by Lynne | Feb 12, 2017 | Historical Background, Researching, The Triangle Murders - History
March 25, 2017 will be the 106th anniversary of the deadliest workplace disaster in NYC history prior to 9-11: The Triangle Shirtwaist Factory fire.
It was significant not because 146 workers died, but because it instigated reform. At the time workplace safety was barely regulated and rarely thought about . . . except, perhaps, by the workers themselves. Other workplace disasters had occurred in the past and would again in the future. So why was the Triangle different?
One reason was a woman named Clara Lemlich. In my novel, The Triangle Murders, she appears as a feisty young woman who wanted to better the plight of the garment workers. Indeed, she was. In my novel she is beaten by a gang of thugs and rescued by Cormac Mead. Indeed, she was. (In truth, she was beaten but not rescued by Cormac or any other policeman.)
Clara Lemlich, a skilled draper and member of International Ladies’ Garment Workers’ Union Local 25, encouraged interested shirtwaist makers to meet secretly with the union and the Women’s Trade Union League to discuss workers’ needs and the union’s goals. Despite the risks, many went on strike in September, 1909. In an attempt to satisfy some workers, Triangle owners Max Blanck and Isaac Harris formed the “Triangle Employees Benevolent Association” a company union, and installed relatives as officers. They also announced that any employee who supported ‘another union’ would be fired. Photographer: unknown, 1909 Photo courtesy the Kheel Center, Cornell University:
http://www.ilr.cornell.edu/trianglefire/primary/photosIllustrations/slideshow.html?image_id=842&sec_id=12#screen
Clara worked as a draper at Leiserson’s waist factory. She told stories of how workers were followed to the restroom and hustled back to work, lest they steal precious fabrics. She relayed how workers were persistently shortchanged on their pay and sometimes even charged for the use of materials, such as thread. And, at the day’s end, they lined up a single unlocked door to be searched before they exited.
She had had enough. In 1906, along with several other women, Clara joined the ILGWU, the International Ladies’ Garment Workers’ Union. Together they formed Local 25, to serve female waist makers and dressmakers. (A shirtwaist, by the way, is a blouse – See Clara wearing one in photo.) In many ways, they had to fend for themselves, for men in the unions did not take them seriously.
Clara was instrumental in organizing the female workers from shop to shop to strike for better working conditions. She made a difference. Now 106 years later, women like Clara can still make a difference in reforming injustices. We all can.
Ideas welcome.
by Lynne | Jan 30, 2017 | Marketing an Indie Book, Writing, Writing Tips
Writing a good book is the first step. The most important one.
Publishing is second. Marketing, third.
I’ve read books on Indie marketing and ideas range from developing a top-notch website, creating YouTubes, or audiobooks, and taking advantage of free social media, or paying for advertising, both digital and in print. So far, I’ve got a really good website. No YouTubes or audiobooks, yet. I use social media a great deal, but not paid advertising.
What I did do, however, on one of my books, was write a press release. But I didn’t write the release about my book per se. I took a concept from my book and capitalized on that. I found a “hook,” that I thought would be of interest to a wide audience.
DEADLY PROVENANCE is about the Nazi confiscation of art and a missing Van Gogh painting. It is actually still missing so I decided to go on a hunt for it. Seemed like a good angle: “Mystery Writer on Hunt for Missing Van Gogh.” Now what?
I created a press release, weaving my book concept into this “hook” so it didn’t appear to be just a “buy my book” message.
Now, what do I do with it? I can send it to local papers and news stations. Not too hard. Find the feature editors, senior editors, etc. But what about a more widespread release? Throughout the city, state, country?
I investigated some marketing companies. I found one called PRWeb.com and decided to go with them. For under $500, they helped me tune up my release, target my audience, and release it on a certain date to many thousands of publications around the country. They also followed up with analytics to show who picked it up, how many hits, impressions, interactives (forwards, prints, etc.) took place.
How did I do? I was somewhat disappointed in the results. Most of the sites that picked up the story were online journals and digital newsletters. Certainly not the New York Times. A couple of biggies did pick it up: Miami Herald and the Boston Globe. But when I clicked on the sites and tried to find the article, they didn’t show up. Hmmm. Using Google and Google Alerts, I tried to find who picked up my press release. Still not a clear picture. Maybe I’m just tech-challenged.
My next step was to take the release and blast it to local press avenues. There I had more success. I snagged a radio interview at KPBS and astoundingly, landed on the front page of the San Diego Union Tribune. Terrific story by an excellent columnist who took my press release, interviewed me and then wrote his own article. I was flying high. Although anyone who knows San Diego’s U/T would probably laugh.
Then it was over. In one day, I was no longer a cover story. I was back to being one author amongst many. What now? Peddle the press release along with my one day of fame, to new sites or repeat sites? Write a new press release? Or do I hire a publicist who knows the appropriate next steps?”
At this point, I have focused on writing the best books I could: delving into the research, creating new plots and interesting characters, and using social media to market. I’m not a New York Times bestselling author yet, but I’ve done pretty well. More important–I’ve enjoyed the entire process!
Ideas welcome!
by Lynne | Jan 23, 2017 | Mystery Writing, Reading, Screenplays Vs. Novels, Writing, Writing Tips
In my last blog I talked about what novel writers can learn from screenwriters. Well, it hit a nerve with all writers and I got many comments. One comment referred to Broadchurch, the television series I mentioned as an example of good screen writing. The reader who commented agreed that the series was excellent but stopped watching it after three episodes because it was so dark. (Thanks, Mark Hunter!)
This started me thinking about other TV series as well as mystery novels that fit into that “dark” category. And they are legion. Let me name a few you might be familiar with: Happy Valley, Hinterland, The Killing, The Missing, Dexter, The Escape Artist. Then there are those I haven’t seen, mainly being turned off by the title: Killer Couples, Murder on the Social Network, Married Single Dead, Slasher, I am Not a Serial Killer. (Really?)
So what is about today’s mysteries (many of these series were books first) that compels authors to write such grisly, black, and freaky-scary scenarios? I believe that the transition from book to film has demanded heightened “grimness” for dramatic effect. When a book becomes a movie, the dark elements are often played up. And the villains are getting meaner and nastier all the time.
Don’t get me wrong. The villains in novels can be just as rotten. However, when you actually see the character in the flesh, so to speak, the villainy is enhanced. Take a series called Happy Valley, a British psychological cop thriller. Excellent series. The villain, however, left such a lasting impression with me, that I have difficulty watching the actor in any other series. Believe it or not, he’s the priest in Grantchester and I now find him hard to believe (as a good guy) after seeing him in Happy Valley.
But back to point. There are still many series and books that have all the great attributes of a good mystery, both book and film, and are not as dark. See if you agree: Inspector Lewis, Sherlock, Endeavour, The Bletchley Circle, Foyle’s War, Bosch, Midsomer Murders (okay, a little fluffy here.) The Wallender mysteries and Elizabeth George’s Inspector Lynley. Agatha Christie’s stories are also in this category. 
To be a good mystery, must it make you throw up, weep, shake in your boots, or cause insomnia? Or should it make you ponder, riddle-solve, and give you ingenious plot and character ideas for your next book?
I welcome your thoughts and ideas.
by Lynne | Jan 16, 2017 | Crafting Characters, Screenplays Vs. Novels, Writing, Writing Tips
I read a lot. I also watch movies and occasional television series. Recently I got to thinking about how novel writers and screenwriters differ.
In some ways a screenwriter has an easier job than an author. Take, for instance, “painting a picture of the scene.” When describing a scene, the screenwriter essentially “takes a snapshot,” something like: “you are looking down the beach, with huge cliffs off to the left, surf to the right, and a body down at the far end.”
He/she does not use too many adjectives such as azure sea, turquoise ocean, foamy waves, or 60-ft cliffs, ragged rocks, sandstone hills. No need. The snapshot, the images on camera of the actual place, capture all that for the viewer. 
The scene I’m describing, by the way, is from a BBC Series called Broadchurch, one of the most well-done, intriguing and dark stories I’ve seen. Instead of spending myriad words to let the reader “see” the image, the stage is, essentially, pre-set by reality.
Rather. the screenwriter spends considerable time on the characters and, probably to a lesser extent, on the plot. In Broadchurch, the plot is riveting, starting with the murder of a young boy. And it twists and turns its way through the episodes with skill and bravery, to end with a, pardon the expression here, a cliffhanger.
You always want to return to the next episode. You always want to turn the page.
Chris Chibnell is the screenwriter of Broadchurch, and no, the book (written by Erin Kelly, along with Chibnell) came after the screenplay–isn’t that interesting? Chibnell’s past credits include Doctor Who and Torchwood, but Broadchurch catapulted him to screenplay stardom.
What Chibnell does so masterfully, and we authors need to take a lesson, is character development, growth and change. The Broadchurch characters start out one way, they grow through the series and, somehow, almost magically, are transformed by their experiences. They have learned and matured; they have gained strength and resilience. And they continue to change, giving the viewer hope they will survive no matter what the future holds.
This is a concept we novel writers need to infuse in our own work. Character development, however little, is BIG. Don’t minimize it and its effects on the audience (reader.) Without being a spoiler, I suggest you watch Broadchurch, and, in particular, the character of Ellie Miller.
See if you don’t agree that this device can make you a much better writer.
by Lynne | Jan 8, 2017 | Mystery Writing, Writing, Writing Tips
One of the most difficult tasks for writers, but also one of the most important, is creating the back (jacket) cover text.
It must be brief but intriguing, succinct but riveting. For discussion sake, here is the back cover text for my latest book, Pure Lies, a mystery about the Salem Witch Trials. It is the same text I used for the ABNA (Amazon Breakthrough Novel Award) contest “pitch” and it got me through the first two rounds. Let me know what you think or share your own back cover copy.
Two women, separated by three centuries, are connected by a legacy of greed, depravity and deceit–a legacy which threatens to make them both victims of the Salem witch trials.
1692, Salem, Massachusetts Born in a time and place of fierce religious fervor, 16-year old Felicity Dale has only endless church meetings and the drudgery of chores to look forward to. When her friends begin accusing neighbors of witchcraft, she fears the devil is in Salem. By chance, however, she discovers that the accusations of her “afflicted” friends are false. What had begun as a youthful diversion has been twisted through seduction and blackmail by powerful men into a conspiracy for profit. Nineteen people will pay with their lives.
Today, Washington, D.C. Maggie Thornhill is a renowned digital photographer in Georgetown who possesses a passion for history. As her Ph.D. dissertation, Maggie takes on a project to electronically archive the original documents from the Salem witch trials. She observes discrepancies in the handwriting of the magistrate’s signature on certain land deed transfers — land that belonged to the witches. When a professor studying the documents is murdered, she begins to suspect that the trials and hangings were a result of simple mortal greed not religious superstition.
