a pet, the end of a relationship, to honor a fallen soldier, or commemorate a tragedy, such as the loss of lives in the terror attack on the World Trade Center.

As a grief specialist, I have long been at dis-ease with grief theories that stress stages, closure, and the need to “move forward” after a loss. As someone who has witnessed and shared in a great deal of loss, I’m drawn to theories that understand grief as a change, not end, in a relationship, and that recognize an enduring connection with our loved ones who have died.

As I held this belief and observed a number of powerful memorial tattoos in friends and clients, it got me thinking.

A11 Grief TearWhat if the boom of memorial tattoos is an outward expression of an inner process—a language of grief—that gives voice to loss, continued connection, and the undying attachment to those in our life who have died?

This language allows people to tell their grief stories, share the enduring bond that continues well after death, and offer comfort to the living.

After combing through professional papers and articles online about memorial tattoos, I felt inspired to write Griefink, a non-fiction book about the inner experience and outer expression to grief through tattoo.

A14 FamiliesThrough social media, friends, support groups, and professionals in the field of psychology, I put out the word about this project last spring. With my wonderful photographer, Matt Molinari, we interviewed and photographed over thirty individuals.

They invited us into their homes, their lives, and into their deepest pain. The loss of a child from leukemia; a son’s suicide; a young woman who had a heart attack; a surfer who drowned are just a few of the stories expressed through memorial tattoo and shared in Griefink.

A9 TattooWith no expectations, I listened to each individual and learned more about grief, continued connection, and the relationship with lost loved ones than any book had taught me. Each person offered emotional, and often, beautiful descriptions of loss. They outlined the decision to get the memorial tattoo, how they found a tattoo artist, the way in which the tattoo was designed, and the process afterward. They confirmed that their tattoos leave the door open for people to ask about their loss; that the ink invites conversation, bringing the deceased into the living world.

Although all of these individuals feel a part of my life because of their vulnerability and transparency, a few left me breathless. One such story is Mia and Cade. Siblings only two years apart, Mia was a second mother to her brother Cade, who had autistic tendencies and received special education.

A2 - Prints“We went everywhere together. Cade taught you to not judge. He was an awesome, bright, and happy kid who taught you to love life,” Cade’s sister, Mia, said. “He loved to give people high fives and hugs.” Cade experienced a seizure in March of 2014. An MRI revealed a tumor in his skull. In an attempt to remove the tumor, Cade died.

Both Mia and her father, Chris, received a memorial tattoo of Cade’s handprint—Mia’s on her back, and Chris’s on the top of his hand—with Cade’s signature underneath.

Mia shared, “A lot of my friends remember that Cade would ask for a high five when he saw them, so when friends see me now, they high five his hand on my back. That feels good. Knowing I have his handprint with me wherever I go, I know Cade will always be with me.”

A1 HandprintsGriefink shows that grief reactions, which are etched in each tattoo, become the foundation for one’s loss narrative. Through tattoo, our bonds with those we have lost are strengthened through the permanency of ink. Additionally, the language of memorial tattoo blows apart the belief that there’s a time limit to mourning, thereby alleviating the notion that one must “get over” his or her loss. Through the tattoo, the invitation is open to continue talking about our loved one, the meaning that he or she had in our life, and how this individual continues to impact us.

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A3 Susan SalluceSusan Salluce holds many things dear: family, friends, the beach, writing, and helping the bereaved. As a thanatologist, or grief specialist, she looks for stories that have many of those common elements. Her transition from being a therapist to a writer began with the question, “What would you attempt to do if you knew you could not fail?” Susan quickly answered, “I’d write a book.”

A16Susan is the author of Out of Breath, a psychological suspense novel about child loss, addiction, recovery, and the surf culture. It’s available on all e-readers and from Amazon at http://www.amazon.ca/Out-Breath-Susan-Salluce-ebook/dp/B005KV26MY

Griefink is her second book, and will be released in fall of 2015. In addition, Susan will have a Griefink blog devoted to memorial tattoos in the spring of 2015.

If you have a memorial tattoo and you would like to share your story, images of the tattoo, and how this has impacted your grief, please email Susan at susansalluce@yahoo.com

Visit Susan’s website  www.susansalluce.com

Follower her on Twitter @SSalluce

MARIJUANA: DRIVING HIGH

Sabra Botch-Jones, M.S., M.A., D-ABFT-FT, is a forensic toxicologist at Boston University School of Medicine/fTox Consulting, LLC. With the move towards decriminalization of marijuana across North America comes the issue of legal DUI tolerances with cannabis impairment. Sabra wrote this accredited, scientific article specifically for DyingWords. Thanks, Sabra!

Introduction

AA1ASeveral States have moved into a new era with the legalization of medical and/or recreational use of marijuana. With this shift we must stop and ask the question of “are we ready”?

With the year 2014 behind us, we have 24 states with legislation allowing the use of marijuana for certain medical conditions and two states (Colorado and Washington) having passed laws allowing its use recreationally. This is a historical shift for a substance that has had a world-wide presence since 28th century B.C.

AA2Safety-sensitive functions such as operating a motor vehicle require our full attention and distracted or impaired operation can be catastrophic. Driving under the influence of an impairing substance, including legal recreational (i.e alcohol) and prescription drugs, puts our lives and those around us at risk.

Therefore, let us explore the risk posed by driving “high” and what research is telling us.

What We Know

AA3A multitude of studies exist on cannabis intoxication and its effect on the skills needed to drive safely. With this magnitude of information, the answer to our previous question “are we ready” should be yes, but is it?

We know that drug use, alone or in combination with alcohol, increases our risk of being involved in a motor vehicle accident; however, the level(s) (if any) of tetrahydrocannabinol (THC) used to determine impairment is the subject of debate.

Research shows inter-individual variation in impairment, with some individuals being dangerously impaired at very low levels. Conversely, there are individuals who showing no appreciable cognitive effects test well above the suggested levels.1-7

AA4This variability makes passing legislation based on compound levels extremely difficult and may lead to erroneous perceptions that driving while high is not dangerous.

Complex tasks such as driving require attentiveness, accurate perception of speed and timing as well as altertness.1-6 These are all areas that THC can negatively effect.1-6

In a placebo-controlled cross-over study investigating the acute effects of smoking high-potency cannabis joints on psychomotor skills related to driving, researchers found that subjects still reported experiencing a “high” or “feelings of intoxication” well past peak levels, with measured concentrations dropping below the legal level 5 ng/mL set by some states.1

AA6It is challenging to correlate what this level means to actual impairment due to the fact that THC levels in the blood peak quickly following inhalation and decline rapidly based on pharmacokinetics.6 Adding to the complexity of analytical interpretation of THC in the blood is time, with subjective effects felt as soon as after 1 to 2 inhalations.8

Researchers have also shown that significant impairment of tracking skills (used as an indication of accurate motor control) accompanies marijuana use.1 Ultimately these authors concluded “that smoking cannabis significantly decreases psychomotor skills and globally alters the activity of the main brain networks involved in cognition even at low concentrations of THC in the blood.”1

AA7In addition to these skills, attention alone, divided attention, visual functions, and reaction time are all areas impaired when an individual drives “high”.1-3 The impairment of each of these skills differs depending on the dose and potency of the drug. Therefore the effects of marijuana and the detrimental consequence on a particular skill varies depending on the particular function being employed.

What Should We Do?

AA8AEstablishing levels of THC in which a jurisdiction considers an individual impaired is challenging. Some countries have established a zero-tolerance approach to compensate for individual-to-individual impairment. In the United States, we have created similar laws for certain drugs to account for lack of scientific knowledge and/or user variability and this may be an approach to consider.

Regardless of what approach is taken, as with all drugs (recreational or prescription) ultimately it is the individual that must be responsible for their actions.

Refrain from operating a motor vehicle when impaired and be aware that negative effects can continue well past the feeling of being “high”. 

References:
  1. Battistella, Giovanni et al. “Weed or Wheel! fMRI, Behavioural, and Toxicological Investigations of How Cannabis Smoking Affects Skills Necessary for Driving.” Ed. Lin Lu. PLoS ONE 8.1 (2013): e52545. PMC. Web. 5 Jan. 2015.
  2. Walsh, J. Michael et al. “Drugs and Driving”. Traffic Injury Prevention. Vol. 5, Iss. 3, 2004
  3. Sewell, R. Andrew, James Poling, and Mehmet Sofuoglu. “THE EFFECT OF CANNABIS COMPARED WITH ALCOHOL ON DRIVING.” The American journal on addictions / American Academy of Psychiatrists in Alcoholism and Addictions 18.3 (2009): 185–193. PMC. Web. 5 Jan. 2015
  4. Moskowitz H. Marihuana and driving. Accid Anal Prev. 1985;17:323– 345.
  5. Hall W. The Health and Psychological Consequences of Cannabis Use. Canberra: Australian Government Publication Service; 1994.
  6. Kurzthaler I, Hummer M, Miller C, et al. Effect of cannabis use on cognitive functions and driving ability. J Clin Psychiatry. 1999;60:395– 399.
  7. Liguori A, Gatto CP, Robinson JH. Effects of marijuana on equilibrium, psychomotor performance, and simulated driving. Behav Pharmacol. 1998;9:599–609.
  8. Berghaus G, Scheer N, Schmidt P. Effects of Cannabis on Psychomotor Skills and Driving Performance-A Metaanalysis of Experimental Studies. Schafer Library of Drug Policy. Accessed Jan. 08, 2015
    http://druglibrary.org/schaffer/misc/driving/s16p2.htm

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AA9Sabra Botch-Jones, M.S., M.A., D-ABFT-FT of Boston University School of Medicine/fTox Consulting, LLC, is a Forensic Toxicologist and full-time faculty member at Boston University’s Biomedical Forensic Sciences graduate program. She teaches courses in Drug Chemistry, Forensic Toxicology and Instrumental Analysis in Forensic Laboratories.

She began her career with the Federal Aviation Administration’s Bioaeronautical Sciences Research Laboratory at the Civil Aerospace Medical Institute and was a Senior Forensic Toxicologist/Quality Manager at the Tarrant County Medical Examiner’s Office.

AA9ASabra is board certified as a Diplomate by the American Board of Forensic Toxicology. She earned her Master of Science degrees in Drug Chemistry and Forensic Toxicology from the University of Florida as well as undergraduate and graduate degrees in Criminal Justice from the University of Central Oklahoma. She conducts research in the areas of forensic toxicology, analytical chemistry, as well as epidemiological studies on drug use.

AA9BSabra has authored and co-authored 14 scientific articles. She is active in a number of professional organizations including the National Safety Council’s Alcohol, Drugs and Impairment Division (Executive Board), Society of Forensic Toxicologists, Southwestern Association of Toxicologists, Association for Women in Science (Writer-AWIS Magazine), and the American Academy of Forensic Sciences.

Sabra was recently selected to be a member of the toxicology subcommittee of the Organization for Scientific Area Committees.

Her Boston University Faculty Link is: http://www.bumc.bu.edu/gms/biomedforensic/faculty-and-staff/faculty/sabra-r-botch-jones-instructor/

fTox Consulting link is: http://ftoxconsulting.com

fTox Consulting Facebook link is: www.facebook.com/FtoxConsult

Sabra’s Twitter Handle is: @sabraruvera