Interview with Wiltshire Times

I am talking to Wiltshire Times about Nothing to Lose, book #2 in the DI Marsh series.

I might have a new case for DI Marsh – the mystery of the missing ‘t’. Have a look!

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Fact & Fiction in Nothing to Lose – Reality Bites (fact#2)

Reality bites – this sounds like a pun in very bad taste. You will see what I mean if you carry on reading. It is time for my second revelation relating to the storyline in Nothing to Lose: anorexia.

In Nothing to Lose Gillian watches her daughter Tara shed pounds like they’re going out of style. Being a detective, she snoops into Tara’s life (and bedroom) to discover a battery of slimming products. This confirms every mother’s worst fears – that her child is spiralling into an eating disorder and starving herself to death. It is a fearful prospect because it is more a disease of the mind than the body. You can’t cure an anorexic – not until they are ready to accept food and keep it in. And that moment may never come. Anorexia is a catch-twenty-two: the more you try to control it, the more it controls you. Any external intervention against your will meets with a wall of resistance. I know. I’ve been there.

Just like Tara, I was about eighteen, in my first year of university. I had just moved from the sleepy, tranquil world of my childhood in the country to a frenzied, crowded city. I didn’t know what hit me. Life overwhelmed me. It had spun out of my control. I was lost. I was surrounded by strangers; no space to hide, no holes to crawl into. The speed of my life was nauseating. I could not keep up with it. I could not control it. The only thing I could control was food. It wasn’t about dieting, not in the beginning. It was all about re-introducing order into my life. Only later did I start to count calories, and after that, when I stopped counting, I simply couldn’t bring myself to eat. The mere smell of cooking made me feel sick. I think that was where I crossed the line – the point of no return.

Just like Gillian, my mother was beside herself with worry. At first, she thought I was on drugs, but she quickly realised it was all about food. She would find sandwiches buried in the drawers of my desk, steaks languishing on the compost heap, attracting vermin. Once I even managed to pour soup out of my bedroom window right onto my father’s head. My father was in the garden, pruning roses. The soup was bean soup. My mum went into a spasm of hysteria. But even that had no effect on me.

Only when I saw a photo of myself in a bikini did I finally realise I was a walking skeleton. With clothes on, my sharp edges and protruding ribs were well camouflaged.

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But without my clothes… look at this at your own risk.

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I was horrified! I started eating: tentatively and with frequent relapses into 6 ½ stone. You’re never quite out of the danger zone. You’re never quite fully recovered. Any emotional trauma, any change of circumstances, any heightened anxiety and you’re back to square one.

In Nothing to Lose, Tara suffers a similar fate after she is rejected by that good for nothing Charlie Outhwaite.

Nothing to Lose is the second book in the DI Marsh crime series, available now on Amazon and from major bookstores. The book is available at a promotional price of £5.59 at WHSmith

Nothing to Lose cover

Fact and fiction in Nothing to Lose – fact 1

Of course Nothing to Lose is a work of fiction and any resemblance to actual people, living or dead (dead is more likely to be the case in crime fiction), or actual events is purely coincidental. And yet something or someone real has to feed the author’s imagination…

In Nothing to Lose my imagination gorges on my fears. Real fears, if fears can be real.

The story starts with a head-on collision resulting in four deaths. That head-on collision, on that particular stretch of that particular country road had happened in my mind many a time before the book was written. Every day, travelling to work in the morning I saw that accident happen over and over again.

It is a treacherous road: after a limited length of dual carriageway where every lunatic frantically overtakes everything that moves (slower than himself), the road narrows abruptly and climbs up a steep hill, facing the morning sun which on a bright day can be blinding. Bear in mind that on the other side of the hill there are equally impatient lunatics keen to get to the top ahead of the pack, hoping that luck is on their side. I could easily be one of them (I don’t suffer Sunday-drivers on a Monday morning gladly), but then I see it happen – the head-on – and I slow down, and stay in line behind the slow coach with a belching exhaust. Call it a premonition.

After Nothing to Lose was written, a head-on collision did indeed occur in that very spot, in the dazzling midday sun. A man, having probably pushed his luck too far, ploughed into the oncoming traffic. He got away with his life. My characters did not. But that is where fiction begins.

Bishops crash

Nothing to Lose is now OUT and can be purchased in all major bookshops, and online on Amazon.

Out now

A remedy for a cold winter night

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Watercolour, ‘Water Villa, Meeru Island, The Maldives’ (c) Steve Wylie

 

Chilled to the bone by the wintry weather, I have no choice but to reach for ‘Swimming with Sharks’ and immerse myself in the sweltering-hot world of a Maldivian island. A gentle touch of heated mystery will go a long way.

I see offers of new paperbacks of ‘Swimming with Sharks’ at a humble £2.74, lower than the kindle price!  For link, click here:   https://www.amazon.co.uk/Swimming-Sharks-Gillian-Marsh-Legat/dp/1783759658/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=

Clueless in Honolulu – Virginia King

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A big welcome to Virginia King, author of  The First Lie! She is dissecting the process of writing a mystery that has the capacity of taking the reader by surprise. How is it done? Over to you, Virginia…

Virginia King Portrait by Amanda Thorson 200 KB

How does a mystery writer create the unpredictability needed for a mystery to be ‘mysterious’? Experienced reviewers often comment that after you’ve read a few mysteries and thrillers they can start to feel formulaic. Why?

The Limits of Plotting

Here’s the blurb for a writing workshop on plotting:

Time spent planning a story before sitting down to write can prevent a laboured or stalled work. Lack of planning can result in flawed plots, stereotyped characters, clichéd dialogue and derivative style.

Sounds good in theory but exactly the opposite is true for me. In my experience a blue-print is too static. It kills the freshness of an evolving story, especially a mystery. And a character profile is like a straightjacket. Goodbye unpredictability. Any ideas I have at the beginning need to evolve in unexpected ways with the writing, not limit what happens by being set in place at the start.

When prize-winning author Kate Grenville created an outline of her first novel, she wrote later: “A weariness came over me at the thought of fleshing this out. I closed the exercise book and put it away. I never wrote in it again.” Then she says about her process: “I’d … write without a plan, following thoughts and images into the unknown … The criterion was energy.”

The Energy of ‘Clueless’

I approached my psychological mystery The First Lie with no idea what was around each corner. The resulting mystery contains layers I could never have plotted. If the writer is on the edge of their seat wondering what the hell is going to happen next and why, then so is the reader.

Without a plan in mind, I dropped my main character Selkie Moon into Honolulu because the story hadn’t been working when it was set in Sydney. What felt like a ‘crisis of place’ flipped into something edgy and unpredictable. If I’d stuck with a story plotted in Sydney I would have laboured away at a location that lacked spark. The move to Hawaii was exhilarating – and terrifying – for me and for Selkie.

Here are some examples of how Honolulu inspired a ‘clueless’ approach to The First Lie:

The role of the stranger

Selkie is all alone, a malihini (newcomer) in town, bringing an edge to her relationships and experiences. When a voice in a dream says, Someone is trying kill you, she’s forced to investigate what it’s got to do with her. A new friend tells her that in fairy tales it’s the newcomer who heralds the truth. This message becomes the theme of the book.

A cauldron of cultures

The Hawaiian, Japanese, Portuguese, Chinese, Filipino, American, English, Irish and many other cultures who inhabit Hawaii create opportunities for quirky characters. How about a kahuna who lives in the bus shelter, available for roadside prognostications? She only speaks Hawaiian or pidgin (tricky for me as a non-speaker) so she’s an oracle who gives one-word pronouncements: Pilikia, she warns Selkie. Trouble.

A smorgasbord of mythology

You can’t wander around Hawaii without falling over an old graveyard full of ghosts, or a visionary mirror, or a cursed lava rock, or a character from folklore such as Pele the volcano goddess, who might hitch a ride with you on a dark lonely road. These mythical motifs created layers of clues for the ‘clueless’ author.

One Way to Go ‘Clueless’

My process is to write a scene, letting it create itself and following up any thoughts that pop into my head with research. Then I allow my subconscious to explore everything (usually while I’m asleep).  Most mornings I’m scribbling my overnight thoughts – connections I didn’t know were there, snippets of dialogue that give me new insights into characters, tangents and twists that might work, links to experiences I’ve had or things I’ve read or overheard. Then I weave these ideas into yesterday’s scene. I don’t control the story, but I use my judgement to shape and cut it when I’m redrafting.

Now I’m writing Book Three in this way. Selkie is drawn to an Irish mystery dating back to the 1890s, so I’m ‘clueless’ in County Kerry!

The First Lie is a winner of a B.R.A.G. Medallion.

The First Lie ebook 300 KBThe First Lie by Virginia King

Description

Someone is trying to kill you.

When Selkie Moon flees Sydney to start over in Hawaii, it’s to live life on her own terms. But Life has other plans.

Though she tries to dismiss the warning as just another nightmare, it soon becomes apparent that someone, or something, is stalking her. Attacked by frightening visions and mysterious compulsions, she must piece together the fragmented clues before time runs out.

Virginia King effortlessly blends funky creativity and deep spirituality – with a dash of Celtic folklore – to craft a story of one woman’s fight for truth, and her discovery that the lies we tell ourselves are the most dangerous of all.

You can read more about Virginia’s ‘clueless’ writing process in her recent interview about her first draft on Rebecca Bradley’s blog: https://rebeccabradleycrime.com/2016/05/20/whats-your-first-draft-like-virginia-king/

A Free Ghost StoryGhost

This is how I wrote Laying Ghosts, a 24-page standalone haunted house story tangled up in a Russian folktale and a murder ballad dating back to the 1700s. It’s also the prequel to the Selkie Moon Mystery Series and explains to the reader (and the author!) just why Selkie suddenly took off to Hawaii. Download your free copy http://www.selkiemoon.com/#popup