Take the Point – The Bedrock Element to Crafting VOICE in Fiction by Robert W. Walker

There are few choices in fiction writing more important than POINT of VIEW, the building block to VOICE, which is the single most important element in the craft. Start with the premise that any piece of writing with an ill-defined point (be it fiction, nonfiction, essay) will ramble and spin its wheels if it is “pointless”, and any fictional work will find itself mired in mud, spinning its wheels, if it is without a Point of View.

 

Of course there’re various uses of this element of fiction. One single person, first person-character point of view, for example. One single person-narrator, second person point of view, or one single narraor third person point of view. Confused yet?

 

An author can choose 3rd person, 2nd person, or 3rd person single point of view, but that is the easy part. Sound complicated? Well yes, it is somewhat as an author can also select multiple-point of view in any one of the three ‘persons’–that is first, second, or third person. Then there is the question of time—should the Point of View (narrator or character) be speaking in present tense (now time) verbs or past tense (then time) verbs?

 

The choices are many, and the choices an author makes are varied, even head-spinning if you stop too often to think about how you do what you do. However, thanks to Jerome Stern’s meticulous display of all these varied choices, defining each clearly and precisely in his alphabetically organized book for writers—Making Shapely Fiction—there is HELP! After reading it, then check out Dead on Writing by yours truly in audible or ebook format.

 

Few authors resort to using second person to tell their entire story or novel, but some choose to tell an entire novel in present tense, often as a single point of view. Scott Turow is known for using present tense for entire novels (which I could never do…maybe a short story), but that is how his mind works, and it behooves we authors to determine how our minds work, and in what manner our minds work best, in what environment of language-scape are we feeling most comfortable? Turow blows my mind in his ability to stick with present tense for 300 pages or more. The reporter author of Homicide—Life on the Street also wrote in present tense that entire book (later a TV drama) but this author was a reporter taking notes in real time—as it all happened; in other words, in present tense/time.

 

For my first novel ever, the control of having one perspective, one character-narrator in Daniel Webster Jackson & The Wrongway Railroad was a good thing for a young author, but like Twain’s Tom Sawyer and Huckleberry Finn tales, upon which I fashioned the novel as a high-schooler out to create the sequel, I used third person past tense/time. I have ever after used this comfortable POV, even doing now multiple view point crime novels and horror novels and historical novels. Of course with the multiple viewpoints, each switch I go into has to be consistent within that scene or chapter where a new POV takes precedence. Even so, I always feel most comfortable in past tense, third person. In fact, in that frame of writing, I feel as comfortable as an ocean otter floating on his back in the Pacific, eating clams and holding hands with his lady otter.

 

When it comes to POV, you can believe this fact: it is absolutely intertwined with verb tense/time and person as in first or third person, or at times second person, which is often quite folksy in tone, in the bell it rings. Each choice, believe me, rings a different bell. Take these three sentences each written in a separate ‘person’s voice’:

 

I slipped into the rear of the ‘old palace’ as Nick called his place, a rundown bungalow off Second Avenue, and I saw it was tucked in behind the Lowe’s as the lumber yard sign stared back at me.

 

Once you slipped into the rear of the ‘old palace’ as Nick called his place, a rundown bungalow off Second Avenue, only then did you catch sight of the Lowe’s Lumber Yard sign staring back at you.

 

Lucas slipped into the rear of the ‘old palace’ as Nick called his place, a rundown bungalow off Second Avenue, tucked as it was behind a Lowe’s loading dock. “Some view,” Lucas said as the Lowe’s sign stared back at him.

 

Brrrrrrring one, brrrrring two, barrrrrrinnng three. Each rings a different bell, which is called tone in the textbooks. “What is the tone of the piece? Is it sarcastic? Authoritative? Straight-laced? Tongue-in-Cheek?

 

The point is that the construction of one’s POV character or narrator (who are not always one and the same) is a difficult set of constructs that requires that you juggle a host of decisions, but once made, then it is a matter of being consistent in your choices. If your story begins in first person, it should end in first, unless you’re doing something ‘innovative’ or extra special and you know it. If your story sets out in second person, you are stuck with it throughout the story. If in third person (my favorite choice) then it should end in third person. If your story is set up as a single-person POV in past tense like Huck Finn who tells his own story, the whole story then is Huck’s VOICE, Huck’s single point of view. Nothing happens that he does not see and experience. It is totally his story.

 

In my Instinct Series I used third person narrative throughout, but I also use multiple viewpoints throughout, so you are in the mind/body/spirit of Dr. Jessica Coran (whose story it is) most of the way, but you are also at times in the mind/body/spirit of the villainous serial killer or Jessica’s supervisor, or her lover, or her shrink, or her lab assistant. These other POVs all are connected to Jessica. She is at the center of the universe of the novel, and all other minor POVs are satellites in her orbit. Some call it the character WEB with Jessica at the center and all others are connected in her web by the connective tissue of each relationship status and interrelated status(es).

 

So there! How simple is that? So easy…  Frankly, if it was easy, it would not take years upon years to learn the craft to the point of writing lines that do more than lay there on the page, lines that instead sing. As Stephen King has said, if you can’t make it sing, at least make it clear. By controlling POV and using consistent POV referencing, you remain clear. Deviating all over the POV map is the fastest way to confuse your readers, committing the #1 sin in writing—Being Unclear. You are not going to be that writer. Your narrator or character-narrator is going to ring a beautiful bell.

Robert W. Walker has written & published over 70 novels, 3 short story collections & the how-to Dead On Writing, all since his first published work in 1979, Sub-Zero. A graduate of Northwestern University, Evanston, Ill., Rob holds an MA in English Education & today is an adjunct professor at West Virginia State University. While he was born in Corinth, MS., Rob grew up in Chicago, setting for many of his novels. Today Rob has ten separate series characters in as many genres. Rob’s Instinct Series began with Killer Instinct & is Rob’s longest running franchise. Rob has taught writing almost as long as he’s been writing—since his junior high days. His first novel, completed in high school was Daniel Webster Jackson & The Wrongway Railroad, a book highly influenced by Mark Twain’s boys’ tales. Rob’s favorite authors are Twain and Shakespeare. He lives in Hurricane, WV with his wife and step-children.

In a Series: How Many Books Is Too Many? by Maggie Pill

 

I recall a few years ago blithely saying on a panel at Malice Domestic that I couldn’t write a series with more than five books. Too confining. Too repetitive. Too boring.

Gulp.

Eat, Drink, and Be Wary is the 5th Sleuth Sisters mystery, and it released April 14th.

The story came to me as it often does, as a basic idea: the sisters would go to a trendy winery and run into a murder in their first hour there. That was the backbone, forming a beginning, middle, and end, but it required a lot of work to cover that frame with the humor and personality of a cozy and the details that make a mystery enjoyable. What if the trip involved a group Barb disapproved of, and she decided not to go along? What if Faye got stuck dealing on her own with crowds of strangers and (OMG) a fashion show? What if Retta actually got dirty—not just a little dusty, but right-down filthy?

Weaving those ideas into the web of murder and other crimes, I ended up with a fun story, a satisfying plot, and a lot of humor and action. But it’s the fifth Sleuth Sisters Mystery. Does that mean I’m done?

The Sleuth Sisters is different from my other series (written under my real name, Peg Herring) in that the material comes from real life. I have two sisters. We love each other but recognize that we see the world from diverging viewpoints and live our lives very differently as a result. While we’re not like Barb, Faye, and Retta in most ways, we are as unlike each other as they are. I learned early in life that when people have dissimilar perspectives, they might have trouble working together.

Barb, the oldest of the sisters, sees humankind through a logical lens, which means she wants to “fix” people and things so they make sense. Faye, the middle child, sees life emotionally, so she notices and feels compelled to relieve the pain of both people and animals. Retta is a little selfish (having always been the cute one), and though she is strong and even fearless when necessary, her first concern is likely to be saving her nail polish from damage. Their differences give me a lot of raw material to work with in this “sister series.”

The other thing I (wisely, but not purposely) did is have the three women open a detective agency. I didn’t intend the first book, The Sleuth Sisters, to become a series, but it did because so many readers wanted it to. (When they beg for more, how can an author resist?) Professional investigators have cases brought to them, unlike Jessica Fletcher-type characters who must “happen upon” corpses over and over. This series combines the advantage of P.I. novels, where protagonists are charged with solving crimes, with the fun of cozies, where small-town characters exhibit unique personalities and lovable oddness.

There’s another thing I have to consider, and it’s what my fellow panelists were kind enough not to point out to me when I mentioned five as my limit on a series. Financial and critical success is hard to walk away from. Readers love the Sleuth Sisters, and as a result they buy them in e-book, print, and audio. It’s not just me who benefits from this. The owner of the studio that makes the audio books and the three actresses who read the sisters’ parts love their regular paychecks from Audible. My editors and cover artist are pleased with the prospect of more business from Maggie Pill. And my husband doesn’t mind listening to me talk about writing (which I do way too much) if I’m telling how well sales are going. It’s hard to look at rising numbers and reader requests for another adventure and say, “I’m not writing any more of those.”

The solution?

I plan to let the series be its own pilot. If an idea comes along that stirs my creativity, I’ll continue. If not…Well, I refuse to push it. I like the sisters and enjoy taking their different points of view as I write their adventures down. I hope a new idea comes along before 2018, but if it doesn’t, that’s okay. My Peg persona has lots of stories she wants to write down too.

***

 

BIO

Maggie writes mysteries, loves fine chocolate, and lives in northern Lower Michigan with her husband and an elderly, self-assured cat. She is working on visiting every waterfall in the Midwest before she’s too old to climb the steps. Maggie Pill is also Peg Herring, but Maggie’s much younger and cooler.

***

 

Visit Maggie’s website: http://maggiepill.maggiepillmysteries.com/

Or meet her on Facebook: https://www.facebook.com/maggie.pill

Or Twitter: twitter.com@authormpill

 

Website: http://www.pegherring.com

Fallout in the Desert by Janet Lynn

My husband Will, a published author also, and I co-write the Skylar Drake Murder Mysteries, a hardboiled 1950s series.

Our third book takes place in 1955 Las Vegas. We knew nothing about the area when we spent a week in Vegas to research the era. We had the opportunity to interview a gentleman, Mike, who was born and raised in Las Vegas and a young adult in 1955. He talked about the Atomic Bomb testing from 1952–1963, nuclear testing was taking place 50 mi north Las Vegas. Residents and tourists were enamored with the blasts. They threw all-night parties called “Dawn Bomb Parties,”  in-sight of the mushroom cloud at dawn.

It seems the city took the fame and ran with it. There was a new drink called Atomic Cocktail, beauty pageants crowned Miss Atomic Bomb and an “Atomic Hairdo” or the “Mushroom Cloud Hairdo”.

          He said people came from all over America to see the spectacle and Las Vega’s population more than doubled. People would venture with atomic lunchboxes for a lunch date in the desert.

He smiled and said, “We called our city the “Atomic City.”

In hindsight, the suffering these tests caused families and the resulting human tragedy can’t be explained away. “We were stupid to think we could control the fallout and wind shift of the desert. But for a period of time we enjoyed jubilation of technology and the power atomic energy gave us.”

          After the interview with Mike, we headed to the County Library and found stories of the testing and how people welcomed it. We also found pictures of the things Mike talked about. We just had to use them in our book.

The results? DESERT ICE was released in January…and yes, we’re still married.

Website: www.janetlynnauthor.com

Blog: http://www.themarriedauthors.blogspot.com

Synopsis for DESERT ICE

 

In 1955, a missing Marine and stolen diamonds lead Private Eye Skylar Drake to Sin City, where the women are beautiful and almost everything is legal—except murder.

The FBI and a Las Vegas crime boss force him to choose between the right and wrong side of the law. All the while, government secrets, sordid lies and trickery block his efforts to solve the case.

Common sense tells him to go back to L.A. but is gut tells him to find his fellow Marine.

But—But—What About (Insert Beloved Character Name Here)? by Peg Herring

Fans ask, “When will we get another book about Loser? Or Seamus? Or Simon?

Um, maybe never. I loved those characters as much as my readers do, but their stories are finished in my mind. I can’t make myself write a book simply because somebody wants me to.

Plenty of my author friends are on Book #14 or #23, and that’s great. Their fans seem eager to read that next installment, and if the fans will pay, why not write another one? For me, the answer to that question comes down to why I write, and my reasons are a little (maybe a lot) selfish. I write because I want to find out how the story goes.

I began my mystery career with historicals that follow the life of Elizabeth Tudor. They were well-received by critics and readers, but the publisher closed its mystery segment after going through bankruptcy. That was okay, because I’d already started the Dead Detective Series with another publisher. I was fascinated with Seamus, who is dead but not quite ready to leave the world behind. It took five novels for him to let go of Life, but once he did, I saw no reason to continue the series. Yes, there could be stories about a different dead detective, but it’s like Doctor Who. Your favorite will always be the first one you connected with, and others pale by comparison.

The Loser Mysteries took an even shorter arc. Three books was what it took to present Loser, the homeless woman who solves one crime, then another, and finally the one that brought about her homelessness. After that, Loser is no longer a loser. She’s well on her way to re-joining society, and further books would result in a P.I. series too much like those already out there. That doesn’t interest me enough to spend a year of my life making it happen.

Maybe I’m too easily bored. Maybe I should buckle down and extend one or more of my more popular series. I often tell myself that I can (and will) when (and if) a worthwhile story line for one of those characters forms in my head. But there’s always a new idea I want to try, a new protagonist with unique problems and a different outlook. Since there’s only so much time to write, authors need to justify expending their energies in a certain area. For me, writing another episode with the same characters, setting, and scenario simply because fans will buy it isn’t as rewarding as trying something new and hoping they will.

I’ll admit that sometimes that works and sometimes it doesn’t.

My new offering, KIDNAP.org, is less mystery and more caper novel. Robin Parsons represents those of us who are sick to death of criminal fat cats who take what they want and defy us to do something about it. We complain. We wish. We write letters to the editor. They keep stealing from us, pushing us around, and snickering up their sleeves because we can’t stop them.

Robin decides she will stop them—well, she stops one, but it’s like eating popcorn. One handful isn’t enough. Successfully halting the shenanigans of a criminal politician leads her to believe she can stop others who flaunt the law and hide behind their money and power. She’s joined by an odd group of misfits who’ve also suffered injustices and don’t have much to lose.

They’re funny. They’ve lovable. They’re surprisingly effective. They’re the kind of group we wish really existed, Robin Hood types who face down bad guys and use their own evil against them.

KIDNAP.org is unlike anything else I’ve written, and it was a whole lot of fun. I’m pretty sure it will be fun for readers too.

 

BIO

Peg Herring reads, writes, and loves mysteries. As an educator she once set the school stage on fire. As a driver she’s been so lost that she passed through the same town in Pennsylvania three times in one day. Family and friends have lost count of how many times she’s locked herself out of her house. It’s much safer if she sits in her office and writes, either as herself or as her younger, hipper alter ego, Maggie Pill.

 

Link to KIDNAP.org on Amazon: https://www.amazon.com/KIDNAP-org-Peg-Herring-ebook/dp/B01NC3F8NV

Peg’s website: http://www.pegherring.com

Maggie’s website: http://maggiepill.com

Visit Peg on Facebook: https://www.facebook.com/Pegs-News-108697482481217/

Contact Peg on Twitter: https://twitter.com/@authorpherring

 

 

Website: http://www.pegherring.com

It’s All About The Place by Jeannette de Beauvoir

Provincetown, Massachusetts. Cornwall, Great Britain. Montréal, Québec, Canada. Hastings, England. Cambridge, Massachusetts. Brittany, France. Paris, France, Angers, France. London, England. Oxford, England.

 

In no particular order and pretty much off the top of my head, those are some of the places where my novels take place.

 

Every author is different from all other authors in obvious and subtle ways, and so is their process for creating and writing stories. Some begin with an idea for a plot that they twist and fashion into something shining and beautiful. Others start with a character, letting that person make the decisions about what needs to happen in the novel.

 

And then there are those of us (I don’t know how many, but would be interested to find out) who start with place.

 

There’s a story I love—though it’s probably apocryphal—about Phyllis McGinley, who wrote romantic thrillers in the 1960s. The story goes that she’d decide where she wanted to go next on vacation, and that dictated where her next novel would be set. I think it’s an excellent plan.

 

Place is important. It shapes a narrative, gives it context and flavor. I can’t imagine a story in a void, in the abstract; I can’t even visualize characters without seeing where they are. And it shows: one of my weaknesses as a writer is leaving too much of my characters’ physical descriptions up to the reader’s imagination; conversely, one of my strengths is making the venue seem real and alive. I love hearing from readers that they feel they know a town or city after reading one of my books.

 

While I haven’t really adopted McGinley’s practice, I do love to write about places I know. So if you look at some of the places in my books, you’ll see where I’ve either lived or spent a significant amount of time. Murder Most Academic reflected my years living in Boston and Cambridge. Asylum and Deadly Jewels take place in one of my favorite cities in the world, Montréal, where I spend some time every year. I have a series starting this spring in which all books have the same subtitle: A Provincetown Mystery (that’s where I live now). My upcoming The Cambridge Effect takes place in Oxford, Cambridge, and London—and Oxford is another of my centers of the universe. You get the idea.

 

Think about it. Wherever you live, there are things that you can imagine could only take place there, right? Every place, every space has its own ethos. If I want to place my protagonist in danger, I first have to see where that’s going to happen. In real life, space shapes what takes place in it; and that’s the way it works with narrative, too.

 

I’ve occasionally heard readers remark on novels in which they felt that the place was as much a character as any of the people in the story. Most readers seem to like that. And I often concur: if that’s the sort of book you like, then run, do not walk, to your favorite bookseller and start reading Phil Rickman’s opus. He chooses places on and around the border between England and Wales, and captures the liminality of that space in breathtaking ways.

 

I’m not sure that the spaces I write about qualify as characters, but they’re real and they ground both the people and the stories. My people chat in real cafés, order meals in real restaurants, walk on real streets. You can visit these towns and cities and feel right at home, even if it’s your first time there, because my characters have already taken you there.

 

Is place important to you? Or do you not particularly care where your mystery reading lives? I’d love to hear from you… post your comments here and I’ll choose one at random for a free copy of Asylum!

 

 

Jeannette de Beauvoir wrote her first novel when she was eight years old (it wasn’t very good). In the hopes that practice would make palatable if not necessarily perfect, she has continued to write better novels over the last several decades. She helps other writers through workshops, critiques, and editing and can be seen online at www.jeannettedebeauvoir.com.

Don’t you dare write that! by J.H. Bográn

We’ve all heard the above command. It may come from friends, family, or writing peers. The other bit of urban wisdom we’ve all heard is “controversy sales.” But here’s the catch, if you write controversy with aims just to make sales, your story will most likely fall flat. However, if you love the story, then write it even if touches on such topics.

I’m no stranger to drawing inspiration from controversy. In fact, I’ve had some close-calls and bad experiences because of my choices.

I wrote my debut novel, TREASURE HUNT, in 1998 and the opening chapter was about an air-jacked flight and the perpetrator’s demand for ransom. After the events of 9/11 in 2001, I thought that book would never see the light of day. I tried, honestly, to rewrite and delete all the strands from that storyline. I even considered changing the location from a jetliner to a train or a cruise ship. However, the events that occur during the air-jack are integral to the plot in many ways. Time passed by, as it always does, and a few years later the book found a publisher.

For my third novel I created an unusual antagonist. It could be labeled as a serial killer, but if I explain why that’s not the case, I’d be giving away the plot. Suffice to say that when fabulous author Jon Land sent me this blurb “POISONED TEARS is a splendid piece of crime noir.  J. H. Brogan’s darkly original tale breathes fresh life into the moribund serial killer genre.” I decided to shut up and let it be. So my book will navigate the literary world under a somewhat false flag, being promoted as a serial killer who uses poisonous animals to disguise the deaths as accidents, when in fact, the antagonist sees the deaths as means to an end. Enough said!

The choices I made in both instances to discuss topics that would raise complaints rather than just eyebrows were out of the necessity to tell the tale as I conceived it. They were not a gimmick, nor was my goal to go riding a trend.

When people ask me why I’m not on the best-seller list yet, I ache to rotate my responses between, “because you haven’t bought it and told ALL your friends to do the same,” or “because I’m waiting for the Vatican to ban my book, or have somebody sue me.” Of course, in the times of political correctness that we live, the only place I can say either of the above is standing alone in front of the bathroom mirror.

In conclusion, I contradict my own title in this post and beg writers to dare go beyond, take it a step forward, push the envelope, and since I’m running out of metaphors, I’ll just finish by saying to follow your gut and use the circumstances, as controversial as they may be, to enhance the plot. See you at the bookstore!

 

 

About the author:

  1. H. Bográn, born and raised in Honduras, is the son of a journalist. He ironically prefers to write fiction rather than fact. José’s genre of choice is thrillers, but he likes to throw in a twist of romance into the mix. His works include novels and short stories in both English and Spanish. He has also worked on scripts for motion pictures and domestic television in his home country.

He’s a member of The Crime Writers Association, the Short Fiction Writers Guild and the International Thriller Writers where he also serves as the Thriller Roundtable Coordinator and contributor editor for their official e-zine The Big Thrill.

POISONED TEARS is his third novel in English and has already garnered positive reviews and recommendations. Jon Land calls it “a splendid piece of crime noir,” while Douglas Preston says it’s a first class roller-coaster ride.

Book description: Alan Knox’s football career ended in the Superdome twenty years ago. He hates the Big Easy but his son’s fiancée is missing and Knox is compelled to help. Throwing himself into the investigation, he becomes convinced a serial killer is using poisonous animals to disguise women’s deaths as accidents but the NOLA Police Department won’t listen. The investigation follows a twisted and dangerous path when Knox teams up with journalist Scott Trent. Especially when Trent’s wife is brutally murdered and Trent becomes the prime suspect. How many more women must die before Knox can prove his partner’s innocence?

 

 

Website: http://www.jhbogran.com

Facebook author page: https://www.facebook.com/JHBogran0

Twitter: https://twitter.com/JHBogran

Amazon author page: https://www.amazon.com/author/jhbogran

Barnes & Noble: http://www.barnesandnoble.com/c/j.-h.-bogran

Goodreads: http://www.goodreads.com/author/show/4307673.J_H_Bogran

Newsletter signup: http://eepurl.com/NwCHb

Writer, Know Thyself by Betty Webb

betty2015.4This may come as a surprise to some readers, but authors don’t always understand their own interior conflicts until they’ve already written about them. Such was my experience when writing “Desert Vengeance,” the new Lena Jones mystery.

Upon beginning the first draft of the book, I was under the impression that I believed in strict enforcement of the law in any and every case. That was before Lena Jones took over the book, over-ruling everything I thought I believed. Lena had a different take on the law and wasn’t afraid to act on it.

Maybe I’d better back up here. Lena Jones is a Scottsdale-based P.I. who always seems to find herself working on controversial cases. In “Desert Wives” and “Desert Lost,” she explored the sins of polygamy; in “Desert Cut” exposed the horrors of female genital mutilation; in “Desert Wind” she found herself immersed in a decades-old series of crimes committed by the U.S. government.

In each book, Lena may have explored the idea that “law” isn’t always the same as “justice,” but her conclusions never varied from my own.

Then came “Desert Vengeance.”

A little background on Lena. She was found at the age of four lying in a Phoenix, AZ street, with a bullet in her head. After spending months in a coma, she regained consciousness but no longer knew her name, who her parents were, or who had shot her. Unclaimed and considered unadoptable, she made her way through foster homes until she aged out of the CPS system and eventually became a Scottsdale PD detective. Rough childhood, right? But I’ve left out the roughest part: in one of her foster homes, a nine-year-old Lena was repeatedly raped by foster father “Papa” Brian Wycoff until she retaliated by stabbing him with a kitchen knife. The ensuing police investigation uncovered “Papa” Brian’s crimes against other children, and after a brief trial, he was sentenced to 25-years-to-life.

When I began “Desert Vengeance,” it was to explore the issue of Lena Jone’s own planned vengeance against the now-freed vengeancecover-finishedchild rapist. Here’s the entire first chapter.

I was waiting for him when he stepped out of the prison van. The man who had raped me when I was nine years old squinted against the savage August sun and took a hesitant step towards the beat-up Honda Civic. The driver’s side door opened.

“Get in here quick!” the rapist’s wife yelled. “She’s here, too!”

And so I was. Instead of parking my tricked-out 1945 Jeep at the far side of the prison lot to escape notice, I had parked right behind the Civic. I wanted them both to see me, to take note, to realize that after almost thirty years I still remembered.

As the rapist shuffled towards his wife I stepped out of my Jeep. Smiled. Waved. Flashed my Vindicator. Made certain the rapist noticed the gleam of the sun along the knife’s ten-inch-long, tempered steel blade. Made certain the rapist knew it was nothing like the cheap kitchen knife I had defended myself with the last day I’d spent under his roof.

My Vindicator wouldn’t break.

Neither had I.

See what I mean? Lena, who had devoted her entire life to enforcing the law, was now planning to break it. To commit murder. To capitalize the word “law” by turning it “Law,” as in “The Law of the Jungle.”

It was only when I typed the last page of “Desert Vengeance” I realized, that all along, I had always been conflicted about the difference between the two.

And why.

 

Learn more about the Lena Jones mysteries by visiting http://www.bettywebb-mystery.com

BIO: Before writing full time, Betty Webb worked as a journalist, interviewing everyone from U.S. presidents, astronauts who walked on the moon, Nobel Prize-winners, and polygamy runaways. She is a member of the National Federation of Press Women, Authors Guild, and Mystery Writers of America.