On writing mysteries

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So one of my critique partners who usually gives very good criticism suggested I rearrange three chapters in my mystery.  To anyone who thinks I should attempt this: in a mystery, continuity is everything. Merely moving a sentence or changing a line of dialogue can unravel the whole plot. I know this because, not to toot my own horn,* I’ve scripted quite a few, some commissioned, that collectively have had over 600 performances.

The defense rests.

*Have you noticed people only says this right before they toot their own horns?**

**I’ve never understood this metaphor. Plus, you certainly wouldn’t toot anyone else’s. It would be unsanitary.

Famous people who edited my work in high school

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Brian Ross. We worked on the school newspaper. He became a famous journalist. I didn’t. In the old days* he was afraid of snakes. Now he’s not even afraid of the Mafia. Go figure.

*Speaking of which, now you know how old I am, unless you’ve been gracious enough not to look it up.

To paraphrase Ricky Nelson*

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So my two truly wonderful critque groups sometimes** give me suggestions so dramatic that they would involve total rewrites. And then I start ‘shredding’ and discover I’ve “lost my way” to quote the wonderful Rebecca Stead, because I’m not sure where the characters and story have disappeared to. Sometimes I do have an epiphany, and I say “That suggestion is the key to everything.”*** But when that doesn’t happen, as Ricky Nelson said in the immortal song, “Garden Party,”

But it’s all right now, I learned my lesson well
You see, ya can’t please everyone, so ya got to please yourself

 

*If you’re old enough to remember who he is you probably refer to your CD player as a phonograph.

 

**As in ‘currently’

***No, seriously.