Thursday, 15 November 2018 16:47

Candace RobbI met Candace Robb when she was touring with her first book, The Apothecary Rose, in 1993. She has since written 10 Owen Archer books, three Margaret Kerr books, and is now writing the Kate Clifford books set in 15th-century York. With each one she approaches history via a unique character, in Kate’s case, she is a widow with adopted children who is working to pay off her dead husband’s debts and stay afloat amongst the political intrigue that was a huge part of her time. And watch outshe has a throwing axe in her skirt!

How did you come up with Kate Clifford? She's one of those characters that fully springs to life from page oneand she has such an interesting backstory as well.

Kate Clifford arrived in my life in a daydream, striding down Stonegate flanked by a pair of Irish wolfhounds, the tops of their heads level with her shoulders. I sensed the axe hidden in her skirts, saw wild dark hair escaping from her crispinette. She turned left onto High Petergate and stopped at a well-appointed house where an elderly woman greeted her as her mistress. How could I resist this vivid glimpse that left me asking, Who is she? I wrote The Service of the Dead to learn her story, then A Twisted Vengeance to tease out her mother’s tragedy.

And how about her cook, Berend? I know he's a favorite with readers (and with me). I liked that this new book fleshed him out more but I sense there's even more to know about him.

Berend’s arrival was more typical for me—he simply appeared in a scene, battle-scarred, muscular, kneading bread. I laughed and thought, He’s perfect for Kate’s household, and kept on typing. But by the end of the second book, I realized his depths, and could not resist testing them in A Murdered Peace, which feels very much to me like Berend’s book. The more I wrote, the more intrigued I became, and I cannot predict how the rest of his story might play out. He broke my heart as he broke Kate’s. Not that she can’t find joy, but he was far more important to her as a comrade than as a potential lover.

Irish Wolfhounds
A pair of Irish wolfhounds

Are you a dog person? I love Lille and Ghent, who are incredibly well trained. I know you are nothing if not an ace researcher, so how did you research the dogs and their training?

I’m an animal lover, and engage dog walkers in conversations about their wonderful companions, but my partner is strictly a cat person. Fortunately, one of my good friends is a canine expert, currently training law enforcement departments in her state about dealing with canines on both sides of the law: how to read them, how to calm them, etc. She spent hours on the phone with me explaining the differences in training and behavior between scent dogs—like many hounds, and coursing dogs—such as Lille and Ghent, who are Irish wolfhounds. We discussed what the dogs were likely to do in a variety of situations, and she often sent me links to videos backing up her explanations. I also had hands-on experience with Irish wolfhounds early on, when my cat’s veterinarian connected me with a couple in my neighborhood who live with a pair of Irish wolfhounds. They were wonderful about inviting me to visit. Sadly they’ve moved out into the country—but it’s a great move for the dogs.

The history of this book was new to me! I didn't know King Henry took over and imprisoned King Richard. Can you set up the historical background a little bit for readers?

The very short version: King Richard II banishes his cousin, Henry Bolingbroke, from the realm, but assures Henry that when his father, John of Gaunt, Duke of Lancaster dies, he will inherit the Lancastrian title. Upon Gaunt’s death, Richard breaks that promise, parceling out Henry’s inheritance to his supporters (he has become an unpopular king, especially among the powerful barons who expect him to cheat them as they have his cousin.) Henry takes advantage of Richard’s Irish campaign, when the king and the bulk of his army are in Ireland. He returns to England to claim his inheritance, landing in Yorkshire. The nobles not involved in the Irish campaign rise in support of Henry. As he crosses the country to confront Richard he collects a great army, which is perhaps what convinces Henry to reach further than the dukedom and take the crown from his cousin. He captures Richard, spins a tale of Richard willingly abdicating, and imprisons his cousin in Pontefract Castle. When some of Richard’s loyal followers try to rescue him, Henry realizes his throne will never be secure while his cousin lives. The timing of Richard’s death is still debated, but his corpse showed no signs of physical trauma. Henry claimed his cousin starved himself to death.

When you sit down to write a book, what's foremost in your mind? Do the characters and situations spring from your research? Do you come up with a story first?

Yes to all, at various times. The book I’m currently writing was inspired by a particular character, but as it’s the 12th in a series I immediately considered how it would fit in, what year it was in the series, and what was going on in history at that time that provided a background and perhaps even a motivation. And as I collected all this, the story began to grow and branch out in my mind. The 11th Owen Archer (A Conspiracy of Wolves), out next year, carried the burden of reviving a series, but the backstory of the book has been in my head for several years. As I mentioned above, The Service of the Dead began with Kate striding into my daydream.

I was interested in the last book by the Beguines, who are also in this book to a lesser extent. Can you talk about them a bit? So much of the history you share with readers is not as well known as some bits of well-covered history, a real strength of your novels.

Thank you! That’s one of the things I love about writing a historical crime series—rather than needing to provide a broad historical backdrop I can focus on more specific incidents or trends. The Beguines were part of a wider movement of lay devotion in the Low Countries. What was unique about the Beguines is that the communities were not endowed convents for cloistered women but were more in the spirit of women’s collectives who supported themselves by working outside or within their communal houses as healers, teachers, even weavers and sempsters. In many Beguine communities women could leave, perhaps marrying and having children, and then return when their families were mature. This very flexibility was controversial. The church tolerated them as long as they were “guided” by male confessors (priests, abbots, bishops).

You have been in the game for a long time now with several different series and different publishers. What have you learned in your long career about writing? About the book business? How has it changed since The Apothecary Rose was published in 1993?

Lessons about writing: Writing begets writing. If I don’t want to dry up, I must keep at it. When the characters start rebelling, pay attention. Never, ever force them to adhere to a “plan.” I prefer writing historical mysteries to writing historical novels that are, essentially, fictional biographies, because I like to play God with my main characters. I found it too frustrating to have no control over the fates of Alice Perrers (The King’s Mistress) or Joan of Kent (A Triple Knot).

The book business has changed so much I wouldn’t know where to begin. Once upon a time publishers sent authors on book tours, planned and financed by them, even if they weren’t celebrities or already mega-sellers. A new writer could quit her day job and focus on writing. Now, even when published by one of the Big Five [Hachette, HarperCollins, Macmillan, Penguin Random House, and Simon & Schuster], much of the marketing burden is on the writer. And we’re expected to engage with our readers in between books with social media. Fortunately I enjoy having more engagement throughout the year with my readers. It’s fun to share “medieval news” with them on Facebook, and Twitter helps me keep up with historians around the world, as well as fellow authors and readers.

I know Owen Archer is returning—yay! Can you fill readers in on Owen and his return?

I am delighted to be working with Severn House for the new Owen Archer mysteries—the first (11th in the series), A Conspiracy of Wolves, will be published in the UK in hardcover in April 2019, then in the US in August 2019. I’m working on the next.

And finally, can you name a book that was transformational for you? One that set you on your reading and/or writing path?

One? Too difficult! But I can name a cluster. Katherine, by Anya Seton, and Cecelia Holland’s The Firedrake, The Kings in Winter, Antichrist, and The Earl were revelations for me. They proved it was possible to write and successfully publish historical novels that focused on the history and culture rather than on whether or not the hero and heroine would have sex and live happily ever after. Although Katherine is a famous love story, it does not end happily, and there is much suffering and unpleasant but fascinating detail throughout.

The author who most inspired me to write was Ursula K. LeGuin. Her fiction was—is!—heartfelt and yet deeply anthropological, a wondrous combination. And it was during a workshop with Ursula that she suggested I shift from fantasy to historical fiction, that therein lay my unique talent. The rest is history! (Sorry, old joke.)

Candace Robb is a historian with a focus on 14th century Britain and historical crime fiction. She is the author behind the Owen Archer mysteries, the Margaret Kerr trilogy, and the Kate Clifford mysteries set in 15th century York. Under the pen name Emma Campion, she also authors historical novels about intriguing women from King Edward III's court.

Candace Robb on Making Mystery With History
Robin Agnew
candace-robb-on-making-mystery-with-history

I met Candace Robb when she was touring with her first book, The Apothocary Rose, in 1993. She has since written ten Owen Archer books, three Margaret Kerr books, and is now writing the Kate Clifford books set in 15th Century York. With each one she approaches history via a unique character, in Kate’s case, a widow with adopted children who is working to pay off her dead husband’s debts and stay afloat amongst the political intrigue that was a huge part of 15th century York. And watch out - she has a throwing axe in her skirt!

How did you come up with Kate Clifford? She's one of those characters that fully springs to life from page one - and she has so much interesting backstory as well.

Kate Clifford arrived in my life in a daydream, striding down Stonegate flanked by a pair of Irish wolfhounds, the tops of their heads level with her shoulders. I sensed the axe hidden in her skirts, saw wild dark hair escaping from her crispinette. She turned left onto High Petergate and stopped at a well-appointed house where an elderly woman greeted her as her mistress. How could I resist this vivid glimpse that left me asking, Who is she? I wrote The Service of the Dead to learn her story, then A Twisted Vengeance to tease out her mother’s tragedy.

And how about her cook, Berend? I know he's a favorite with readers (and with me). I liked that this new book fleshed him out more but I sense there's even more to know about him...

Berend’s arrival was more typical for me—he simply appeared in a scene, battle-scarred, muscular, kneading bread. I laughed and thought, he’s perfect for Kate’s household, and kept on typing. But by the end of the second book I realized his depths, and could not resist testing them in A Murdered Peace, which feels very much to me like Berend’s book. The more I wrote the more intrigued I became, and I cannot predict how the rest of his story might play out. He broke my heart as he broke Kate’s. Not that she can’t find joy—but he was far more important to her as a comrade than as a potential lover.

Are you a dog person? I love Lille and Ghent who are incredibly well trained. I know you are nothing if not an ace researcher, so how did you research the dogs and their training?

I’m an animal lover, and engage dog-walkers in conversations about their wonderful companions, but my partner is strictly a cat person. Fortunately, one of my good friends is a canine expert, currently training law enforcement departments in her state about dealing with canines on both sides of the law—how to read them, how to calm them, etc. She spent hours on the phone with me explaining the differences in training and behavior between scent dogs—like many hounds, and coursing dogs—such as Lille and Ghent, who are Irish wolfhounds. We discussed what the dogs were likely to do in a variety of situations, and she often sent me links to videos backing up her explanations. I also had hands-on experience with Irish wolfhounds early on, when my cat’s veterinarian connected me with a couple in my neighborhood who live with a pair of Irish wolfhounds. They were wonderful about inviting me to visit. Sadly they’ve moved out into the country—but it’s a great move for the dogs.

The history of this book was new to me! I didn't know Henry took over and imprisoned Richard. Can you set up the historical background a little bit for readers?

The very short version: King Richard II banishes his cousin, Henry Bolingbroke, from the realm, but assures Henry that when his father, John of Gaunt, Duke of Lancaster dies, he will inherit the Lancastrian title. Upon Gaunt’s death Richard breaks that promise, parceling out Henry’s inheritance to his supporters (he has become an unpopular king, especially among the powerful barons who expect him to cheat them as they have his cousin.) Henry takes advantage of Richard’s Irish campaign, when the king and the bulk of his army are in Ireland. He returns to England to claim his inheritance, landing in Yorkshire. The nobles not involved in the Irish campaign rise in support of Henry. As he crosses the country to confront Richard he collects a great army, which is perhaps what convinces Henry to reach further than the dukedom and take the crown from his cousin. He captures Richard, spins a tale of Richard willingly abdicating, and imprisons his cousin in Pontefract Castle. When some of Richard’s loyal followers try to rescue him, Henry realizes his throne will never be secure while his cousin lives. The timing of Richard’s death is still debated, but his corpse showed no signs of physical trauma. Henry claimed his cousin starved himself to death.

When you sit down to write a book, what's foremost in your mind? Do the characters and situations spring from your research? Do you come up with a story first?

Yes to all at various times. The book I’m currently writing was inspired by a particular character, but as it’s the 12th in a series I immediately considered how it would fit in, what year it was in the series and what was going on in history at that time that provided a background and perhaps even a motivation, and, as I collected all this the story began to grow and branch out in my mind. The 11th Owen Archer (A Conspiracy of Wolves), out next year, carried the burden of reviving a series, but the backstory of the book has been in my head for several years. As I mentioned above, The Service of the Dead began with Kate striding into my daydream.

I was interested in the last book by the Beguines, who are also in this book to a lesser extent. Can you talk about them a bit? So much of the history you share with readers is not as well known as some bits of well covered history, a real strength of your novels.

Thank you! That’s one of the things I love about writing a historical crime series—rather than needing to provide a broad historical backdrop I can focus on more specific incidents or trends. The Beguines were part of a wider movement of lay devotion in the Low Countries. What was unique about the Beguines is that the communities were not endowed convents for cloistered women but were more in the spirit of women’s collectives who supported themselves by working outside or within their communal houses as healers, teachers, even weavers and sempsters. In many Beguine communities women could leave, perhaps marrying and having children, and then return when their families were mature. This very flexibility was controversial. The Church tolerated them as long as they were “guided” by male confessors (priests, abbots, bishops).

You have been in the game for a long time now - several different series, different publishers - what have you learned in your long career about writing? About the book business? How has it changed since The Apothecary Rose was published in 1993?

Lessons about writing: Writing begets writing. If I don’t want to dry up, I must keep at it. When the characters start rebelling, pay attention. Never, ever force them to adhere to a “plan”. I prefer writing historical mysteries to writing historical novels that are, essentially, fictional biographies, because I like to play God with my main characters. I found it too frustrating to have no control over the fates of Alice Perrers (The King’s Mistress) or Joan of Kent (A Triple Knot).

The book business has changed so much I wouldn’t know where to begin. Once upon a time publishers sent authors on book tours, planned and financed by them, even if they weren’t celebrities or already mega sellers. A new writer could quit her day job and focus on writing. Now, even when published by one of the Big Five, much of the marketing burden is on the writer. And we’re expected to engage with our readers in between books with social media. Fortunately I enjoy having more engagement throughout the year with my readers. It’s fun to share “medieval news” with them on Facebook, and Twitter helps me keep up with historians around the world, as well as fellow authors and readers.

I know Owen Archer is returning - yay! Can you fill readers in on Owen and his return?

I am delighted to be working with Severn House for the new Owen Archer mysteries—the first (11th in the series), A Conspiracy of Wolves, will be published in the UK in hardcover on 30 April 2019, then in the US in hardcover on 1 August 2019, as well as the ebook . I’m working on the next.

And finally, can you name a book that was transformational for you? One that set you on your reading and/or writing path?

One? Too difficult! But I can name a cluster. Katherine, by Anya Seton, and Cecelia Holland’s The Firedrake, The Kings in Winter, Antichrist, and The Earl were revelations for me. They proved it was possible to write and successfully publish historical novels that focused on the history and culture rather than on whether or not the hero and heroine would have sex and live happily ever after. Although Katherine is a famous love story, it does not end happily, and there is much suffering and unpleasant but fascinating detail throughout.

The author who most inspired me to write was Ursula K. LeGuin. Her fiction was—is!—heart-felt and yet deeply anthropological, a wondrous combination. And it was during a workshop with Ursula that she suggested I shift from fantasy to historical fiction, that therein lay my unique talent. The rest is history! (Sorry, old joke.)

Tuesday, 13 November 2018 18:23

This week kicks off the seventh annual University Press Week, and this year scholarly publishers hope to #TurnItUP by highlighting the "unheard or underrepresented voices, stories, and scholarly areas in the publishing ecosystem." Though one doesn't generally think of university presses first or foremost when one thinks of mystery or crime writing, more and more university presses are putting their great minds to some great murders.

In honor of UPW, Mystery Scene presents here your course syllabus for "University Press Mysteries 101" this year. A full run-down of all UP Week events can be found at www.universitypressweek.org.

OHIO UNIVERSITY PRESS

Since its founding in Athens, Ohio, in 1964, Ohio University Press (including its trade imprint, Swallow Press) has published books from academic monographs to regional histories to internationally acclaimed literary works, including those of Anaïs Nin. Its currently has two mystery authors on its illustrious roster, Andrew Welsh Huggins and Nancy Tingley.

"One of our missions as a university press is to enrich the cultural community not only of our home institution, but of our town, state, and region," said a spokesperson for the press. "Mystery writers have long woven social issues, observations about identity and place, and insights into subcultures into their stories and series. At Ohio University Press, our authors have situated their stories in place —Ohio Amish Country, Columbus, Ohio, and the Southeast Asian art world—that, through the power of setting, allow their tales of murder and crime to offer keen insight into people’s struggles with the societies in which they live or choose to visit. In this way, our mystery novels serve as terrifically fun complements to our nonfiction offerings, and put us on the map with new and devoted readerships."

UNIVERSITY OF ARIZONA PRESS

"Our press has a long history of publishing native voices," said the University of Arizona Press. "We’re committed to presenting nuanced, accurate, and respectful representations of Indigenous life. Authors such as Cherokee author Sara Sue Hoklotubbe and Tom Holm (The Osage Rose, 2008) bring readers into their communities. They use the mystery genre to highlight real issues within these communities, making them visible and engaging to audiences beyond what perhaps traditional monographs might reach."

"I spent 21 years working in the banking business and had very little time for reading," said Hoklotubbe in a UAP interview, "But when I discovered Tony Hillerman’s mysteries, that all changed. I loved how he wrote mysteries and wove in Navajo and Hopi culture. Even though Tony was non‐Indian, he wrote with such accuracy and respect for Indians that the Navajo Nation gave him their blessing. That’s when I decided I wanted to write mysteries about my people, the Cherokee."

INDIANA UNIVERSITY PRESS

"At Indiana University Press, we believe that true crime and regional true mysteries offer a fun and exciting way for readers to dive into history and explore the past," said a spokesperson for the press. To this end, IUP has put out two fun nonfiction crime books this year.

UNIVERSITY OF WISCONSIN PRESS

The University of Wisconsin Press, based out of Madison, Wisconsin, is a not-for-profit publisher of books and journals with nearly 1,500 titles in print. A very small fraction of those are mysteries, but the UWP \publishes the well-received Dave Cubiak mysteries by Patricia Skalka and considers its mystery and crime-related offerings to be an important part of the family: "Publishing mysteries gives us the opportunity to share intriguing and shocking stories crafted by talented authors against the backdrop of scenic Wisconsin settings. The complex and endearing characters supporting these stories feel familiar, inspired by people and experiences that are deeply Midwestern."

"The plot for Death Stalks Door County, the first book in the series, is based on the simple premise that there are sinister forces at work beneath the surface of the picture-perfect veneer of Door County [Wisconsin]," said Skalka. "For the story to work, I needed a protagonist who knew nothing of the longtime residents and their interpersonal histories – the grudges and animosities, the wrongs that had been done years back. Enter Dave Cubiak, a complete stranger from Chicago. But I also needed someone who knew how to solve a series of murders, so it seemed only natural that he’d be a former homicide detective."

  • Death in Cold Water, by Patricia Skalka (November 2018)
  • Death by the Bay, by Patricia Skalka (May 2019)
  • The Dead of Achill Island, by Betsy Draine and Michael Hinden (May 2019)

UNIVERSITY OF IOWA PRESS

The University of Iowa Press says it is a place where first-class writing matters, whether the subject is Whitman or Shakespeare, prairie or poetry, memoirs or medical literature, or, in this case true crime.

"Publishing true crime is important to the University of Iowa Press because these books are inclusive in the nonfiction genre, encompassing historical substance, place, and biography among other topics," said the publisher. "Our books also avoid sensationalism or exploitation of the crimes or victims. We hope that our true crime books will find the readers who are interested in all of these facets of the story, rather than solely about the violent crimes themselves."

A Course Syllabus: University Press Mysteries 101
Teri Duerr
a-course-syllabus-university-press-mysteries-101
Saturday, 10 November 2018 16:57

Who doesn’t like Tony Danza?

Come on, he’s affable, charming, and seems genuine, even when he appears to be showboating. He acts, and he sings, and he’s just enjoyable to watch.

And who doesn’t love Josh Groban. Like Danza, he’s affable, charming, and seems genuine. He acts, and he sings, and he’s just enjoyable to watch.

So the pairing of Danza and Groban should work a little better than it does in the enjoyable series The Good Cop. The first season of 10 episodes is now available on Netflix.

The two are an odd couple, father and son cops. Danza plays Tony Caruso Sr., a former cop who went to jail for crimes that he freely admitted he committed while on the force. Groban is Tony Caruso Jr., a self-righteous, always-by-the-book detective who takes being honest a little too far. (He doesn’t want to use napkins from a fast-food place, as that would be wrong.)

Needless to say, Tony Sr. is more freewheeling in everything than the rather priggish Tony Jr.

The Good Cop works as a slightly amusing, with-an-edge police procedural. The stories are just serious enough to elevate the procedural aspects with levity supplied by Groban's uptight personality and Danza’s laissez faire approach to life.

As part of Tony Sr.’s parole, he has to live with his son, thus setting up a perpetual odd-couple arrangement.

Despite their exasperation with each other, father and son genuinely love each other. Tony Jr. wants his dad to be more like a cop than a perpetual con man; Tony Sr. wants his son to have more fun in life.

They also are united in their grief over a tragedy. His wife/his mother was killed by a drunk driver while Tony Sr. was in prison and he wasn’t allowed to attend the funeral. The search for the driver—who is always almost in range—adds a subplot to each episode.

The Tonys get excellent support from Monica Barbaro, who plays Tony Sr.’s parole officer, Cora Vasquez. She soon becomes a detective reporting to Tony Jr., who definitely has a crush on her. The Wire veteran Isiah Whitlock Jr. steals every scene he is in as Tony Jr.’s partner, Burl Loomis, who is counting the days until retirement. When it comes to chasing a criminal, Burl makes it clear each time that he “doesn’t run.” Bill Kottkamp is the geeky CSI tech who would rather be at a toy show.

The chemistry between Danza and Groban works well. I can believe they are father and son. Danza makes the most of Tony Sr.’s need to be the center of attention. And, yes, he looks good.

Groban tamps down his charismatic personality for Tony Jr., who wants to be in the background, especially when he’s around his father. He wants to be liked but knows he can never be as hale and hearty as his father. And the handsome Groban looks very nebbish with his severe hair and thick glasses.

(By the way, Danza sings in The Good Cop’s first season—Groban doesn’t. For those who don't know, Danza has done many turns in Broadway musicals.)

It’s pretty clear from the first episode that both are the good cop, for different reasons. Tony Sr. has the street smarts and looks at crime differently than Tony Jr., who has a Sherlock Holmes-like approach to detective work, seeing and linking the unusual.

The problem is that Groban, as good an actor as he is, can’t make the uptight persona completely work.

Certainly not as well as Monk, which is The Good Cop’s creator Andy Breckman’s other series.

Monk’s secret weapon was, of course, actor Tony Shalhoub, who made the obsessive Monk endearing, annoying, frustrating and empathetic.

A couple of critics have mentioned how Shalhoub could convey everything with a look, the blink of an eye. Shalhoub knows the value of silence. That is so true. Shalhoub, who is one of my two favorite actors, showed every emotion on his face. Like the time he proved a friend’s girlfriend was a killer—just a look conveyed empathy and disgust. Or when he stood in front of a jet plane, stopping a killer—his silence showed he had found his courage, was proud of it and yet was also still afraid, punctuated by touching the plane, an obsession he couldn’t help.

All that actorly business is missing from Groban’s performance.

Despite these flaws, The Good Cop is an enjoyable series. Crisp dialogue, good episodes, and Tony Danza. It’s enough to make me want to see a second season.

(A personal aside—I have met Tony Danza twice and both times he was quite personable. During a theater critics’ event at Sardi’s a couple of years ago, he talked more about his fellow actors and friends at the event than himself. And yes, that’s my photo with him at Sardi’s.)

Photos: Top, Tony Danza, Josh Groban in The Good Cop. Photo courtesy Netflix; Bottom, Tony Danza, Oline Cogdill





“The Good Cop” Is Pretty Good
Oline H. Cogdill
the-good-cop-is-pretty-good