Interviews

I’m excited to introduce today’s featured author: Ellie Alexander! Ellie is the author of the popular Bakeshop Mystery series, the sixteenth(!!) book of which, Muffin But the Truth, came out at the end of December. Read on for my interview with Ellie where we chat about her new release, writing mysteries, marketing, and more.

Connect with Ellie on Instagram, Facebook, TikTok, BookBub, and her website. Grab Muffin But the Truth from all retailers here.

Muffin But the Truth is book 16 in your Bakeshop Mystery series. This series, like all of your books, is set in the Pacific Northwest. What do you love about the Pacific Northwest as a book setting? Is there anything unique about this region that makes it a great setting for a mystery?

I know I’m biased, but I think the Pacific Northwest is the perfect setting for mysteries. There’s so much wild space—deep deciduous forests that stretch out forever, remote mountain peaks, cliffside beach trails. As I’m writing this now, I’m thinking of all the places to hide bodies. Is that a problem? That might be a problem. Come to think of it, don’t ask me about my Google search history either.

But in all seriousness, I want the Pacific Northwest to feel like another character in my books. Sense of place is so important to me. I want readers to feel like they’re walking through Ashland’s charming plaza visiting the family-owned shops and restaurants or meandering through Lithia Park stopping to snap pictures of white-tailed deer or taking in a production of Romeo and Juliet under a star-filled sky in the Elizabethan theater. I write about real places and hope that readers will have a touch of wanderlust and want to come explore the region after reading one of my books.

There’s also something unique about Ashland because it’s home to the Oregon Shakespeare Festival. It attracts actors, playwrights, and creative types of all kinds. It’s not unusual to see someone parading down the street in a cape or to pass by a group of college students putting on an impromptu concert. That might seem outlandish if the series was set in Texas or New York, but it’s authentic to Ashland, which I love. 

In addition to the Bakeshop series, you also write the Sloan Krause series, as well as the Pacific Northwest Mystery and Rose City series (both as Kate Dyer-Seeley). With so much mystery experience under your belt, how do you approach writing a mystery? What have you learned over the course of your writing career? Does your writing strategy change depending on the series?

It is a lot of mysteries. Sometimes I have to pinch myself when I think about how many books I’ve written. I think one of the things I’ve learned over the years is to trust the process. I’m pretty regimented in my writing routine. When I’m working on a new book, I write 2,000 words every day (Monday–Friday) and I don’t let myself leave my office until I hit my word count. That gives me a very rough, like horrendously rough, draft in about six weeks. I don’t do any editing as I go. In the drafting stage I’m just trying to get the story out. Once I have a completed first draft, I put it away for a while to give myself some distance from it and then I come back and start the editing process.

When I was first writing I would read through my drafts and feel sick to my stomach because they were so bad. They still are bad, but now I know that’s my process. Editing has become more like layering. The magic happens every time I begin to layer in sensory details like baking or describing a sepia tone sunset.

My writing process doesn’t change. It’s like muscle memory at this point, but what does change when I’m working on different series is my physical space. If I’m writing a Bakeshop Mystery my office is filled with magazine cutouts of delectable pastries and coffee, Shakespeare quotes, and pictures of Ashland. If I’m writing a Sloan Krause Mystery, my office becomes a shrine to Leavenworth with pictures of German chocolate cake and frothy beers. I have Spotify playlists for each of my characters and even candles that help center me in their worlds.

I’d love to get some insight into your marketing strategy. How do you plan your social media, mailing list, events, and other outreach? You’ve published both traditionally and independently—does your marketing strategy vary depending on whether the book is indie versus traditionally published?

Social media has become an extension of my writing and such a big point of connection, which I was expecting. There’s so much negativity about social media and much of it is deserved, but I’ve been completely humbled by the ability to make real connections with readers who end up feeling like family and friends. Maybe we’re lucky because we’re in the bookish world and I’m convinced that book people are the best people, but I also think some of it is showing up from a place of authenticity. 

I definitely plan my social outreach around book releases, launch parties, and events. I love to create unique experiences for readers, like writing short spinoff mysteries together during the height of Covid shutdowns or giving people a look at the places that inspire my writing. Sharing recipes is another favorite, but I’m certainly not a professional chef so my finished bake might not be perfect, but hopefully it tastes delicious.

In terms of traditional versus independent publishing I love the freedom that comes with indie releases. For example, getting to share cover art in all of its stages. In my traditionally published books, there are different copyright issues which means I can’t share the initial pencil sketches or illustrations. It’s fun to give readers a true behind the scenes look at every stage of publishing.

You also offer courses, coaching, and webinars to help writers craft their own stories. What do you love about these offerings? If you’d like, can you offer any quick writing tips to Cluesletter subscribers?

Teaching and coaching are my passion! It’s been such a delight to see my students finish their first mystery, submit to short story contests, sign with agents, land traditional publishing contracts, and publish independently. I feel like a proud parent. I can’t stop gushing. I feel like I had to carve out my own path on my publishing journey and I so wish that I had had a mentor or teacher to be able to guide me, offer support, or even just tell me that writing a crappy first draft was totally okay, so getting to be in that role for new writers is one of the highlights of my career.

Ohhhh, one of my best pieces of advice is to flip the switch when you feel stuck. I’m not a fan of the term “writer’s block” because I think semantics are important and if we’re telling ourselves that we’re “blocked” it can become a self-fulfilling prophecy. I encourage writers to do other things and try other exercises when they’re feeling stuck. Like ask yourself everything that would NOT happen next. You might be surprised at the ideas that open up while you’re thinking through every scenario that wouldn’t happen. 

Lastly, what are you currently working on? Do you have any releases on the horizon?

The 17th book in the Bakeshop Mysteries, Catch Me If You Candy, releases in August. The 6th book in the Sloan Krause Mysteries Beer and Loathing releases in March and I’m working on a sequel to Lost Coast Literary, a holiday romcom, and cozy sci-fi serial. So many new books to come this year!

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Thanks so much to Ellie for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Today’s featured author (the last of the year!) is Leah Dobrinska. With a background in small-town romance, Leah’s newest release is her first cozy mystery. Death Checked Out stars a librarian gets mixed up in a murder. Don’t you just love a mystery with a bookish theme?

In the interview below, Leah shares publishing tips, writing strategies, and plotting romances versus mysteries.

Connect with Leah on her website, Goodreads, Facebook, Instagram, TikTok, and Bookbub. Be sure to subscribe to her newsletter too! Grab Death Checked Out today from Amazon and Barnes & Noble.

Hi Leah, it’s great to have you! Death Checked Out is book one in your new Larkspur Library Series, and features a library director who stumbles upon a dead body. In your opinion, what makes a good cozy mystery sleuth? Also, why do you think bookish cozies are so popular?

Thank you so much for having me! Yes, Death Checked Out stars Greta Plank, the library director in the small, lakeside town of Larkspur. She’s equal parts clever and kind. She’s a glass-half-full kind of person, but stumbling upon a dead body and getting caught up in a murder investigation definitely forces her to check some of her optimism. 

A good cozy mystery sleuth can take many forms, but universally, I’m drawn to sleuths who have a true, recognizable desire to help those around them. They get embroiled in investigations and invested in the outcome because they’re trying to right a wrong and they want to see good prevail over evil. They’re innately curious, so they’re constantly asking questions. They don’t take no for an answer because they see the bigger implications of what they’re doing.

In my opinion, sleuths who are layered are especially compelling. I’m drawn to the sleuths who are not only working to solve the case in the book, but who are also undergoing some sort of personal transformation throughout the story. Maybe the sleuth is older and she’s having a sort of revival or coming into her own after life has knocked her down a bit. Maybe the sleuth is younger—she’s scrappy and working hard to build the life she wants. In any case, I think a good cozy mystery sleuth is someone we can root for!

And I think bookish cozies are so popular because book people are the best people! Books open up doors and worlds, so it tracks that a main character with a bookish background (or day job!) would have tremendous (fictional) fodder from which to draw on to help her solve the case. Likewise, bookish cozies automatically earn bonus points because the amateur sleuth immediately has something in common with the audience. To be able to see ourselves in a cozy mystery sleuth goes a long way in helping us to enjoy her adventures and the story as a whole.

Death Checked Out is your first cozy mystery, but you also write a small-town romance series. What do you love about writing in these two genres? Can you compare cozy mysteries with romance, and/or speak to where they might intersect?

I love happy endings! For me, that is the biggest tenet that connects these genres, and the main reason I plan to continue to write romances and cozy mysteries. There’s a lightness to be found in both genres that I appreciate. That’s not to say that romances and cozies can’t deal with tough stuff and have depth and grit, but just that there’s a happy resolution. That’s what I’m here for!

In both romances and cozies, I think we want to see a character’s motivations. This is something that’s crossed over for me between genres. Why is a character the way that he is? What inspires them to act how they do? These sorts of questions are universal and have helped me to write characters in romance books and cozy mysteries that (hopefully) land well with readers.

Likewise, several specific tropes can and do intersect between romance and mystery. For example, in my romance series, the Mapleton novels, and my mystery series, I’ve employed the small town trope. I’ve worked to build communities that readers will come to care about and grow invested in, complete with side characters who feel like friends.

Another trope I’ve used in both my romances and my mysteries is the grumpy/sunshine trope. Think Mr. Darcy and Elizabeth Bennet. One character is a consummate grouch; the other is the opposite. The interplay between the two gives me a lot of fun situations and moments to play with as an author. This trope works well in a lot of different genres.

From a story structure standpoint, both romances and cozies usually have a moment that some refer to as the “all is lost” beat. In a romance, this could be when the couple faces insurmountable odds and it doesn’t look like they’ll have any chance at their happily ever after. In a cozy mystery, this could be when the sleuth finds herself in real danger. While the moment will obviously be different in a romance versus a cozy, it exists in both! 

I’d be remiss if I didn’t point out that a romantic subplot can be found in many cozy mysteries, so that’s a very direct way these two genres intersect. Cozies are known for their love triangles. This is a hotly contested trope. Some people love it and some people don’t. I fall in the latter camp, so I don’t include a love triangle in Death Checked Out, but I definitely am working to set the stage for a romance to come! You can take the romance writer out of the romance genre, but . . .

While your small-town romance series is self-published, Death Checked Out is a traditional deal. Can you share your experiences with both publishing paths? Do you have advice for authors hoping to either self-publish or go the traditional route?

Self-publishing my small town romance series was a humbling and transformative experience, and I wouldn’t trade it for anything. I learned a ton about my craft, and I reveled in having complete control over the process. I hired professionals to help me along the way, including editors and a wonderfully talented cover designer, and I built a small following of readers who have provided me with tremendous support. I’m so grateful for the indie community, and I love being an indie author.

At the same time, I am thrilled to have found a home with a publishing house for Death Checked Out. Getting to benefit from the expertise and knowledge of the industry professionals at Level Best Books and having them back my cozy mystery series has been wonderful and a huge stepping stone for my career.

It was a definite adjustment going from being in total control of all aspects of the publishing process with the Mapleton novels to turning over that control to my publisher for Death Checked Out. Fortunately, I feel like I am very much in a partnership with my editor and the team at Level Best, and everyone there has been a pleasure to work with.

My advice for authors hoping to self-publish is to plug into the indie writing community. There are so many free resources out there and your fellow indie authors are a wealth of knowledge. It can feel overwhelming and intimidating when you look at everything that goes into publishing on your own, so keep in mind that you don’t have to do it alone.

That being said, remember that there is no one way to be an indie author. You’ll look around and see others publishing in different ways, at different paces. If what someone else is doing is not how you work, don’t worry. Don’t get bogged down in comparison. I like to remind myself and anyone else who needs to hear it that the world needs the story that you have to tell, and only you can tell it!

My advice for those hoping to go the traditional publishing route is to be prepared to be patient. So much waiting is involved in every step of the journey—waiting to see how agents respond to your queries; waiting to see how your book does on submission; waiting on feedback from your editor; waiting for the book to come out. The list goes on! What I’ve found to be the best way to combat all this waiting is to keep writing. You can’t control the traditional publishing timeline, in many cases, but you can control the words you put on the page.

Can you speak a bit about the process of writing your first mystery? How did you plan the mystery puzzle/plot the book? Were there parts that were easier or more difficult to write than others?

I read a ton of cozy mysteries as I was preparing to write my own. In several cases, I read with a notebook next to me and I documented, chapter by chapter, what an author accomplished and how she was crafting her story. It was helpful for me to begin to understand the nuance of the genre by reading within it.

When I was plotting Death Checked Out, I used the story beats outlined in Save the Cat Writes a Novel. It’s the first time I’ve plotted in that way, and I did it because I wasn’t as familiar with writing in the cozy mystery genre, and I wanted to make sure I was hitting those moments that readers expect.

When I set to work, I had my scenes and beats written out and organized on a giant stack of notecards, and I wrote the entire first draft based off those notecards. This helped me make sure I was dropping clues at the right times while not being too obvious.

For Death Checked Out, the hardest part of the mystery for me was the middle. I wanted my amateur sleuth to be following a couple different leads, but striking the balance between them and making sure I was being realistic throughout some of those early moments in the investigation (while keeping things interesting!) took a lot of fine-tuning.

I was always writing toward a specific scene. It was the scene that inspired the entire story, and I knew it would take place at about the seventy five percent point of the manuscript. If you read Death Checked Out, chapters 35 and 36 are what I’m talking about! Writing that scene (and the events that followed) was by far the easiest for me. The pace flew and the story spilled out from there.

Lastly, what are your current projects? Can you tell us anything about future books in the Larkspur Library Series, or anything else on the horizon?

I have a three book contract for the Larkspur Library Mysteries, so at least two more stories are forthcoming from Level Best Books. These books are scheduled to be published in December 2023 and December 2024. I can’t say much yet, but I have a partial draft completed of the second book in the series, and it centers on Larkspur’s fall festival.

I’ve also been working on a completely separate cozy mystery series. It needs some tweaking, but I’m thrilled with the concept and as soon as it’s ready to take center stage, I’ll see what my agent thinks and hopefully find it a publishing home.

I do plan to continue my indie author career, as well. I have more Mapleton novels in the works and have been writing a rom-com series that I can’t wait to share with my readers.

Thank you so much for having me and for asking such thoughtful questions! I’m so grateful for all you do to connect authors and readers in the mystery community.

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Thanks so much to Leah for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

My featured author today is Gary Birken, MD. As a former full time pediatric surgeon, Gary puts his expertise to work in penning medical thrillers that blend hospital settings with heart-racing suspense. And for the writers and authors in the crowd, Gary offers a unique perspective on publishing, having published both traditional and indie.

In today’s interview, Gary and I discuss his two careers, the appeal of medical thrillers, traditional versus self publishing, and more.

Connect with Gary on Facebook, Instagram, Twitter, and his website. Sign up for his mailing list here. Click here to purchase Prognosis Critical, and click here to view Gary’s other novels.

Hi Gary, thanks so much for joining! Before you penned your first novel, you were a full-time pediatric surgeon. How has your career in medicine influenced and impacted your writing? Besides the themes of your books, are there any surprising similarities or differences between your two careers?

There’s no question in my mind that when I compare my careers as a pediatric surgeon and that of a writer, the similarities outweigh the differences. Interestingly, I believe the practice of one has made me better at the other. Both disciplines require paying extreme attention to detail, applying a logical approach to behavior and problem solving, and oftentimes, a sharp focus on “connecting the dots.” Whether as a physician in pursuit of an elusive diagnosis or standing at the operating table for many hours, my years as a doctor have provided me with a fund of knowledge and level of experience which have been a key contributing factor in helping me create what I hope have been seven realistic and entertaining novels of medical suspense.

One area where writing has had a significant impact on me as a physician has been stress relief. All physicians face the ever-present problem of day-to-day stress—the strategies they employ to combat it are as varied as the days of the year. For me, disappearing into Starbucks, putting on my headphones, and writing for a few hours has done wonders in recharging my stress resilience battery and improving my work-life balance.

In Prognosis Critical, protagonist Dr. Jacey Flanigan begins a new career in pediatric cardiology only to discover suspicious activity and questionable medical practices threatening patients at the hospital. What makes the medical setting and theme so perfect for thrillers? Are there particular advantages or disadvantages to this subgenre compared to other types of thrillers?

The medical environment is particularly well suited as a backdrop for a mystery novel. Serious illness and hospitals cause profound anguish, which can conjure up images of misery, the fear of the unknown, and helplessness. This perilous milieu takes the reader out of their comfort zone and creates fertile ground for a suspenseful book. The author is able to take the reader on a dramatic journey filled with rising tension and uncertainty.

The medical setting also provides the author the possibility of creating one of the most reader-satisfying conclusions: the end to pain and suffering and a heavy dose of justice to the conspirator. On the other hand, having a medical background for a novel oftentimes poses a unique problem for the story-writer: creating authentic medical scenes without confusing the reader with unintelligible medical jargon or flooding them with complex scientific information is a difficult task. Sidestepping this error is essential if the author hopes to keep their reader engaged. One literary technique that’s useful in avoiding this problem is to insert a character (such as a student or family member) in the scene whose inquiries allow the doctor or nurse to explain critical plot points in layperson’s terms. The result is added realism while at the same time allowing the reader to grasp the critical plot points, making them less likely to move on to a different book.

You published your first medical thriller over twenty years ago. Has your approach to writing medical thrillers changed since the release of that book? Has the market and/or reader expectations evolved over the years?

Over the course of the past twenty plus years that I’ve been writing, I don’t believe my general approach to planning a medical thriller has changed much. I continue to begin each novel by selecting a timely and controversial medical issue, and then fashioning a conspiracy plot around it. However, one area of change most authors experience is an improvement in his or her skills as a fiction writing. An example of this is the process of editing and revising. This endeavor can be a particularly difficult and challenging one. Cutting scenes and scrapping chapters from your labor of love isn’t easy, but it’s absolutely necessary. An editor once warned me, “Don’t let your writing interfere with your storytelling.” She was referring to a three-paragraph description I wrote of a lonely leaf floating to the ground. “While it may be inspired,” she told me, “it does nothing to advance the plot. I therefore recommend you place a trash can under the leaf before it strikes the ground.” The lesson learned? Writers of any mystery subgenre have to keep their readers wondering what’s going to happen next and create a desire that borders on a compulsion for that book lover to keep turning the pages to find out. If you write something that doesn’t advance the plot, well . . . you better have a darn good reason for keeping it.

Regarding changes in the reading public: I don’t think the time-honored reader-author contract has changed too much. It’s a rather simple agreement: the reader agrees to buy the author’s book, and in return the author agrees to entertain the reader. The advantage goes to the author—all they have to do is keep the reader engaged and happy in their choice, which is sometimes easier said than done. On another note, one interesting change I’ve observed has been a something new in the public’s interest in the novel’s main character. Specifically, the emergence of mysteries that feature a snarky unreliable protagonist (Gone Girl is a good example). It’s been an intriguing departure from the “likeable” main character that traditionally has been mainstream.

Five of your books were originally published by Berkley, and when your rights reverted, you established your own publishing imprint (Erupen Titles) and rereleased them. What are the differences between self-publishing your books and working with a traditional publisher? Given your experiences in multiple publishing paths, do you have advice for indie authors getting started today?

I think I could talk all day about the differences I’ve encountered between traditional and indie publishing. To begin with, just the decision to pivot to self-publishing was one I didn’t make lightly. But, from what I’ve experienced to this point, I believe the benefits of self-publishing in many ways outweigh the downsides and stack up favorably when compared to a traditional approach. If you consider the operational aspects of publishing, there’s no question that a traditional track is an easier way to go. Not having to deal with the many details of getting your manuscript between covers and then to market can be very attractive. Many authors have therefore chosen to confine their efforts to creative ones and leave the business of writing to others. But this choice does not come without a price—once you sign on the dotted line and publish through conventional means, the author oftentimes become a minor player in the future of their labor of love. If that’s okay with you, traditional publishing is probably for you.

There’s one other point worth mentioning for those considering self-publishing: It is of course possible to take on the entire project yourself, but another option to consider is working with a professional in the field. For me, the decision to partner with an expert in bringing my seven novels to the indie platform continues to offer strategic and operational advantages.

Lastly, what are your current projects? Are you working on more novels, do you have more plans for your publishing imprint, and/or what are you planning next?

Currently, I’m working on two manuscripts: one is a story of medical suspense that focuses on an ethical issue I’ve long wanted to write about. I’m pleased with the progress I’m making and have my fingers crossed its release date will be this summer. I’ve have also started work on a murder mystery that draws on elements of the cozy subgenre. There’s no question it resides a little outside of what I’ve written in the past, but it’s turning out to be an exciting project. Finally, it has more than crossed my mind that at some point, I’d like to try my hand at narrative non-fiction. I anticipate selecting five of my most interesting cases over the years (not necessarily triumphs) that have had a profound effect upon me and the families involved.

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Thanks so much to Gary for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Today’s feature is a very exciting one. I’m thrilled to welcome Rhys Bowen, author of fifty (!) novels of historical fiction and mystery, to the Cluesletter. Her latest release, Peril in Paris, is the sixteenth installment in her Royal Spyness mystery series. In the interview below, Rhys and I chat historical fiction, her approach to mystery, and her advice to writers.

Connect with Rhys on Facebook, Instagram, Goodreads, and her website. Click here to purchase Peril in Paris from various retailers.

Hi Rhys, thanks so much for joining! Your newest release, Peril in Paris, is book sixteen in your Royal Spyness mystery series, set in 1930s London (and beyond!). It stars Lady Georgiana Rannoch who, despite being distantly in line for the throne, struggles to make ends meet, and takes on odd jobs where she is often thrown into trouble. What do you love about Lady Georgie’s character? In your opinion, what makes a great sleuth heroine?

My readers love that they can identify with her. She is naïve, she makes mistakes, she is insecure, sometimes clumsy, but always hopeful, resilient. I love writing about her because I get to watch her grow with each book and, I suppose, because I see a lot of myself in her. 

What makes a good female sleuth? Great powers of observation. This is where women are so superior to men. We notice body language, pick up on tiny clues, and are great at interpersonal interactions which men never pick up on. Also, women tend to be overlooked and not seen as a threat. Women sleuths can observe unnoticed (think Miss Marple and her knitting). And my female sleuths have a good amount of intuition.

Your other books, including the Molly Murphy series as well as your standalone novels, are also set in the past. What are your favorite time periods to write in, especially for mystery? What kind of historical research do you do while writing?

I love writing about the past because the present is too worrying for me. It’s too dark already! I am most drawn to the first half of the twentieth century: the early 1900s for Molly Murphy, the 1930s for Lady Georgie, and several standalones set in World War II. I find that time between the wars to be fascinating—such a time of contrasts, a mixture of light and dark, struggle and indulgence. Bertie Woosters drinks champagne from a slipper while men stand in bread lines. And World War II—a time of heightened emotions, so many stories waiting to be told of bravery, endurance, love and loss.

I do lots of research for all my books. I visit sites (e.g., Bletchley Park, Paris, New York) and try to walk where my characters would have walked. I read lots of biography, [especially] lots of first person accounts of World War II. For researching Lady Georgie, I have benefited from marrying into an aristocratic English family so I have observed how those older upper class ladies spoke and thought. And I have stayed in those big drafty houses!

What’s your approach to writing mystery? Are you a planner, or do you let the mystery develop as you write? How does writing a series such as the Royal Spyness series compare with writing standalone novels like The Tuscan Child and Above the Bay of Angels?

I’m very much a pantzer. I start knowing little. For the mysteries I know who is going to be killed and why. I have already researched the setting and other things I’ll need like the real historical background, but as to what happens in the story and when, I like to follow my characters and see what they are going to do next. I like to be surprised by their actions! 

Writing a series is obviously much easier as I come in knowing my characters. It’s like visiting family each time. The challenge is to make every book different and exciting so that the reader has a nice visit with favorite characters but also an exciting plot and a different setting.

The big standalones do take a lot more plotting, work, and revising as they sometimes have multiple points of view and multiple time periods, so I use things like a whiteboard with timelines, individual storylines, and when they interact. I also use Post-It notes to myself, saying “We need to know about her father at some stage.” I work surrounded by research materials—such as a map of Venice, training manual for spies, photos of my settling, and Google Earth.

For all my books, if I’m writing about a real time and place, then everything has to be real and accurate so I work hard to make sure every little detail is correct.

With a long writing career, including over forty novels, under your belt, what advice would you give your younger self? Do you have advice for newer writers and authors hoping to find similar writing success?

I’ve just published my 50th novel!

Write what you are passionate about, not what you think will sell. You have to spend a long time with those characters and that setting. It has to be somewhere you can’t wait to return to every morning. If you are excited by your story, then readers will be too. 

Another piece of advice: Every book has to be better than the last. Nothing is written in stone. Don’t try to make your characters do things they don’t want to. If a plot is not working, it’s often because a character is saying, “No, I’d never do that.” Once you create them, it’s their story and your job is to follow along and write it down. There is an element of luck in any career. Enjoy the successes and don’t ever forget who made you successful. I fully appreciate my fans.

Lastly, what are you currently working on? Are you planning more books in the Royal Spyness series, and/or more standalone novels and mysteries?

I’m just starting Royal Spyness #17. This one is called The Proof of the Pudding and is about a poison garden, a creepy author, and a banquet that turns deadly.

I have finished my next standalone called Island of Lost Boys. It takes place in Paris before World War II, in England and France during the war, and then in Australia. It’s very intense!And I’m continuing the Molly Murphy series with my daughter Clare. Our second book together called All That Is Hidden comes out in March. It’s about corruption at Tammany Hall and a crooked election.

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Thanks so much to Rhys for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

The Cluesletter is so pleased to welcome Michelle Cox, author of the Henrietta and Inspector Howard series, as a featured author. Michelle’s books blend mystery and romance against a 1930s backdrop, and while most are set in Chicago, her newest release goes abroad. Book six, A Spying Eye, sees the couple honeymoon in Europe—and engage in some high-risk sleuthing to find a missing work of art.

Michelle has some wonderful bits of wisdom on writing, the intersection of mystery and romance, and author marketing. My favorite advice that she shares?

“The sooner you see your writing career as a business, the better off you will be.”

Read on for the rest of the interview—I think you’ll like it. And as always, I hope you enjoy the issue.

Connect with Michelle on Facebook, Instagram, Goodreads, and her website. A Spying Eye is available now through various retailers: Barnes & Noble, Amazon, Indiebound, Apple, and Google Play.

Hi Michelle, thanks so much for joining! A Spying Eye is book six in your Henrietta and Inspector Howard series, which follows Henrietta Von Harmon and Inspector Clive Howard as they co-investigate crimes in 1930s Chicago (and beyond!). What kind of research did you do while writing, and/or is there a special reason you picked this time period for the series? What do you like about setting mysteries in the 1930s?

It is a little bit strange that I ended up writing a series set in the 1930s because my affinity has always been with the 1940s. However, when I was trying to think of an idea for a new book, I decided to create a character based on a woman I had met while working in a nursing home in Chicago in the early 1990s. This woman was a real firecracker and would frequently follow me around and tell me all about her life in Chicago in the 1930s and 40s.

“Once upon a time,” she would say, “I had a man-stopping body and a personality to go with it!”

Even back then, I thought she would make a great character in a novel. She had so many strange jobs around Chicago during the Depression, including working for a Dutch Rubber company at the Chicago World’s Fair in 1933. I loved that detail so much that I decided to set the novel in the 1930s. I didn’t realize at the time that I was starting a whole series (I just thought it would be a one-off), or I might not have made that decision. But later I realized that this was a sort of forgotten era, a lost decade between the wars, and came around to the idea of having it be set firmly in the 1930s.

As the series has gone along, I’ve had to increase my research, though I try not to do too much ahead of time because it’s too tempting to use all of it. I’m not like most historical fiction writers who love the research as much or more than the writing. For me, I much prefer to just write the story and fill in the blanks later. That way, I’m not tempted to info-dump, and I think the story is better for it.

How do you approach writing your mysteries? Are you an outliner, or do you like to write and see how the mystery unfolds? What does your writing process look like?

I’m definitely an outliner (plotter). I need to know ahead of time who the killer is, what the motive is, and how he or she did it. As a genre, mystery has to be pretty tightly paced, so there isn’t a lot of room to veer off course. Each scene/chapter has to progress the plot, and without knowing where I’m headed, this becomes too difficult to accomplish.

The only exception to this has been book seven of the series, oddly, which I’m just finishing up now. It’s sort of an Agatha Christie-type mystery with a big manor house, a dead body, and several guests who each could have committed the murder and who all have a motive. When I started writing, I had a pretty good idea who the murderer was, but when I got to the big reveal scene at the end, I realized that I had written each character so convincingly that any one of them could have done it! I finally had to pick someone and then had to spend a lot of valuable time going back through the manuscript to fix the parts that no longer worked. Never again! Too much time was wasted going back and forth. That doesn’t mean, however, that I’m not open to inspiration while I write. That always happens. Things pop up in my mind, and I change the story accordingly. But I really need a framework before I begin.

I love that your books blend romance and mystery. What do you love about mixing these two genres, and how do you balance them in a book? How has Henrietta and Clive’s relationship developed over the series so far?

I think that mystery and romance go together perfectly because the combo provides the reader with two mysteries to follow: the actual crime and the question of “will they/won’t they?” get together. It’s also good because the romance portion of a novel can give readers a little break from the tension and suspense of the case. It helps with the pacing. The Henrietta and Inspector Howard series is really not a traditional mystery series in which the same set of characters simply solve a different crime each book. I realized pretty early on that I was much more interested in character growth and development, not only of Henrietta and Clive, but of the many other characters that contribute to the various subplots.

Also, since I wasn’t super familiar with genre fiction when I began writing the series, I didn’t realize that it was a cardinal sin to have the two protagonists get together by the end of book one! I didn’t realize that I should have strung their attraction out over the whole series. So, to remedy that and to continue the romantic suspense, I of course had to introduce some doubt in the minds of Henrietta and Clive as to whether a relationship really made sense. Likewise, I began to develop romantic tension between the side characters.

At this point, I’m not sure I would be able to write any book without some sort of romantic intrigue. I feel it is essential to creating realistic, multi-dimensional characters and to give an added depth to the story.

I found your book through iRead Book Tours, which is a great way to nab reviews and buzz, but I know you are active with marketing in other ways. Do you have any marketing advice for other authors?

The subject of marketing a book is as vast as the subject of writing one. But if I had to sum it up, I’d say that the key to all marketing is relationships, and it’s never too early to start building those. Also, the sooner you see your writing career as a business, the better off you will be. Think of your book (or books) as products, not as beloved children! The sooner you can do that, the smarter and more efficient you’ll be about marketing.

I think a newsletter is really important because you can directly market to your subscribers and also because you own those names. All social media can disappear in an instant and all of your followers on those platforms with it. But a newsletter list is your own. I have built mine over the years by joining Book Funnel and Book Sweeps, which basically consist of joining together with other authors to promote a set of free books in exchange for email sign-ups. Another great strategy is to regularly put together big prize package giveaways which require people to sign up for your newsletter for a chance to win. Or giving away a short story, novella, free guide, or similar “reader magnet” in exchange for an email signup.

Secondly, start building a platform on various social media sites. Don’t overthink it—that’s a mistake I made with Instagram. I spent so much time (like two years!) studying the platform and trying to think up the perfect content, that the platform shifted before I could put any of my strategies into effect. So don’t hesitate; just jump in!

Join various author/reader-centric Facebook groups to not only get advice but also to give advice. Being a good literary citizen goes a long way. It’s never too early to start networking. Show up to other author’s events. Read their books and review them. Comment and engage on posts! Form relationships.

Also, start going to conferences! They are great way to learn more about the industry, craft, and marketing. Authors at any stage can benefit from them for different reason, but they are especially helpful to newbies. It’s a great way to start making connections that will help you every step of the way. Most authors are introverts, but if you’re at a conference, try to fight against the urge to hide in your room! Get out there and mingle!

If you’re just starting out, do every single thing that comes your way. Try everything! When my first book was coming out, a very upscale bookstore asked me to be part of their “indie author day.” I was thrilled to be asked, but not so much when I realized that they simply wanted me to be a greeter—essentially to hold the door for people. But I said yes! And I kept on saying yes and yes and yes to whatever came my way. Do the same; you never know where things might lead or who you might meet in the process.

Lastly, what’s on the horizon for you? Can we expect to see more Henrietta and Inspector Howard in the future, and/or do you have plans for other books or series?

Right now, I’m editing book seven of the series, tentatively called A Haunting at Linley, which will sadly end this series. From there, I’m not sure. I have two completed standalone novels I’d like to publish, and I plan to start a new series. This one will be a historical fantasy that opens with World War I. I’d also like to take some of the characters from Clive and Henrietta and spin them off into their own series, or maybe advance the series by ten years and start it back up again. There are so many possibilities in my head; just not enough time to do them!

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Thanks so much to Michelle for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Today’s Cluesletter interview is with Linda Moore. Linda’s debut novel, Attribution, is a story of art and suspense—two of my favorite things! In our discussion, we cover the allure of an art-themed mystery, Hispanic art, and hybrid publishing.

Connect with Linda on Facebook, Instagram, Goodreads, and her website. Grab Attribution via various retailers, including IndieBound, Barnes & Noble, Bookshop.org, and Amazon

Hi Linda, thanks so much for joining! Attribution follows art historian Cate Adamson as she discovers a potential Baroque masterpiece, and brings it to Spain, hoping to authenticate it. With the help of a duke, Cate uncovers secrets that will rock the art world. Where did you get the inspiration for this story? Are there any real-life paintings or art news that inspired the book? 

I got the idea from a lecture by a young curator who was trying to attribute a painting. I found his story fascinating, and ever since have followed newly attributed or reattributed works or a recent find of an unknown work. Once you start paying attention, many examples pop up. I probably see several a week, like the recent story from the National Gallery using the Covid closure to remove a beloved Vermeer entitled Girl with a Flute was determined to be not by Vermeer.

[Inquisitive sleuths—here’s an article on that last point.]

Art and mystery make a great pair. What do you think makes this pairing so irresistible to writers? Can you share some of your favorite art history-themed mysteries?

Anything of high value or potential value, with legitimate and illegitimate markets, draws the crime elements to seize the opportunity. Add to that the notion that with art, not everyone has the expertise to know if the art is real or fake. Even experts can disagree and thus more intrigue or crime opportunities can be introduced. The chance to become very wealthy if the crime succeeds is high.

I enjoy all types of fiction related to art, novels, mysteries, thrillers including books by B.A. Shapiro and Laura Morelli, who write mostly about Italian art. I like Daniel Silva’s character Gabriel Allon, who served with the Israeli intelligence but hides by being an art restorer. I wanted to add the wonderful art from the Spanish Golden Age. I think Attribution is the first work of fiction that has focused on these wonderful artists. Let me know if you hear of another!

Since this is your first book, what have you learned about the publishing process? Can you share any tips or pieces of wisdom to writers hoping to get their first book into the world?

Writing the best book you can is step one for any author. Once the book was finished, I was not prepared for the amount of time and work to learn new skills and develop networks to put a book into the world. It is also very expensive to do marketing and publicity, regardless of the type of publication you have. Very few books are backed by big publicity and marketing budgets. Most authors have to do the marketing themselves.

I went with a hybrid publisher in order to move forward quickly with competent advice, and because I would earn more per book sold if I invested in the project. It has been much more expensive than I expected, especially the publicity component. Fortunately, my background as a gallery owner gave me the background in publicity, marketing, and sales and that has helped with what it takes to sell books.

Your background in Hispanic art as a gallerist and lifelong enthusiast lends expertise to the art in the book. What do you love about Hispanic art? Are there any other genres/specialties that capture your attention?

I love the cultures of the Spanish speaking world, their zest for life, the diversity, the literature, the food, the music . . . I could go on. To connect the Hispanic world to a one-dimensional movement or vision of art is impossible. It’s like saying European Art, when we know that the art of Scandinavia is completely different from the art of Greece.

My gallery exhibited many artists from the Southern cone of South America: Argentina, Uruguay, Chile, Brazil. I like the moodiness of the muddy Rio de la Plata palette; the surreal interiority of Montevideo artists, the conceptual installations of the Brazilians—so you see the variety. Of course, every place has its outliers who march to their own drummer. I am also a big fan of Catalan artists from Barcelona, especially abstract expressionists like Antoni Tàpies.

I always like to ask authors about their current projects. Do you have plans for future books? If so, can you share some details or insight into what you’re working on?

I am rewriting the first novel I wrote: Five Days in Bogotá.  Here’s the premise: A recently widowed art gallery owner with two small children goes to an art fair in Bogotá during the early 90s drug cartels to find wealthy collectors and earn quick cash. She gets swept into a plan to sell art that is both dangerous, mysterious and potentially very lucrative. What could go wrong?

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Thanks so much to Linda for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Today’s featured author is D.A. (Dana) Wilkerson. Dana is the author of the Totally 80s Mysteries cozy mystery series, book three of which launched just last month. In the interview below, Dana and I cover 80s nostalgia, bookish wisdom, and an upcoming series.

Connect with Dana on Facebook, Instagram, TikTok, and her website. Fellow 80s lovers can tune into this episode of the podcast The 80s Revolution to hear Dana as a co-host. Grab Dana’s books, A Totally Killer Wedding (book 1), Most Likely to Kill (book 2), and Of Heist and Men (book 3) via various retailers: see the full list on her website.

Hi Dana, thanks for joining! Your newest release, Of Heist and Men, is book three in your Totally 80s cozy mystery series. This series kicks off in a small town in 1985, and includes plenty of references to the era. What do you love about setting a mystery in this decade? What kind of details do you enjoy putting into your books?

I love the 80s setting because I’m an 80s kid—I started the decade as a toddler and ended it as a teenager. I have fond memories of those years, terrible hairstyles notwithstanding. It’s been fun doing research on the 80s, and I’ve done a lot, because I want to make sure I’m accurate on the details. I only include songs and movies that were released before the date the books take place. In Of Heist and Men, I even mention a Tina Turner and Mr. Mister concert that actually took place at the location and date mentioned in the book. All car makes, models, and colors are checked for accuracy.

Researching toys has been one of my favorite aspects of writing these books. I’m releasing a Christmas novella at the end of the month, and I had a blast looking up the hottest toys and games of the 1985 Christmas season. I was hoping that was the year of the Cabbage Patch Kid craze, but it wasn’t (that was 1983, though the dolls were still very popular in 1985). Teddy Ruxpin was the big one in 1985. I also discovered that the Atari was on its way out by that time, and Nintendo systems hit US shelves for the first time in the fall of 1985. I was shocked by that fact, since we didn’t get a Nintendo until around 1990.

It’s interesting writing a mystery set in the 80s, because the characters can only use technology that was available at the time. More importantly, they can’t use tech that didn’t exist yet (or at least wasn’t used by more than a handful of people)—most specifically cell phones and the Internet. In 1985, only 5 percent of households had an answering machine. Solving a mystery involved heavy use of landline phones, the local grapevine, and actual legwork. I think that makes the sleuthing more collaborative, as it necessitates more interaction between characters than you might have today.

This may be a tricky question, but just for fun—if you were to pick another decade in which to set your mysteries, what would be your choice?

The 90s! I’m planning on setting another series in a small-town newspaper office in the 90s. I was in high school and college during the 90s, and I worked at my hometown newspaper office in the summers. The technology used in that office was light years different than it is now, and the Internet was brand new, so I think that’ll make writing those books exciting as well.

In addition to writing mysteries, you also work as an editorial consultant for other authors. With your extensive background in writing, editing, and publishing, what is your best advice for new writers?

Writing is mostly a solitary endeavor, but don’t let it isolate you. When it comes to writing, your friends and family most likely won’t understand what you’re doing, why you’re doing it, or why you spend so much time on it. That’s one of the many reasons it’s important to find other writer friends who do understand and can be your support system. It’s difficult to do it alone!

I subscribe to—and love receiving—your author newsletter! Can you share your writing process for your emails? Do you have an email strategy and/or any tips to share regarding email marketing?

So far I haven’t had much of a strategy. Ha! I have been very inconsistent with timing and content. I’m just now setting out a plan for my newsletter going forward. I’m hoping to start sending a newsletter every other week, and potentially ramping it up to every week at some point.

I have three goals for my newsletter: to inspire my followers to read books (not just my books!), to prompt fond memories of the 80s, and to give readers an opportunity to be part of my book writing and publishing journey (being ARC readers, participating in polls about future book content, etc.).

I will admit I am terrible at coming up with newsletter content. But I have friends who are excellent at telling me what I should include. In fact, just this morning a fellow author told me something I need to include in a future edition. That’s yet another reason why writing shouldn’t be a solitary pursuit!

Lastly, what’s on the horizon for you? Do you have another Totally 80s mystery in the works, or do you perhaps have plans for a second series?

I have a Christmas novella releasing the beginning of November. It’s part of the Totally 80s Mysteries series and is essentially Book 3.5. Book 3 takes place in October of 1985, and the novella is set at Christmas 1985. I plan to write at least two more full books in the series, but potentially more.

As I mentioned above, I also plan to write a series set in the 90s at some point. I’m also considering branching out into another genre—probably rom-com. As I write the Totally 80s Mysteries, more and more romance keeps creeping in as I get farther into the series. Combine that with the fact that I love reading (and watching) rom-coms, I think writing that might be a good fit for me. But I’m not planning to stop writing mysteries!

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Thanks so much to Dana for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Magic and mystery and murder . . . oh my! So are the themes of the books of today’s featured author, Elle Hartford. In the interview below, Elle and I chat about her blending of genres, short stories versus novels, and writing a regular newsletter.

Connect with Elle on Facebook, Instagram, Twitter, Goodreads, and her website. Grab Beauty and the Alchemist today from various retailers or shop direct on Elle’s website.

Hi Elle, thanks for joining! Your new series, The Alchemical Tales, blends fantasy with mystery. Book one, Beauty and the Alchemist, follows traveling alchemist Red as she investigates a beastly criminal. What do you love about both mystery and fantasy? What do you think these genres have in common (or not in common)?

Hey Manon, thank you so much for having me! And what a good question. I think mystery and fantasy are complementary. To me, the whole point of fantasy and fairy tales is to explore aspects of ourselves and our beliefs about the world.

For example, Beauty and the Beast—the fairy tale basis for Beauty and the Alchemist—is often an exploration of how love can help us grow up (or not). Meanwhile, mysteries dive deep: stories about crime get into our dark emotions and motivations, of course, but cozy mysteries also dive into what it’s like to be part of a community and to work together. So in combining the two, we get a blended genre that really shines a light on hidden aspects of humanity while also being creative and welcoming to read.

You’ve also written several short stories in this world, now published in an anthology, The Carousel Capers. How do you like writing short-form mysteries versus long-form mysteries? Do you have a preference for either length? What are the advantages or disadvantages of each type of storytelling?

Oh, this is tough! So, I started out as a novel writer. I usually prefer to read novels, so that structure feels most natural to me. (Plus, I have such a hard time whittling down my cast of characters to fit short stories!)

That said, with each new Carousel Caper that I wrote, I had more and more fun. The truly wonderful thing about short stories, I’ve found, is that they’re the perfect way to try out a new idea or a particularly “out there” plotline without having to commit to something novel-length. For example, in one of the Carousel Capers, the characters end up riding a runaway mine cart through spooky tunnels—the kind of escapade that the Scooby-Doo fan in me adores, but that might stretch believability a bit in a novel, especially if that sort of thing was happening in every chapter.

I’m a big fan of your bimonthly newsletter, Books & Beyond. Can you share your writing process for your newsletter? Do you have tips for authors looking to ramp up their email marketing?

Aw, thank you so much! I put a ton of thought into my newsletter before I even began collecting emails, and now it’s almost become second nature. I think the best advice I can give is to make sure that your newsletter works for you first and foremost, and that it reflects who you are as an author. For example, as a person I’m a bit introverted and very conscious of peoples’ time—and I know I have a tendency to overschedule myself. ​​;) So, I opted for a twice-monthly newsletter as opposed to a weekly one, because it was important to me not to feel like I was annoying people and also to choose a schedule that I knew I could keep up with consistently. (That’s not to say that weekly newsletters are necessarily annoying, of course! It simply depends on you and your sharing style.)

As for content, I thought for a long time about what readers might enjoy, what I like in newsletters I follow, and what would relate back to my work. Then, because I’m the sort of person who thrives with a balance of organization and improvisation, I created a barebones structure for myself to use. Now I know that each newsletter, I’ll include a personal note, I’ll have a round up of my latest blog posts (I’ve been an avid blogger for years), I’ll include something useful to readers (like a schedule of events), and I’ll add in something just for fun. But exactly what content fills out those categories will depend on what I have going on that week, what season it is, and what’s on my mind.

I think, too, that part of the reason I enjoy my newsletter (and hopefully others do as well!) is that I make an effort for it to look cohesive and just nice. I know that sounds a little trite, but it really does add to my satisfaction, and it helps convey the “vibe” of me as an author—whimsical, but also thoughtful. And on that note, let me end by saying that I definitely recommend Canva to authors looking to create professional graphics of any type!

Your short stories have also appeared in a few multi-author anthologies, such as A Cauldron of Deceptions and An Aquarium of Deceit. What has your experience been in participating in these collaborations? Do you have advice for authors looking to do a similar creative venture?

Try! Just try sending out your stories, haha. Even though I consider myself primarily a novelist, my career as an author began because of anthologies. A Cauldron of Deceptions contains the first story of Red and her friends that I ever wrote!

Of course, the competition to get stories into anthologies can be very steep. I’ve found that you do need to make sure that your story matches the theme and tone of the anthology, and you’ll need to be ready to pitch in on marketing efforts, too (so make sure it’s an anthology/publisher you’ll be happy to share and support). Even though you do end up with more rejections than acceptances, I believe submitting short stories is very worthwhile—the acceptances you do get will build your confidence, increase your list of titles as an author, and also introduce you to other authors in your genre who may become some of your biggest supporters and teachers.

Lastly, I know you have a couple more installments in The Alchemical Tales on the horizon: Cold as Snow and Mermaid for Danger will hit shelves in the next few months. What can you tell us about these fantasy-mystery tales?

Yes! We’re in the middle of “rapid release season,” as I’ve taken to calling it, and I am so excited. 🙂
Cold as Snow is the second novel in the series, and in it, Red becomes entangled in the drama surrounding a conflicted young fairy named Snow . . . who’s just lost one of her dwarven coworkers under suspicious circumstances. In the third book, Mermaid for Danger, Red and William (her magical talking dog!) take a break from Belville to attend a merfolk friend’s seaside wedding–only to learn that love is harder than it looks, when a member of the wedding party dies. What makes me especially happy to share these stories is that through them all, we get to see Red grow as a protagonist and her relationships with her new friends in Belville deepen (particularly her relationship with a certain special someone who will remain unnamed!).

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Thanks so much to Elle for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Today’s featured author is multi-genre mystery writer Lauren Carr. Lauren wears many hats: when she’s not writing mysteries, she is working with other authors, setting up interviews and blog tours through her company, iRead Book Tours.

In the interview below, Lauren and I discuss her new cozy mystery release, the other genres she writes in, and her entrepreneurial endeavors in publishing and reviewing.

Sleuths, connect with Lauren on Twitter, Instagram, Facebook, and her website. Check out iRead Book Tours here, and grab a copy of The Wrong Side of Murder here (yes, it’s in KU!).

Hi Lauren, thanks for joining! Your latest release, The Wrong Side of Murder, is the second installment in your Nikki Bryant Cozy Mystery series, in which intrepid investigative journalist Nikki finds herself embroiled in a twenty-year-old mystery. In your opinion, what makes a great cozy heroine? What qualities do you like to see in an amateur sleuth?

To me, the most important quality for a cozy mystery heroine, amateur sleuth, or any protagonist is likeability.  I can’t tell you how many books I have not finished because the protagonist is rude (I think the writer saw them as “strong”) and not likable.

Amateur sleuths are tricky. Writers of cozy mysteries have to navigate a double-edged sword. The premise for cozy mysteries and writing about amateur sleuths is that the protagonist is not a professional detective. That means they do not work in law enforcement. Yet, because you are writing a mystery, preferably a cozy mystery, your amateur sleuth has to keep tripping over dead bodies that have been murdered. Otherwise, you don’t have a mystery. So the struggle for the author is coming up with believable ways for the amateur sleuth to become involved in a regular stream of murder mysteries without stretching their fans’ suspension of disbelief too far. That can be a struggle. I cheated by making Nikki Bryant a tenacious investigative journalist with a boyfriend who runs the crime lab.

Besides cozy mystery, you also write suspense, crime fiction, and police procedurals. After writing so many series in various subgenres of mystery, what would you say is your favorite? Are there tropes and themes that you like to return to? What advice do you have for authors looking to branch out from their current genre(s)?

Police procedurals are my first love. I’ve just always been drawn to the men in uniform working the pieces of the puzzle of solving the mystery that I love the most. 

Cold case mysteries are a very common theme that I find myself turning to time and again. I think if you look at most of my recent novels you will find a cold case mystery lurking in the background. If not the main plot, the subplot. 

It is my affection for cold case mysteries that made me write ICE, the first installment in the Chris Matheson Cold Case Mysteries. I love heating up a case that has gone ice cold.

In addition to your writing and publishing, you also work with readers: your company, iRead Book Tours, pairs indie authors with book reviewers to schedule book tours, promotions, giveaways, and advance reviews. What have you learned while working with authors and readers? Are there any bits of wisdom you can share with authors, and/or perhaps some tips for readers hoping to get serious with their reviews?

I have learned in working with authors and readers that each person reads a book differently and takes away something different. Each reader approaches a book from a different place based on their own unique experiences, education, and background. As time and culture change, the words and intentions of the author who has written a book haven’t changed, but the way new readers and their new perspectives view that book may change.

Because of that, I tell new writers to write what you want to read. It is impossible to conclude what is going to please the majority of readers because each one is different. The only thing that you, dear writer, know for certain is what you want to read. And, if you are writing something that you would enjoy reading, then you can be certain that you will enjoy writing it.

I have found that writers who are writing for literary agents and publishers don’t enjoy the writing process. For them, it is a chore.

I’d love to pick your brain about work and scheduling—so many authors, especially indie authors, balance their writing time with a full-time job or business. Do you stick to a writing schedule, and/or how do you budget your time for each endeavor?

I have found I have to budget my time. I bought iRead Book Tours nine months before the pandemic hit. At the time, I was told that I would easily be able to balance running the company while writing in the evenings and weekends. Once the pandemic hit, I was hit with an avalanche of business from authors forced to cancel their in-person events. For a year and a half, I was working seven days a week. I couldn’t do any of my own writing for over a year!

Several months ago, for sanity, I had to set up boundaries. While I do check my emails every day for emergencies, I have to reserve my evenings and weekends for my own writing.

Lastly, what are you working on right now? Are you planning more cozies, another series, and/or anything else exciting that you can share?

I’m working in the latest Chris Matheson Cold Case Mystery: Chris Crossed Muder. We will be looking for a release shortly after the first of the year: 

It most certainly proves to be a Christmas to remember when the Matheson family receives the horrendous news that Chris Matheson’s body has been found in the woods near an international airport. 

Everyone is stunned – especially Chris Matheson.

The mystery deepens when they discover that the victim has been living under Chris’ identity for years. Not only has the murder victim been identifying himself as a special investigator with the FBI, but he appears to have been investigating one of Chris’ old cases—that of a missing young woman, whose body was found soon after he was pulled off the case.

The Geezer Squad’s latest case is not only a whodunit but who-got-dun. Was the intended victim the phony Chris or was it a case of mistaken identity? 

With Chris and Helen’s wedding day fast approaching, join the Geezer Squad as they race to piece together the clues to their most complicated case yet.

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Thanks so much to Lauren for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.

Today’s featured author is Nev March, whose new release Peril at the Exposition hit shelves last month. The sequel to 2020’s Murder in Old Bombay, this is a beautifully-written historical mystery that mixes the glamor of the 1893 Chicago World’s Fair with a grisly, threatening plot.

Connect with Nev on Twitter, Instagram, Facebook, and her website. Grab a copy of Peril at the Exposition from your favorite retailers here.

Hi Nev, thanks so much for joining! Peril at the Exposition follows newlyweds Captain Jim Agnihotri and Lady Diana Framji as they track down anarchists planning a deadly plot in 1890s Chicago. What inspired you to write a husband-and-wife detective team? Are there any advantages or challenges to writing two sleuths, instead of one?

In any novel, a single protagonist has “plot armor;” that is, it’s understood they will survive to the novel’s end. However, that’s not the case when you have two protagonists. Readers understand this and fear that one or the other may not survive or may sacrifice themselves for their spouse! Western society prizes the individual and their beloved above all else. But eastern ways of thinking value the needs of the group or society higher. This keeps the stakes very high, as they balance their mutual affection with the needs of others.

Unlike Murder in Old Bombay, book one in your Captain Jim and Lady Diana mystery series, Peril at the Exposition takes place in the United States. Are there any challenges or notable differences when writing about India versus Boston or Chicago?

I grew up in India, so its landscapes are etched in my mind. 1892 Bombay would be similar to cities and towns I visited in the 70s and 80s, which made for vivid scenes in Murder in Old Bombay. Writing Peril at the Exposition was a different process: Though I lived near Chicago in the 1990s, the city is vastly different than in 1893. Ethnic neighborhoods and streets were razed to build modern highways. While the magnificent White City of the World’s Fair is well documented, I had to imagine the fetid, sooty, dung-ridden (!) industrial city that Chicago was then. 

The historical setting of the series—specifically, the Chicago World’s Fair in 1893—makes for a glittering backdrop to a deadly mystery. Can you share how you researched this time period? And/or, what about the World’s Fair makes it an interesting setting for this story?

It’s a period rife with conflict! The 1893 World’s Fair was a turning point in American and world history, a vision of what innovation could bring the world, a magnificent vision of hope. But for those excluded (minorities, blacks, indigenous people, and labor) it must have seemed like a dream out of their reach. Their despair is a terrible counterpoint to the glamorous gilded age lifestyle. It’s also interesting because it mirrors our present-day growing inequality of income, almost a cautionary tale.

Identity is a major subject in this story: themes of race, gender, social class, and more are woven throughout the book. Why do you think it’s important to include these significant themes in a mystery?

Quoting the brilliant Walter Mosely (Author of Devil in a Blue Dress and more): People read for two reasons: to be entertained, and to learn something about human nature. This resonates for me. I want my stories to entertain, to lift and transport readers to a different time and place. I also want to open a window outside their bubble, to share something about how their actions might seem to people of other cultures, to recognize the unfairness of our social norms and expectations, to feel empathy. If I succeed, it elevates a genre novel to entertaining literature.

Lastly, I see that you’re working on Captain Jim and Lady Diana’s third book. Can you share any details or sneak peaks at the plot for this one? And/or, do you have any other exciting projects you could share?

Book 3 is a locked room mystery set on a steamship during the golden age of ocean travel. Captain Jim and Lady Diana must solve the murder of a foreign diplomat before they make land or risk an international incident. Is the killer one of the wealthy society folk onboard or a member of the crew? Our sleuths have plenty of suspects with multiple motives. . . . but are running out of time. (I’m having such fun with this!)

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Thanks so much to Nev for the interview. Sleuths, I hope you enjoyed it! If you aren’t already subscribed, please be sure to sign up for the Cluesletter and get author features like this alongside other mystery goodies, delivered to your inbox every other Tuesday.