Saturday, 17 October 2020

If this was a normal year, I would be in Sacramento with about 1,200 or more fellow mystery readers, fans, writers and a couple of critics enjoying the panels and discussions at Bouchercon 2020.

But as we all know, this is no normal year.

Instead, I am joining about 1,200 others at the virtual Bouchercon.

When it was obvious that we would not be able to meet together, the Bouchercon organizers wisely canceled the in-person event and switched to a virtual one.

With the pandemic still with us, there was little choice, of course.

But quickly thinking and good planning saved this 51st Bouchercon.

So my compliments to Michelle, Rae, Holly, Clare and the other organizers and the tech gurus such as Christopher. Panels have gone very well, and, as a bonus, we’ve been able to see people who were not able to travel to the United States.

Yes, I miss the person to person contact; the fun at the bar; seeing some of my real friends who are not authors.

But I am not alone in that.

The Bouchercon organizers thoughtfully added a time zone guide, since the panels started on Pacific time.

Some panels were pre-recorded, especially the guests of honor interviews. The live sessions were recorded and should be available to view after November 1. Visit the Bouchercon 2020 site.

Visit Bouchercon2020 for details.

And looking ahead, Bouchercons are planned for New Orleans (2021); Minneapolis (2022); San Diego (2023); Nashville (2024)

And what’s a Bouchercon without the Anthony awards. Yep, they went on. I am sure many of us grabbed a drink and toasted the winners.

We all hope that we can gather together next year in New Orleans. If not, the Sacramento organizers have devised an excellent template for continuing Bouchercon.

And honoring the mystery genre.

Here are the Anthony Award winners and nominees. The winners are listed first, in gold with *** added. We congratulation all the winners, nominees and the Bouchercon organizers and the board.

2020 Anthony Awards
**The Murder List, by Hank Phillippi Ryan (Forge)
Your House Will Pay, by Steph Cha (Ecco)
They All Fall Down, by Rachel Howzell Hall (Forge)
Lady in the Lake, by Laura Lippman (William Morrow)
Miami Midnight, by Alex Segura (Polis Books)

**One Night Gone, by Tara Laskowski (Graydon House)
The Ninja Daughter, by Tori Eldridge (Agora Books)
Miracle Creek, by Angie Kim (Sarah Crichton Books)
Three-Fifths, by John Vercher (Agora Books)
American Spy, by Lauren Wilkinson (Random House)

**The Alchemist’s Illusion, by Gigi Pandian (Midnight Ink)
The Unrepentant, by E.A. Aymar (Down & Out Books)
Murder Knocks Twice, by Susanna Calkins (Minotaur)
The Pearl Dagger, by L.A. Chandlar (Kensington)
Scot & Soda, by Catriona McPherson (Midnight Ink)
Drowned Under, by Wendall Thomas (Poisoned Pen Press)
The Naming Game, by Gabriel Valjan (Winter Goose Press)

**The Mutual Admiration Society: How Dorothy L. Sayers and her Oxford Circle Remade the World for Women, by Mo Moulton (Basic Books)
Hitchcock and the Censors, by John Billheimer (University Press of Kentucky)
The Hooded Gunman: An Illustrated History of the Collins Crime Club, by John Curran (Collins Crime Club)
The Trial of Lizzie Borden: A True Story, by Cara Robertson (Simon & Schuster)
The Five: The Untold Stories of the Women Killed by Jack the Ripper, by Hallie Rubenhold (Houghton Mifflin Harcourt)

**“Red Zone,” by Alex Segura (appearing in ¡Pa’que Tu Lo Sepas!: Stories to Benefit the People of Puerto Rico)
“Turistas,” by Hector Acosta (appearing in ¡Pa’que Tu Lo Sepas!: Stories to Benefit the People of Puerto Rico)
“Unforgiven,” by Hilary Davidson (appearing in Murder a-Go-Gos: Crime Fiction Inspired by the Music of the Go-Gos)
“Better Days,” by Art Taylor (appearing in Ellery Queen Mystery Magazine, May/June 2019)
“Hard Return,” by Art Taylor (appearing in Crime Travel)

**Malice Domestic 14: Mystery Most Edible, edited by Verena Rose, Rita Owen, and Shawn Reilly Simmons (Wildside Press)
The Eyes of Texas: Private Eyes from the Panhandle to the Piney Woods
, edited by Michael Bracken (Down & Out Books)
¡Pa’que Tu Lo Sepas!: Stories to Benefit the People of Puerto Rico, edited by Angel Luis Colón (Down & Out Books)
Crime Travel, edited by Barb Goffman (Wildside Press)
Murder A-Go-Go’s: Crime Fiction Inspired by the Music of the Go-Gos, edited by Holly West (Down & Out Books)

**Seven Ways to Get Rid of Harry, by Jen Conley (Down & Out Books)
Catfishing on CatNet, by Naomi Kritzer (Tor Teen)
Killing November, by Adriana Mather (Knopf Books for Young Readers)
Patron Saints of Nothing, by Randy Ribay (Kokila)
The Deceivers, by Kristen Simmons (Tor Teen)
Wild and Crooked, by Leah Thomas (Bloomsbury YA)

Virtual Bouchercon 2020, Anthony Awards
Oline H. Cogdill
Wednesday, 30 September 2020

Erica Ruth Neubauer

Erica Ruth Neubauer’s first mystery, Murder at Mena House, is a charming historical novel set in Egypt in 1926 featuring intrepid sleuth, widower, and adventurer Jane Wunderly and her Aunt Millie. If you are a fan of Elizabeth Peters or Agatha Christie (And who isn’t?) you might want to go and snag a copy immediately. Mystery Scene's Robin Agnew recently connected with the former Mystery Scene writer about her new book.

Robin Agnew for Mystery Scene: I always wonder with an historical series how the author chose a particular time periodand in this case, I am also wondering how you decided to have Jane be American rather than British?

Erica Ruth Neubauer: I thought about making Jane British, but I ultimately decided that I could do a more authentic job with her character if I made her American. And socially, I wanted her to fall somewhere in between the upper and lower classes, and that was easier to do in America. I feel as though the class distinctions are more defined in Britain, and I didn’t want to make her part of the British aristocracy—I wanted her to have a more relatable lifestyle and origin story. It also gave me reason to have Jane and Millie eager to escape Prohibition, since the British never made that mistake.

I thought it was a really interesting choice to set this book in Egypt in the '20s and not have it tied to archaeology, though you got in plenty of local color for sure. Can you talk about that a bit?

I loved the Elizabeth Peters series starring Amelia Peabody, but I couldn’t in all honesty see myself replicating that, nor could I see myself writing a long-running series set exclusively in Egypt. I wanted the ability to move Jane to multiple other locations, which was easier to do without tying her specifically to archeology. And I was also influenced by the stories that Agatha Christie set there—not archeology related, but still rich in setting with a locked-room mystery feel.

And why the Mena House? Have you been there? I admit I googled in immediately; what a gorgeous place.

I have stayed at the Mena House, and it is an absolutely stunning hotel (now owned by Marriott.) Some of the original fixtures can still be found, although by and large the facilities have been updated, which I found a little disappointing since I wanted it to look just like it did in the 1920s. But of course, it can’t. It’s a modern hotel with historical detail now.

When my story takes place, the hotel was fairly isolated—now the city has crept right up to the hotel and the pyramids. But at the time [of the novel], you had to take transportation to get out to the hotel and there was nothing else around. I liked both the historic beauty of the hotel and the sense of isolation from the city of Cairo. I felt that isolation lent more of a closed-off feel to the story—all your suspects are right there in the hotel.

What were your influences writing wise as you put this story together?

One of my major influences while I was writing this was Murder at the Brightwell, by Ashley Weaver. I was sitting on the back porch with my best friend, and we were spending the afternoon reading the in the sun. I was reading Weaver’s book and I kept putting it down and saying, “I want to write something like this.” And that’s what I set out to do, but set in 1920s Egypt.

What was the most important element for you? Setting? Character? Story?

Character and setting definitely had top billing for me, especially in writing this story. As a reader, I’m always looking for great characters and I can forgive a lot of plot issues if the characters are strong. So I definitely set out to make Jane a character I would want to spend time with and feel excited to see where she went next.

And the setting was incredibly important for me. My father raised me on old black-and-white movies, Masterpiece Mystery and Agatha Christie, and somewhere along the way I picked up very romantic ideas about Egypt in the 1920s. I really wanted to capture that feeling on the page—the slow-turning fans in a luxury hotel, elegantly dressed guests... and murder.

How do you see Jane moving forward? She feels like she's at the beginning of a journey of self-discovery. What's ahead for her (without spoilers)?

I see Jane trying to work through her trust and intimacy issues, as well as learning to trust her own instincts again since her ability to do that has been badly damaged. I think that’s all I can say without giving too much away!

I really liked the character of Jane's Aunt Millie. She wasn't a fluffy or kindly aunt (as are many in traditional mysteries). She's difficult and prickly and has a great backstory. Can you talk about creating her?

Millie’s character is actually based on an older relative from my own family. (Someone in my family recently read the book and immediately identified who Millie was, which I found delightful.) When she was still alive our relative was also prickly—very much a difficult and divisive figure who liked to make trouble whenever she could. Although her past isn’t nearly as colorful as Millie’s—as far as I know!

Can you also talk about your publication journey? I know you've been a reviewer for years, including for Mystery Scene. But this is a whole different ball game (I'm assuming!). What have you been surprised by?

I was a reviewer for about five years I think before I sat down to try and write. The first draft came pretty quickly since I had been rolling it around in my mind for quite some time before I sat down at the computer, but it took about another year of revisions before I was ready to start sending it out. I worked with a fantastic freelance editor, Zoe Quinton, who helped me whip it into shape, and then I queried agents. I got about 40 rejections before a friend stepped in and looked at my list and offered to reach out to one of the agents that I hadn’t heard from. She asked me to resubmit my query, and I ultimately ended up signing with her. After that, it was about another six months and she sold my series to Kensington.

Even though I’ve been watching my author friends in the publishing industry for years, it is very different to be on the other side of things. One of the things that surprised me—even though I knew it was true—was just how long the process takes. It’s one thing to intellectually know something and another to find yourself fielding questions for over a year and a half from friends and family about “When can I buy that book?” I also never expected the copy edits to be one of the hardest and most frustrating parts of the process, but for me it was.

What makes you excited to get up and get to the typewriter or computer (or notebook) every day?

I’m always excited to see what my characters are going to get up to next. I’m very much a ‘pantser,’* so I don’t outline my books when I write, which means that my characters frequently surprise me. I also write to both entertain myself and to escape—it’s nice to sink into another world for a while where I have complete control. (Even if I mostly have no idea what’s happening or should be happening.)

Finally, what book was a transformational read for you, as a reader or as a writer?

I distinctly remember picking up G is for Gumshoe, by Sue Grafton when I was in high school. I found an old hardcover in an antique store of all places, and devoured it. It really opened my eyes—here was an independent woman investigating crimes, running her own business, doing her thing while being a total badass. I then went back and read the rest from the beginning. As a reader that was incredibly transformational—and aspirational—for me.

*One who writes by the seat of one's pants, as opposed to writing from an outline.

Erica Ruth Neubauer spent 11 years in the military, two years as a cop, and one year as a high school English teacher before finding her way as a writer. She has reviewed mysteries and crime fiction for several years at publications such as Publisher’s Weekly, the Los Angeles Review of Books, and Mystery Scene Magazine, and is a member of both Mystery Writers of America and Sisters in Crime. When she’s not writing her next novel or curled up with a book, she enjoys traveling, yoga, and craft beer. She lives in Milwaukee, Wisconsin, with her husband.

Meet Erica Ruth Neubauer and the Intrepid Jane Wunderly
Robin Agnew
Monday, 21 September 2020

Jenny Milchman is an award-winning, critically acclaimed author and the founder of Take Your Child to a Bookstore Day (TYCBD). Her debut novel, Cover of Snow—the eighth book she wrote but first that was published (more on that later)—became a USA Today bestseller and won the prestigious Mary Higgins Clark Award for Best Suspense Novel of 2013. Ruin Falls, As Night Falls, and Wicked River—all of which were Indie Next Picks—followed.

This August, Milchman returns with her fifth standalone, The Second Mother (Sourcebooks)—her first book to be set largely outside of the fictional Adirondacks town of Wedeskyull. Protagonist, Julie Weathers, reeling from the recent death of her child and impending divorce from her husband, flees New York State to take up a teaching position on a remote island off the coast of Maine. But upon arrival she realizes that she may be the one in for a lesson…

Recently, Milchman—who is profiled in Issue 165—shared reflections on her life as a reader, writer, and literacy advocate with Mystery Scene.

John Valeri for Mystery Scene: To what do you credit your love of storytelling—and how has your reading life informed your writing life?

Jenny Milchman: All writers are readers first, I think. To a future writer, the idea of a day curled up with a book and nothing else to do is better than a swimming pool party. We disappear at a sleepover and are found huddled by the birthday girl’s bookshelf. We trek back and forth over the course of a sweltering New Jersey summer to the library. Or was that just me as a child?

I was weaned on the horror of the ‘70s. Stephen King. (Of course!) But also Ira Levin, Frank De Felitta, William Peter Blatty, David Selznick. Even earlier—William March. Doris Miles Disney wrote the book I believe has the single best last line of any story. It’s called Winifred.

Although I write psychological thrillers, I think that my preoccupations are the same as the writers above. How do we cope with evil? What effects does it have on us and how can we fight back? The characters in those authors’ books don’t always triumph, while my stories do rush on to a point of victory. That’s one difference between horror and many suspense writers.

As for my love of storytelling, two people get credit for that, beyond whatever is inside us at the start, and those are my parents. My mother told me bedtime stories that she made up each night. And my father plied me with book after book—way beyond my years—Charlotte Brontë, Andre Gidé, Thomas Mann, all the greats, there was nothing I was too young to read.

As I say, my childhood wasn’t perfect—whose is?—but books have a lot to do with love, and in this respect, my life was idyllic.

Your first published book was actually the eighth novel you wrote. What motivated you to persist—and were there any lessons learned along the way that you found particularly helpful?

Two things enabled me to keep going through years of discouragement and rejection.

First, sheer love of the stories. Every day I sat down at my keyboard and could sink into the life of someone faced with terrors and enemies and problems, who was going to come out on top. A bookseller once told me she feels a little stronger as a person when she’s reading one of my books, and that’s how I feel writing them. So getting that experience of power—even if fictional (though I have to say, it doesn’t always feel like fiction) was like a jolt of caffeine.

Also, my husband. I know, not the most modern woman response. I think it was the great Louise Penny who said one of the most helpful things a writer can have is a supportive partner, and that is true for me. My husband literally supported me; there were 11 years when I didn’t earn a penny from writing, and I had trouble justifying to myself all the unpaid time I spent on writing. I had trouble justifying it to myself—but never to my husband. He quoted Will Smith: There is no plan B. He said I would eventually make it, and even if I didn’t, I was writing stories people (not many of them, but my writers group, and my family members, and him) liked to read, and who knew what effect they might have one day just for existing?

If a writer doesn’t have a spouse, then the source of support can be a friend, a sibling, a parent, a child, even a pet. Someone whose loving eyes, and words (or barks or meows or fishy blurts) give you a boost. And you can be your own source of support too. You deserve this. You’re a writer and you have stories that need to be told.

Who knows what their effect might one day be?

Many people have an idealized notion of what it means to be a writer. Can you talk briefly about the sacrifices required—and how you endeavor to balance personal and professional responsibilities?

I think the idealized version is valid actually. We get to make up stories! Create worlds where everything comes out just as we want it to. Is there a drug more powerful than that?

And you even get some moments, if you’re lucky, that I call limo moments. Walking onto a stage, and there’s a roomful of people waiting to hear you talk or read or riff, and the host has a plateful of your favorite treats ready—I once had a women’s club bake desserts that reflected elements in my book. Cookie canoes. Creek cocktails. Or you get flown back and forth by your publisher and a literal limo is waiting to pick you up. These are high points—and I don’t mean to say they happen every day—but they do feel pretty darn ideal.

OK, and then the rest. I’ve sacrificed financially—years and years of lower income. Maybe that will balance out one day, I don’t know. I’ve sacrificed in terms of my family. The worst of this is an occasion I missed to be at a book event that had requested me and could only take place on one particular day. This one still feels shameful; I hesitate to describe it. You can find out what it was by becoming a subscriber to my newsletter—I wrote about it once there.

Being an author also brought my family together in ways we never would’ve otherwise had. We traveled for a total of 15 months on what Shelf Awareness called the world’s longest book tour, crisscrossing the country, when my kids were little. Car-schooled them, my husband working from the front seat. That level of togetherness is some of the most precious time I’ve ever spent. So balance is key—how can I include my family, attend to their needs, and not let my dream shrivel.

This dream of ours takes sweat and blood and tears. It demands a lot…close to everything. It’s a beast we have to feed. And if we’re very, very lucky, one day it feeds us back.

There is much to be said for finding the right publisher. What appeals to you about Sourcebooks—and how does their vision for your future compliment your own?

I moved to Sourcebooks when my first editor left Ballantine, and it was a very intentional move. My agent had multiple offers on the book—there was an auction for my fourth novel, Wicked River—and while each publisher had definite advantages, Sourcebooks has a mission that matches mine. Which is to bring books to people. To always keep in mind that readers are human beings, and that’s who we’re writing for. It influences their editing, marketing, and yes, their vision for my career.

So, for instance, when Sourcebooks learned how much I love doing book events and had toured in the past, they put a nine-week tour together for me. Nine weeks! That’s unheard of in today’s publishing climate. I got to fly all over the country, see old friends, and walk into rooms filled with a hundred people. It was magical.

Sourcebooks realizes that investing in an author is key—Lee Child didn’t hit the New York Times list until the eighth Reacher novel—and their editing is as deep and substantive as it was in days of yore. Seriously…I’m talking Maxwell Perkins type stuff. Finally, the fact that Sourcebooks has a woman at the helm feels wonderful to me. Dominique Raccah brings an energy and a humanism to the company that affects everything they do.

You are the founder of Take Your Child to a Bookstore Day. Tell us why you feel so passionately about exposing children to books and booksellers—and how your own family has lived this mission?

One of my concerns as a mom is all the time kids spend on screens. And don’t get me wrong—those screens open up worlds, and I am grateful for them. But I also want my kids to get their hands dirty in the woods, and to sit with their noses in a real, printed book. Booksellers provide that for a select slice of children, and Take Your Child to a Bookstore Day celebrates them. My family and I have traveled the country spreading word about the Day and every year, we celebrate in a different bookstore.

Today more than ever, I feel it’s crucial to delve into what I said about a select slice of kids, though. Not everyone has access to a bookstore. And I want that to change. TYCBD field trips began as a way to bring young children without a bookstore in their community to the one nearest them, and for each child to go home with a book. In some cases, it was the first book the child ever owned. My hope is to increase funding and interest in these field trips to the point where every child in this country celebrates TYCBD.

Your novels have all been standalones. What appeals to you about this setup vs. writing a series?

My stories always begin with a premise, a situation. What if a woman woke up to find her husband missing from their bed? (Cover of Snow). What if a woman’s honeymoon turned out to be the worst ordeal of her life? (Wicked River). What if a woman accepted a post as teacher in a one-room schoolhouse on a remote island in Maine? (The Second Mother).

I work backwards and forwards from there…who is this woman and how did she get to this place and how will she get out of it—and achieve victory over all the baddies along the way?

So, those are by their nature standalone novels, one person, one situation. That said, I do consider my novels a unique sort of series too. Which I’ll explain below!

To follow-up on that: While your stories are singular, you use the Adirondacks as a collective setting (at least partially). What about this backdrop lends itself so well to suspense—and how does your intimate familiarity with the area allow you to bring it alive for the reader?

Wedeskyull is the fictional Adirondack town where my first four novels take place. The Second Mother is my fifth book, and while it’s not set primarily in Wedeskyull, it opens there and Wedeskyull is the town that my heroine, Julie, flees to begin her new life. Julie also happens to be the niece of the police chief who fell from grace in Cover of Snow. Readers of both novels will get updates on characters they haven’t seen in a long time. Those who are new to my work will meet a woman they can learn more about if they wish to after they finish the novel. So that’s the way in which my books are a series. The setting is the continuing character. You can make as many or as few trips there as you wish. The more you go back, the more you will see life unfolding as it does in all small towns—with secrets and enemies and, because it’s the Adirondacks, natural beauty and the potential for drama due to the rugged terrain and weather. All of that interests me as a theme—how the place we live shapes us—and I’ve been told that my setting lives and breathes on the page. But what most compels me is this place that feels so real. Every window reveals another life, another story going on in Wedeskyull. I can’t wait to look through the next one! Herman Melville wrote: “It is not down on any map. Real places never are.” For me, that is Wedeskyull.

You practiced psychotherapy for over a decade. In what ways have you been able to draw on that background in developing character and motivation?

You know, I really do think it fosters realism—and this can sometimes bite me in the um, rear, as a writer. My characters are messy. As we all are. They have disparities and opposition and conflict within themselves. If you’re reading the story the way I hoped to write it, then very few people are any one trait or set of traits, which evolve(s) in a neat arc over the course of the book.

Having been a psychotherapist influences this dimension in my work because doing therapy drove home that truth to me—that we’re not all one thing or one way, and even if fiction is meant to package up life a bit more neatly than it usually unleashes itself, I want to be authentic as an author. Give my readers the potential for triumph via real people.

It’s so much sweeter that way because then we can imagine ourselves achieving victory.

We all need to believe in that—and as a writer, I believe we have a right to.

Jenny Milchman is an award-winning, critically acclaimed novelist from New York State. Her fiction has won the Mary Higgins Clark and Silver Falchion awards, been nominated for PEN/Faulkner, Macavity, and Anthony awards, earned starred reviews from Publishers Weekly, Library Journal and Booklist, received praise from the New York Times, New York Journal of Books, San Francisco Review of Books, among many other publications. Miclhman is the co-chair of International Thriller Writers' Debut Program and a member of the Sisters in Crime Speakers Bureau. She speaks nationally on the importance of the face-to-face in a virtual world and never giving up on your dream.  

Jenny Milchman on Reading, Writing, and Literacy
John B. Valeri