So many apologies for the radio silence here lately, all! I’m deep in the writing cave right now with the next stand alone novel (75,000 words down; 40,000 left to go!), a narrative non-fiction essay for an anthology about Paris, and various other fun stuff.
But I promise, as soon as this book is in, regularly scheduled programming will resume here on this site. And I’ll also have some announcements to make about books to come. So expect a lively summer over here!
In the meantime, I’ve mostly been clinging to old favorites to get through the mushy middle of the work in progress. Right now, I’m re-reading Georgette Heyer’s The Talisman Ring, featuring smugglers (ahem, free-traders), evil cousins, missing rings of great antiquity, a hero who refuses to ride ventre-a-terre, and a heroine with a delightful sense of the absurd. (Is it just me, or would The Talisman Ring make a brilliant movie?)
Before The Talisman Ring was Jennifer Crusie’s Agnes and the Hitman, because Crusie is also a master of brilliant mayhem and never more so than in Agnes and the Hitman, which features an old plantation house, a perfidious chef, the mob, a wedding, flamingos, and, oh yes, the aforementioned hitman. So good.
Before that, I went on a Donna Andrews binge, re-reading Revenge of the Wrought-Iron Flamingos (murder and mayhem at a reenactment at the battle of Yorkville, with flamingos) and We’ll Always Have Parrots, a fan convention for a tv show that bears more than a passing resemblance to Xena: Warrior Princess. If you haven’t read Andrews yet, start with Murder with Peacocks and work your way through.
I made the mistake of attempting to read some Victoria Holt, but, although The Judas Kiss is, without doubt, an excellent read, the current work in progress is trending so dark and so gothic, that putting gothic on gothic was a bit like watching Crimson Peak while playing the Bach toccata. So I’m trying to keep the reading light– and, hopefully, keep the work in progress lighter by extension– until this manuscript is done.
I had a choral director a long time ago who always advised when singing high to think low to keep the top notes from going screechy. That’s been my writing maxin for a long time now. When writing funny, I tend to read serious, and when writing serious, I tend to read funny, in the hopes of keeping the manuscript from going over on the one side into pure farce and on the other into pure melodrama.
What have you been reading recently?