Friday, May 28, 2021

 

Forensic Psychology 

By Sandra Olson

What's the difference between a forensic and criminal psychologist?

While criminal psychology focuses on criminal behavior, forensic psychology includes criminal and civil law, work in prisons, at-risk youth counseling, and academic research. Forensic psychology requires the assessment of a wide array of people, including victims of crime, witnesses, attorneys, and law enforcement.

“Offender profiling, also known as criminal profiling, is a behavioral and investigative tool that is intended to help investigators to accurately predict and profile the characteristics of unknown criminal subjects or offenders." (Wiki)

Criminal forensic psychologists evaluate prisoners and their behavior. They may also help assess juries, deal with terrorist negotiations, advise law enforcement officials on likely behavioral responses from criminals, determine whether a suspect is fit to stand trial and may be called on to testify in court.

A forensic psychologist is an expert in the overlapping fields of psychology and the justice system often testifying in criminal trials as an expert witness. Due to their level of expertise, forensic psychologists are called to assess future risk of the accused, provide treatment recommendations to the court, and evaluate witness credibility. They work closely with the court and provide competency and sanity evaluations for the judge. The client base of the forensic psychologist is largely criminal, exposing them to a dark and abnormal population.

Forensic psychologists evaluate criminals to learn what their mindset and motives were at the time of an offense. They gauge what threat, if any, the offender will be to the public in the future. Their presence in courtrooms is often essential. Their evaluations, assessments and testimonies help inform the decisions of judges and juries.

Because forensic psychology is interlaced with the legal field, it requires an understanding of fundamental legal principles, such as those regarding standard legal practices and standards used by legal professionals, expert witness testimony, competence and insanity definitions and evaluations to be able to communicate effectively with judges, attorneys, and other legal professionals.

A criminal forensic psychologist can be a great character in fiction novels. Several authors have developed characters in this mode:

1.     Maggie O’Dell by Alex Kava

2.     Sadie Bonds by Trisha Wolfe

3.     Zoe Bentley by Mike Omer

4.     Lincoln Rhyme by Jeffery Deaver

5.     Pierce Quincy by Lisa Gardner

If you're looking for an intense reading experience, this is a great topic to investigate.


Tuesday, May 25, 2021

The Critique Club



by Larry Martin

drlarry437@gmail.com 


From: What Just Landed in The Villages? and Other Short Fiction 


***


“Okay, Jordan,” says Samantha, our Critique Club leader, “it’s your turn to read.”


The seven other members of our Fiction Writers of Sunnyville club all have a copy of my story, previously emailed, and will follow along as I read. FWS is an accomplished group of retirees; all have published at least one novel and are working on another or, as in my case, on short stories. We meet every Friday morning in one of Sunnyville’s many club rooms, seated around two card tables.


I take a sip of coffee, then proceed with a brief introduction. “This is a rather long short story, over 7000 words. I’ll keep to our limit and just read the first 1500. It’s called ‘A Cold, Snowy Path’, about a lone hiker in the Yukon, late nineteenth century. In the dead of winter.”


I begin reading. I can tell there is interest in the story and wonder what critique the members will offer. The story is in the genre I am known for — outdoor sagas with an historical bent, about early mountain climbers, ocean sailors, river rafters, hikers in unfamiliar territory.


My protagonist, a newcomer to the Yukon, is beset by extreme cold as he tries to reach his buddies at a distant camp. There he will find warmth and shelter. He’s only a few hours away but the temperature is so cold, minus fifty degrees Fahrenheit, that he has to stop and make a fire along the way. Then the fire goes out. He has a dog with him.


I get to the last paragraph.


“The man held steadily on. He was not much given to thinking, and just then particularly he had nothing to think about save that he would eat lunch at the forks and that at six o’clock he would be in camp with the boys. There was nobody to talk to; and, had there been, speech would have been impossible because of the ice-muzzle on his mouth.”


“Okay, I’ll stop there. I’ll read another 1500 words next week.”


Samantha takes over. “Who wants to comment?” she asks.


Bill raises his hand and is called on.


“Jordan, it’s interesting, and I see you’re building the question of whether the man will make it to his camp, but there are some problems. One is your overuse of semicolons, which I’ve noted. However, the major problem I find is your excessive use of ‘was’. I checked it out on Word. You used ‘was’ 52 times, and frankly the repetition is tiring to the reader. Allow me to read three sentences in your first paragraph.”


Bill picks up his copy and starts reading, emphasizing each ‘was’.


“It was a steep bank, and he paused for breath at the top, excusing the act to himself by looking at his watch. It was nine o’clock. There was no sun nor hint of sun, though there was not a cloud in the sky.”


“Here’s a suggestion for rewriting just those sentences,” he says, and begins reading his rewrite. ‘The bank proved steep, and he paused for breath…Nine o’clock already, he thought. Sun’s not out, though the sky is cloudless.’ That’s just a suggestion, Jordan. I would try to change most of the ‘wases’ to some other verb form.”


“Thanks,” I reply. “I’ll consider that.”


Mike quickly raises his hand and begins speaking. “Interesting, your last comment, Jordan. You said, ‘I’ll consider that’. I counted thirty uses of ‘that’ in this excerpt. Let me just quote two sentences, beginning on line twenty-nine.”


“Fifty degrees below zero stood for a bite of frost that hurt and that must be guarded against by the use of mittens, ear-flaps, warm moccasins, and thick socks…That there should be anything more to it than that was a thought that never entered his head.”


“Excessive use of ‘that’ is generally a sign of weak writing,” adds Mike. “You’re a good writer, and I’m frankly surprised you used ‘that’ so often.”


“Perhaps you’re right, Mike,” I reply. “I’ll look into that.” My comment elicits some laughter. We’re really a friendly group, all seeking to improve our writing.


“Anyone else?” asks Samantha.


Alice offers a comment. “I pretty much agree with what’s been said so far. Just seems like a lot of overwriting to me. One other area where I think the writing could be sharpened is your repetition of the word ‘it.’ Just look at that first paragraph again. I won’t read the whole thing. All these uses of ‘it’ are in that one opening paragraph, beginning on line five.”


“It was a steep bank….”


“The very next sentence.”


“It was nine o’clock.”


“And the next sentence.”


“It was a clear day.”


“Then sentence six of the same paragraph.”


“It had been days since he had seen the sun.”


“Too many ‘its’,” Alice continues. “Also, you use the first three as a pronoun, and the fourth one as a preposition. All this, I think, draws attention to the grammar and away from your story. At least it does for me.”


“How would you change it?” I ask.


“I don’t know,” she replies, with an air suggesting genuine concern for the story’s problems. “It’s up to you. Bill offered one suggestion for fixing the ‘wases’. I would just pay attention to your use of ‘was,’ ‘that,’ and ‘it’. You can easily search for these words. Combine phrases so they’re hardly needed.”


“Any other comments, Alice?” asks our leader.


“Oh, one other. The man has no name. You just call him ‘The Man’? Why not give him a name, make it a little more personal. Okay, I’m done. That’s all.”


Samantha asks if anyone else has a comment. Two members have so far offered no critique, and remain silent. I get the feeling that, by now, they perhaps feel sorry for me and don’t want to pile on.


“No other comments? Okay,” says Samantha. “I do have a criticism no one’s mentioned. The piece starts out giving us the man’s point of view, and that is pretty much maintained throughout. The narrator tells us that the gloom of the day ‘does not worry the man’, that a noise in the forest ‘startled him’, and that at one point the man noted changes in his cheek from the cold. But then the narrator also gives us, in several places, the dog’s point of view.”


Her emphasis on the word “dog” translates into “Do you know what you’re doing?”, and elicits a few titters from the group.


Samantha has more to say. “In fact, Jordan, you go back and forth with point of view, between the man and the dog. I personally don’t mind the dog having a point of view, some stories are written that way, but a general rule is to keep only one point of view in a short story.


“Where,” I ask, “do I have the dog’s point of view?”


“Several places. Samantha glances down at her copy. Here, line sixty-two.”


“The animal was depressed by the tremendous cold. It knew that it was no time for travelling. Its instinct told it a truer tale than was told to the man by the man’s judgment.”


“And again, on line sixty-eight.”


“But the brute had its instinct. It experienced a vague but menacing apprehension that subdued it and made it slink along at the man’s heels…The dog had learned fire, and it wanted fire, or else to burrow under the snow and cuddle its warmth away from the air.”


“So, you see, you go back and forth. I am not a stickler for point of view like some people, but do draw the line on interjecting an animal’s point of view along with a human’s, especially when they are presented by a narrator who is physically removed from the scene. It sounds artificial to me. That’s just my opinion.”


“Thanks,” I reply. “Anything else?”


Brian, heretofore silent, speaks up. “Jordan, you said you have another 5000 words to this story. It’s finished?”


“Yes.”


“I suggest you go back and rewrite the thing before submitting more to our group. I don’t want to be too critical, but do think the points raised here are valid, and seriously weaken your story. You can’t hope to get it published in this style of writing.”


“Oh, I’m not worried about that, Brian. It’s already been published.”


“Really, where?”


“I have a confession to make. It’s not really my story. The actual title is “To Build a Fire,” and it was published in 1908 by Jack London. The only thing I changed is the title. It is still being read in high schools and is widely regarded as a classic man versus nature short story.” I pause for effect. “A classic.”


There are a few guffaws as people stare at their copy. I see Brian doing a fast web search on his smart phone. While he’s searching, I take another sip of coffee, and then Mike speaks up.


“You can probably do this with a lot of older literature,” says Mike. “Imagine reading Beowulf here. This critique group is really for what we ourselves write, not fiction written by others, no matter how famous they may be.” He looks to Samantha, as if hoping she will reinforce his disdain for my trickery, but she stays mum.


Brian puts down his smartphone. “Okay, I found ‘To Build a Fire’. It popped up in a website ‘Twenty Great American Short Stories’. So you fooled us, I admit. But I agree with Mike. The criticisms are still valid for modern writing. Styles change, and what’s considered good writing changes over time.”


“I suppose so,” I reply. “Just thought it would be interesting to see how we respond to what’s generally considered great literature, even today. As I said, the story’s read in schools across the country.”


“So is Beowulf,” says Mike, fairly dripping with sarcasm. Brian slowly shakes his head, and Alice pointedly does not make eye contact. Still, I have no regrets. I made my point, and offer no more rebuttal.


“Let’s move on,” Samantha says. “Who’s next to read?”


- END -


Friday, May 21, 2021

Meet the Author

 Author interview: Jed O’Dea    

 1. Why did you write your first book?

A friend and neighbor of mine was a physicist  in the developmental stage of a “free energy” technology. He reached out to me for engineering and marketing support.  He refused to approach the Department of Energy or energy producers for fear his new breakthrough discovery would be suppressed, buried forever, and that he would wind up with concrete boots at the bottom of the Potomac River. I thought that would be a good foundation of a good story.

2. What made you get into writing in the first place?

I spent most of my career writing boring non-fiction technical documents. I read mostly mystery/thrillers as an escape. I thought writing fiction would be a lot of fun.

3. What is your writing style? 

I enjoy mixing facts with fiction such that the reader has difficulty knowing which is which. I like to write with multiple simultaneous plots that merge at the end of the thriller. Most of my novels have short chapters. My novels focus on the story and not as much on the details of what people are wearing or how they part their hair.

4. How do come up with your cover designs? 


Books are often judged by their cover. I provide a concept to a graphic artist who works with me through multiple sessions to arrive at a design that is intriguing and catches the reader’s eye.


5. Does writing energize or exhaust you?


Inspiration to write comes in spurts. When inspired, writing energizes.  When inspiration evades me, writing is exhausting.


6. What are some common traps for aspiring writers?


No one has ever written the perfect book. Constantly re-writing a sentence, paragraph, or chapter to “improve “ the story often results in making it less readable or entertaining. Craftmanship is important but not at the cost of making the book less enjoyable to the reader.


7. What most interferes with your writing?


Sitting at the keyboard for extended periods stagnates my writing. I find that some of my best ideas come to me while I’m walking or riding a bike. My first novel took six weeks to write.  My second novel took six months. The next four novels have taken one year.


8. What format do you find sells best for your work, Kindle, Pr8. Do you write each book to stand alone or do you build a body of work with connections between the books?


Character building is an art.  Once you build characters that readers identify with and begin to feel an affinity for, you want to continue that relationship in subsequent books, so I am writing the Tucker Cherokee Series that involves his family and friends.


9. What is your favorite book from another author?


Orphan X by Gregg Hurwitz


10. Do you base characters on real people and if so what do you owe them?


Yes and No. Most of my characters are formed from my imagination. However, there are a few characters who are modeled after family members and friends.


11.  What kind of research do you do to write your books?


Because I enjoy mixing fact with fiction, I spend a lot of time researching the fact side the equation. Locations are factual, street names are factual, discussed science is factual and requires extensive research.


12.  What’s the most difficult thing about writing characters of the opposite sex?

I ask beta testers from the opposite sex to read my books before I publish. It’s too easy to step on land mines when you try to describe what shoes a character is wearing.


13.  How do you select the names of your characters?


Selecting names is fun. The vast majority of names for characters in my books actually come from my business contact list slightly modified to protect the innocent.


14.  What was your hardest scene to write?


Fight scenes are the hardest for me to write to be original, provide detail, and make sure they are just the right length.


Tuesday, May 18, 2021

     Author interview with Bobby Nash

   

By Sandra Olson 

1.              Why did you write your first book?

I wrote my first novel just to see if I could do it. I was already writing comic books and pieces for magazines and newspapers and I was curious if I could tell a story in novel format. Would I be able to stick with it and complete the story? It turns out I was able to finish it and my first attempt at writing a novel was absolutely terrible, but I finished it and that gave me the confidence to try it again. That second novel turned out to be my first published novel, EVIL WAYS.

2.              What made you get into writing in the first place?

I love telling stories. I have been creating stories for as long as I can remember. Eventually, I decided I should start writing them down. Ha! Ha! My grand dream, when I was a kid, was to be a comic book artist. I started writing so I would have stories to draw. It turns out, I’m a better writer than I ever was an artist so, thanks to some excellent advice of a friend, I focused on writing. A few years later, I sold my first professional comic script. Four years after that, I sold my first novel. Thankfully, all these years later, I still love telling stories.

3.              What is your writing style?

I really wish I had a good answer for this, but I don’t. I’m not sure what you call my style. I wrote how I write. It works for me. Every story starts with the characters. Once I get to know them, I drop them into a scenario and follow them, throwing obstacles I their way as we go. My style is also constantly evolving. I learn new techniques and tricks as I go and that adds to my style.

 

When my first novel, EVIL WAYS came out, a friend read it and gave me the nicest compliment I could receive. He told me that he could hear me reading the book to him as he read it. That first novel is probably the most “me” of anything I’ve written. I had no idea what I was doing and there are things I did, stylistic choices made on that first book that I would do differently today because I have learned a thing or two since then.

4.              How do come up with your cover designs?

First, I decide what kind of cover best serves the story. For EVIL WAYS, a design cover works best and that same branding carries over to EVIL INTENT in terms of cover design. DEADLY GAMES! works best with a photo cover. That was a fun one to design, shoot, and assemble. In more recent times, I work with a professional cover designer like Jeffrey Hayes. That makes the covers pop even more. In the case of work I do for publishers that are not me, I often have no say in how those covers are designed.

5.              Does writing energize or exhaust you?

Both. I get energized by the creative process, but after many long hours in the office, I do find myself physically and mentally tired. It’s a lot of work, but I love it.

6.              What are some common traps for aspiring writers?

I think the most common trap is thinking that there is a short cut to success. The truth is that most writers found their success in different ways. Not all writers have the same goals so their paths may be different. The measure of success is different for each writer. You have to determine what success look like for you. Once you do that, set attainable goals and work toward them. Goal #1 should not be “become a bestselling author and make millions” because that is hard to obtain. My first goal was “get published” and eventually, that happened. Then, I had the next goal ahead of me and on and on. There’s always another goal.

 

7.              What most interferes with your writing?

I am my own worst enemy. There’s an old joke, “I am a writer. Today, I will write. But first…” As writers, we seem to spend more time trying to get out of writing than we do writing. Odd, huh? It’s easy to get sidetracked with family, work, friends, responsibilities, pandemics, and the internet. I am often asked how do I “find” time to write. The answer is that I don’t. I “make” time to write. I am my own worst enemy.

 8.              Do you write each book to stand alone or do you build a body of work with connections          between the books?

Yes. I make sure that every book I write has a story with a beginning, middle, and end. Now, that’s not to say that the story doesn’t continue on, as in the case of my SNOW series, but each book has a full story. As a reader, I hate to get to the end of a book and read the words “to be continued” with nothing resolved. I make sure the main story is resolved in each book.

9.              What is your favorite book from another author?

This could be a long list, but I’ll keep it short. Michael Connelly’s Harry Bosch novels are excellent. Alex Kava’s Maggie O’Dell and Ryder Creed novels are great reads. There are so many others like Paul Bishop, Gary Phillips, Sean Taylor, Nicole Givens Kurtz, Kimberly Richardson, Van Allen Plexico, Keith DeCandido, Jonathan Maberry, Derrick Ferguson, and more. There are a lot of fantastic authors putting out great reads.

10.             Do you base characters on real people and if so what do you owe them?

I have based characters loosely on real people, usually as a starting point to build the character on top of the real persons personality, quirks, etc. Sometimes, I just start from scratch and build a character that way. Plus, I have had friends ask to be killed off in one of my books and I have obliged a few of them. One even wanted to be a villain so I made him a villain in one of my novels. It all depends on the character and what I need from them.

11.             What kind of research do you do to write your books?

I research whatever I need. I love to visit real places, walk them, feel the ground, smell the air, breathe in the atmosphere, really get to know it. I also study how things work, how certain jobs are done. I have interviewed and tagged along with professionals to learn their approach to the job at hand. It helps add a hint of realism to the stories and helps the characters feel that much more real to the readers. And sometimes… well, sometimes I just make stuff up.

12.             What’s the most difficult thing about writing characters of the opposite sex?

Getting into the head of a character is always tough. I can extrapolate what it’s like to think like a woman who is a secret service agent, but men and women think differently. Heck, teenagers and adults think differently. While it’s true that I will never truly understand what it feels like to be a woman, I try to get to know my characters to the point that they feel like real people to me. Once I know that character, I can get in their heads. Research also helps. Interviewing someone you think would be a good template to build a character on is also helpful and gives you a solid foundation to build the character upon.

13.             How do you select the names of your characters?

It’s a game of mental gymnastics. I pick a name, play with it, turn it inside and out, see what nicknames might work with the name, see how it sounds since you’ll be writing and saying the name a lot. Then, I search the internet. Is there another character with that name? Is there a real person? Will there be confusion? Then, I start writing and see if it really fits.

14.             What was your hardest scene to write?

I had a scene once that just wouldn’t end. The plan was to follow a group of characters over many chapters as they tried to get from one place to another while being hunted by a hostile force seeking to do them harm. The scenes dragged and started to feel uninteresting to me. In the dialogue, one of the characters says, “Can’t we just be there already?” I agreed and they reached their destination over the next rise and the story picked up the pace and continued onward. Sometimes you just have to toss a plan and move on.

15.             How long does it take you to write a novel?

It depends. I wrote a novel once in three months. Another took eleven years (with a lot of downtime in between writing sprints). It also depends on the deadline.

16.             What format do you find sells best for your work, Kindle, Print or Audio?

Kindle is probably the best in terms of pure numbers. Audio started out strong, but has tapered off during the pandemic for some reason. Audible’s PR issues may have impacted that as well. Most of my print sales happen at live, in person events. It’s been over a year since I had one of those and the print numbers have dropped as a result. I continue to promote all formats though.


Friday, May 14, 2021

What Should Writers Read?

 by Austin S. Camacho

I've heard that when a fiction writer is creating, he should not read anyone else’s fiction because it may color his own work. Since I’m always writing I don’t necessarily take that advice but even if I did, I would never completely stop reading. There is a real world we writers live in, and every author should be aware of it.

I belong to a lot of support organizations, but I’m not much on attending meetings. However, the newsletters these groups publish help me keep track of what’s happening in the writing community. Local news comes through the newsletters of the Virginia Writer’s Club, (The Virginia Writer) and The Maryland Writers Association (Pen in Hand). 

I also joined genre-based groups, as you should. Larger groups like the Mystery Writers of America and Sisters in Crime offer national newsletters (The 3rd Degree and In SinC  respectively) plus the ones the local chapter puts out (for Mystery Writers that would be Capitol Crimes) International Thriller Writers Incorporated does it all electronically too in The Big Thrill.

If you self-publish you should join the Small Publishers Association of North America (SPAN) and the Publishers Marketing Association (PMA) and read their marketing-oriented newsletters, Connection and Independent respectively.

 And then there are the publications that can help us improve our craft. Writer’s Digest is probably best known, but I get more out of The Writer, although I’ll admit that is very subjective.

We should also keep an eye on the magazines the fans are reading, and that’s genre-based too. For me those would include Pages, Crimespree, Mystery Scene and the tightly-focused Black Issues Book Review.

Are Publishers Weekly and Editor & Publisher conspicuous by their absence? They are the absolute sources for news on the industry, book publishing and book selling, and they’re probably the first two pubs others would mention, but to be honestly I have never learned anything of value from either one. I certainly expect my agent and my publisher to read them, but they don’t help me write or market any better. Still, check them out and decide for yourself.

And that last bit of advice applies to everything else I said. You owe it to yourself to check out these publications for knowledge, awareness and inspiration.

Austin Camacho


Tuesday, May 11, 2021


Mystery Surrounds Two Famous Detectives

We’ve all heard of Sherlock Holmes and many of us have read the stories. You may or may not have heard of Nero Wolfe, a fictional detective who lives in Manhattan, raises orchids, is a gourmand and weighs over 300 pounds. And – he rarely leaves his home for any reason and never leaves it on business. It’s speculated in the “Whodunit” community that Nero Wolfe is the illegitimate son of Sherlock Holmes and the love of his life, Irene Adler.  From the Nero Wolfe entry on Wikipedia “In 1956, John D. Clark theorized in an article in The Baker Street Journal that Wolfe was the offspring of an affair between Sherlock Holmes and Irene Adler (a character from “A Scandal in Bohemia”). Clark suggested that the two had an affair in Montenegro in 1892, and that Nero Wolfe was the result.” True? Not true? Who knows……Mark Bielecki aka Dr. Whodunit

Friday, May 7, 2021

Author interview with: Sandra Olson

 

1. Q: Why did you write your first book?

A: I’m a nurse and started writing medical thrillers ten years ago. I would come home from working in the hospital or the prison and tell my family about something strange that happened on my shift and they would be enthralled. My Mother kept saying, "You should write a book about these things." So I finally did. Several books, in fact. 

 

2. Q: What is your writing style?

A: My books are fiction, but some reality is mixed in with the untruths. My medical thrillers are from settings where I’ve actually worked.

Rebirth is set in an obstetric unit, but delves into the controversy of embryonic tissue transplants. Murder by Proxy is set in a hospital Neonatal Intensive Care Unit and is loosely based on the actual murders committed in a Texas hospital back in the 1980's. Behind Prison Bars tells of some of the bizarre incidents that happened while I worked in a women's prison as a nurse.

My detective series touches on some of the things appearing in the day’s headlines.

 

3. Q: Why did you decide to self-publish?

A: I chose to self-publish with CreateSpace after having several bad experiences with vanity and other self-publishing companies. They are great to work with and with the right word processing programs you can design your own covers and e-books. They make it easy. The other publishing houses set the book’s price out of market range. CreateSpace is more reasonable in their pricing. When they combined with KDP I kept using them.

I also had requests by a publishing house to put more sex in my stories. I want my grandchildren to be able to read my stories without being embarrassed by the fact that their grandmother wrote them. I leave my sex scenes to the reader’s imagination. Self-publishing allows the writer complete control of the manuscript.

 

4. Q: How do you come up with your cover designs?

A: I try to focus on one aspect of the book and make my cover design represent that aspect. Rebirth’s butterfly represents the rebirth experienced by several characters in the novel. Each cover reflects some part of my story

 

5. Q: Do you have any tips for someone who is considering self publishing?

A: If you’ve tried conventional methods of publishing and experienced frustration as I did, I suggest using KDP. They are associated with amazon.com and with a few skills it doesn’t cost you a penny. And Amazon provides you with a free author web page.

 

6. Q: How did publishing your first book change your process of writing?

A: It was harder when I started self-publishing because I had to be the author, editor, publisher and promoter. I was offered a book contract once if I would “sex” up my books. I don’t write that way. This way I can write the way I’m comfortable. I don’t even like to read other authors who put explicit sex in the story just to sell it. Too many times it has nothing to do with the plot of the story.

 

7. Q: How do you balance making demands on the reader with taking care of the reader?

A: I expect my readers to be willing to learn something new. I often delve into medical issues in my medical thrillers. But I do explain things in fairly simple terms medically and have had readers thank me for that.

 

8. Q: What do you owe the real people upon whom you base your characters?

A: I think writers who base characters on a real person should be careful not to embarrass them. I don’t want to hurt someone’s feelings and lose their friendship or trust. I have used some of my husband’s experiences in my books and I ask his permission first. I’ve used some of my nursing co-workers in books but I place them in a setting that’s not where they actually worked; ie. friends from the dialysis unit were placed in my book about the women’s prison and I let them know they would be in a book. They are usually pleased.

 

SUCH A NIGHT - A TOM MYERS MYSTERY NOW ON SALE IN PAPERBACK AND EBOOK!

  SOME SECRETS SHOULD STAY BURIED… Secrets. All small towns have them. The investigation into a double homicide unearths a decades old secre...