It was in July, 2011, that a group of us first gathered under the Maine Crime Writers banner to talk about all things Maine and all things mystery. The membership has changed over the years, but the goal, and the pleasure of being part of a supportive writing community has not. Here’s a conversation we had back in the beginning about crime writers and research. The members writing in this conversation are: Kate Flora, Sarah Graves, Gerry Boyle, James Hayman , Barbara Ross, Kaitlyn Dunnett/Kathy Lynn Emerson, Vicki Doudera, and Paul Doiron.
Kate: Before I started writing, I used to think that writers sat at their desks and made it up. But writing crime novels often forces us out into the “real world” for research. Sometimes that research takes us strange places or puts us into interesting circumstances. As an example, a few years ago, to better understand the Portland, Maine police officers in my Joe Burgess books, I took a citizen’s police academy. On the night that we got to play cops, and our instructors got to be the bad guys, I was doing a mock-traffic stop. Getting out of my cruiser in front of the whole class, I caught my nightstick on the door handle, tipped forward, and smashed my nose into the window. Red-faced and smarting, I walked up the window of the car I’d stopped, asked the driver for his license and registration, and he laughed. “Look at that little girl cop,” he said. “Isn’t she cute?” I was instantly in the shoes of a real rookie cop.
Sarah: A lot of the time, I do sit at my desk and make it up. But when I’m not doing that, I’m often doing some old-house repair chore that naturally also goes straight into what I’m writing. Depending on whether or not I know how to do the job I’m attempting, hilarity may or may not ensue. Starting out trying to install a new faucet handle, for instance, once ended with my having to call a plumber and an electrician on a Sunday afternoon. (This is an old house, remember; touch one thing and half a dozen others go down like dominoes.) And although the experience was embarrassing, it did double duty in the research department, teaching me: (1) why you never start a plumbing repair, however simple, on a Sunday afternoon, and (2) how kind Eastport people can be to newcomers.
Gerry: I always start writing before I know what I think I need to know because if I waited until the research was complete, I’d never write the book. I learned long ago that research is endless and deadlines are not so I learn enough to launch myself into the subject and book and then pause every few chapters when I hit a gap in my knowledge. Then I can ask myself: do I need to know the minute details of whatever is going on? Or should I push on and not let the pace of the book flag, the narrative meander while I explain? I have a saying when it comes to writing fiction: A lot of knowledge is a dangerous thing. As a former and now-sometimes journalist I know that reportage is an important part of being a crime novelist. But it’s just as important not to show readers everything you know. Hold some of that research close to your vest.
Jim: I do a fair amount of research mostly during the writing process. One of my favorite research stories started with the fact that the body of the victim in The Chill of Night was found frozen solid in the trunk of her BMW on the Portland Fish Pier. “How,” I asked myself, “do you autopsy a frozen corpse.” Naturally I Googled “Autopsy Frozen Corpse.” Over one million hits. The best was an article titled “How Do You Autopsy a Frozen Corpse” that was written by a forensic pathologist in Charleston, SC. The article was not available online but her email was. She was kind enough to send me the article and agreed to become a regular research resource online. I’ve probably asked her over a hundred autopsy-related questions since.
Barb: Wow, Jim. That is a great story. I was on the phone with an oncologist this winter and I said, “I need some kind of cancer that women get, that if symptoms are ignored can kill you in a matter of months.” So he made a suggestion and went over it in detail to make sure I understood it and I’m asking–What would the symptoms be? How might you end up in the emergency room? How long would the tests take to determine someone has this? Finally it got to me and I let out sort of a nervous giggle and said, “This is a ghoulish conversation.” “All in a day’s work to me,” he said and kept right on going.
Kate: Barb & Jim…I think we should wear little “Be Careful What You Say” buttons when we’re out in public. When I was working on my fourth Thea Kozak mystery, An Educated Death, involving a student death at a private school, I found myself at a Harvard reunion lunch with the Principal of Exeter. I borrowed some paper from our hostess, sat down, and proceeded to ask her a zillion questions about how they’d handle an unexplained student death. She went through the list–counselors, reassurance, bringing the student body together, making faculty and advisers available. And food, she said. Put food wherever they will congregate. It will be comforting. At the same party, I found an ER doc and, like you, Barb, started asking about the physical effects of wild hemlock poisoning. I left with a list of symptoms, including pulmonary edema and hallucinations. “She will be breathing air, and it will feel like she is drowning.”
Kaitlyn: One of the things I love about writing contemporary mysteries (as opposed to the historicals I’ve done as Kathy Lynn Emerson) is that there is so much less to research. Not only am I writing about, literally, my own back yard, with the fictional Carrabassett County tucked in between Franklin County (where I live) and Oxford County, but I have an in-house expert to ask questions of, my retired deputy sheriff/probation officer husband. Example: In A Wee Christmas Homicide, which involves smuggling items from Canada into Maine, I needed to know how easy it would be to slip across the border. I knew there was no fence, and that border crossings were few and far between, but I had a sneaking suspicion there was something to deter “alien” invasions. The in-house expert had the answer. Trees are clear-cut on both sides to mark the line between Maine and Quebec in northern Franklin County. At first I wasn’t too happy, since I needed to sneak a snowmobile across, but in the end that detail ended up adding a whole new dimension to a crucial scene.
Vicki: Are the rest of you ever worried that if someone searched our computers’ histories they’d think we were responsible for a whole host of heinous crimes? I know that I spent a heck of a lot of time researching multiple stab wounds (along with wicked mojito recipes) for KILLER LISTING…
Kate: I know that I was about to hook up with a bomb expert to learn how to blow up the Portsmouth Bridge (fictitiously, of course), but then 9/11 happened and I felt I had to tone it down. But yes…I’m sure that if anyone searched our computers (or hacked our phones?) we’d been in deep trouble. BTW, are you going to share those mojito recipes or do we have to read the book?
Kaitlyn: I don’t have any bomb stories, but I have used poisons a fair bit in my historical mysteries. In fact, since the Moxie Festival in Lisbon Falls is this weekend, I am reminded that I once used our infamous official state soft drink (which you either love or hate) to hide the taste of a near-lethal dose of morphine. This relates to our research topic because this scene is in Lethal Legend (w/a Kathy Lynn Emerson), which is set on an island off the coast of Maine in 1888. I had to do some digging to find out how Moxie was packaged back in the days when it was considered a cure for all kinds of ailments, and also to discover how difficult it would have been to get hold of opium and morphine. As it turned out, both were alarmingly easy to buy in the late nineteenth century.
Paul: I have a familiar hobbyhorse that I ride from time to time whenever I get asked to be on a conference panel. Thorough research is absolutely indispensable, and the last thing I want as a writer is to ruin a reader’s experience by including some stupid error in a book that breaks the suspension of disbelief. But I read too many crime novels where the author is trying so hard to be “factual” (“and then I pulled up Form 5D on the department’s antique Dell laptop”) that my eyes start to roll. Wasn’t it Hitchcock who said that “drama is life with all the boring parts cut out?” Personally, I find lots of crime novels overflowing with boring parts. Knowing what to leave out is another way of establishing your authority as a storyteller. I guess I am echoing Gerry here.
Kate: And Elmore Leonard reminds us to leave out the parts that people skip.

Kaitlyn Dunnett/Kathy Lynn Emerson here, today posting as Kathy. As regular readers of this blog know, I’ve spent the last six months doing a total rewrite of a novel previously published in 2020. I’m pleased to announce that its release date was June 30, so it has been out in the world in e-book and print-on-demand formats for a whole two days. As usual, since I am retired and no longer travel well, I am not doing signings or mailings or most of the other promotional things writers are supposed to do. This post and announcements in the Weekend Update and on Facebook and Bluesky are pretty much it. Word-of-mouth and reader reviews are, of course, much appreciated. That doesn’t mean I think any less of the work that went into producing this novel, only that my goal is no longer to support myself with my writing but only to make what I’ve written available to anyone who might want to read it.
In between other projects, I did a complete rewrite. The result was published in 2020 as The Finder of Lost Things by a fledgling small press. Unfortunately, for a variety of reasons, including its launch during the Covid shutdown, the venture was not a success. The book received only one review in a review journal and sold fewer than 200 copies in the five years it was under contract.

I did not have to do new research for this rewrite, but I did plenty for the earlier versions. Colchester Castle is a real place and was used as a prison in the sixteenth century, although the cells on display in the castle’s museum date from a much later period and the exact appearance of the prison in 1591 is not documented except to report that the walls were in dire need of repair. As far as I know, neither recusants nor witches were imprisoned in Colchester gaol. Essex, however, was notorious for its witch trials and the cases my characters mention are real. Numerous books on Tudor crime, trials, law enforcement, prisons, witchcraft, and exorcisms provided details I used for fictional purposes.






Cost has published six books in the Mainely Mystery series, starting with Mainely Power. He has also published six books in the Clay Wolfe Trap series, starting with Wolfe Trap. There are two books in the Brooklyn 8 Ballo series, starting with Velma Gone Awry. For historical novels, Cost has published At Every Hazard and its sequel, Love in a Time of Hate, as well as I am Cuba. The Not So Merry Adventures of Max Creed began a new series this past April. The second book in the chronicles, EveryThing vs. Max Creed, is now out.
The other day I was corresponding with another Maine crime writer who has agreed to do a blurb for my next book, Critical State. I was emailing on an unrelated matter and their reply said they are really enjoying my book. I replied that I was so glad they were liking Raven, my first published book. Then it hit me. Duh. They were talking about Critical State: An Olivia Wolfe Novel. Which I was also glad they were liking.
This is a new experience for me. Because I’ve got the time and attention now, I’m working on multiple books at once and it can be a bit of a brain scrambler. I’m still working on marketing and speaking to generate sales for Raven. I’m working with an editor to finalize Critical State. I’m currently writing the first draft of the next Olivia Wolfe book to follow Critical State: Glass Cliff. On any given day I might have correspondence related to any or all of those three projects. Today I also emailed to a first chapters contest the first 5000 words of another book I’m revising, From Away, which will start another series set exclusively in Maine.

Writers are encouraged to use all five senses and incorporate them into every scene. Hearing, easy, touch, a slam dunk, sight, got it covered, taste, a bit harder, but everyone has to eat sometime. Then there is smell, the oft forgotten sense. Smell is hard to write, but an understanding of how we process scent as humans is vital, and it’s a great way to establish setting and discover the odd clue.
All well and good, but how do you add scent to your writing? How do you describe what someone smells? Sour, bitter, acrid, sweet, cloying, all good descriptors, but do they get the scent across? Not really, those are all words that describe taste, too, and taste is easier to include in a passage because you can accompany it with expressions and other characters can react. Scent, not so much. Scent is personal.
My favorite scent? Gunpowder and popcorn. They transport me back to childhood 4th of Julys, running with friends, the itchy feeling of the woolen picnic blanket, and the glorious fireworks.

On Wednesday, June 24th, at 6 PM, Matt Cost and Jule Selbo will engage in a TAC TALK (Two Authors in Conversation) at the 
and The Thursday Murder Club.
But while I was drafting that, I was also being crowded by another story into taking notes and thinking about possibilities of character and story, something I don’t normally do.












