What Do You Know About Rhubarb?

Right now, the rhubarb plant I got from a friend in Camden has become three huge plants, reminding me that I’ve got to start making some delicious rhubarb recipes. Years ago, I shared the column below from my mother’s book. Since rhubarb is on my mind, I thought I’d share it again. But first…two of my favorite rhubarb recipes. There are more at the end. And oh, by the way, I’m excited to have signed a contract for a new, dark Portland-based series.

Yummy Rhubarb Farm Cake (from the Rockland Courier-Gazette)

Preheat oven to 350 & grease 9” springform pan

½ stick melted butter

½ c. oil

1 c. sugar

2 T. lemon zest

1 egg

1 ½ c. buttermilk

1 tsp. vanilla

3 c. flour

¼ c. cornmeal

1 T. baking powder

½ tsp. baking soda

¾ t. salt

2 c. ½” dice rhubarb

In large mixing bowl, whisk together butter, oil, sugar & zest. Whisk in the egg, then buttermilk and vanilla.

In separate bowl, stir together flour cornmeal, baking powder, baking soda and salt. Fold the dry ingredients into the batter, then gently told in the rhubarb. Spoon into the pan and bake about 55 minutes. Small cracks will appear on the top and the cake will begin to color. Remove from oven and cool before removing sides of the pan.

Strawberry Rhubarb Pudding Cake

 ¼ c. water

1 ½ t. cornstarch (I use more)

1/3 c. plus ½ c. sugar

2 c. chopped rhubarb

1 cup chopped fresh strawberries (I use more)

1 c. flour

1 ¾ t. baking powder

½ t. salt

1 large egg

½ c milk

1 stick melted, unsalted butter, cooled slightly

1 t. vanilla

Preheat oven to 400. Butter 8” square baking dish

Stir together water, cornstarch & ½ c. sugar in saucepan, then stir in rhubarb.

Bring to a simmer, stirring occasionally, for 3 min. Remove from heat and stir in

Strawberries.

Whisk together flour, baking powder, salt, and remaining 1/3 c. sugar.

Whisk together egg, milk, butter & vanilla, then whisk in flour mixture until just combined.
Reserve ½ c. fruit. Put remainder into baking dish and pour batter over, spreading evenly. Drizzle the rest of fruit over the top. Bake 25-30 minutes, until toothpick comes clean.

Kate Flora: I’ve been busy in the gardens, weeding, rearranging plants, and evicting invasives, so today I thought I would share one of my late mother, A. Carman Clark’s, columns with rhubarb lore and recipes. This was originally a column in The Camden Herald and later included in her essay collection, From The Orange Mailbox.

We know that spring has really come to the Georges River valley when there are two rhubarb pies for dinner–the traditional old-fashioned kind flavored with a bit of grated orange peel and our own Sennebec Hill rhubarb custard pie with a sprinkling of fresh ground nutmeg.

Before this, when the first pink shoots appear, we enjoy sunny hours remulching the twenty-seven hills of rhubarb and adding fertilizer for the coming year. The winter’s accumulation of magazines and newspapers are lavishly spread between the rows; handfuls of a 5-10-10 commercial fertilize are scattered about to speed the breakdown of the paper; and the whole plot is covered heavily with bales of hay that banked the farmhouse during the winter. One pail of well-rotted manure dumped on each hill and we are ready for another year–a year of eating, freezing, selling, and inventing new recipes  to use up the indefatigable bounty of rhubarb.

New England provides the ideal climate for growing rhubarb, and according to John Lowell, one of the founders of the Massachusetts Horticultural Society, it was a Maine gardener who introduced rhubarb into America as a food plant. The history of rhubarb covers almost forty-seven centuries, going back to 2700 b.c. in China. Cultivated as a medicine for use as a purgative and a gastric tonic, roots at least five years old were sliced, dried, and then powdered. Early travelers carried the plant from China to Persia, Greece, and Russia; it was grown in the early botanical gardens at Padua, Italy, taken to England and Scotland, and then to America.

The garden journals of George Washington, John Jay and Thomas Jefferson record their planting of rhubarb, and in 1770, Benjamin Franklin sent rhubarb seeds from Scotland to his botanist friend, John Bartram. But it wasn’t until about 1780 that recipe books began to mention its use in tarts and pies. Probably because sugar was a scarce commodity in rural New England, it was after 1800 that rhubarb gained the Yankee name “pieplant.” Brides going forth to newly cleared acres took along a crock of sourdough yeast, a few cuttings of lilac, and a clump of rhubarb roots. Lewis and Clark carried powdered rhubarb root on their journey of exploration to the Pacific.

While icy northern winters killed fruit trees, the pieplant seldom failed to furnish the first fresh food each spring. Out on Matinicus Island, a clump set out by Iddo Tolman in 1858 is still growing, requiring only occasional fertilizing to nourish the crisp, tart stalks that are one of the culinary joys of the spring season.

Rhubarb seeds need to be planted in a place apart, where it will not be disturbed for years, and it needs full sun for at least half of each day. Healthy, well-fed rhubarb is a handsome plant and when set against a stone wall or the base of a shed or barn, the great spreading leaves fan out like rainforest vegetation. Rows of rhubarb can be set as a border between lawn and garden.

It isn’t necessary to be fussy. The quickest way to start a bed is to beg a few roots from a neighbor. Since the plants need to be divided or thinned every six years, most rhubarb growers will cheerfully give you enough to start your hills.

The roots should be dug and divided before the first leaves begin to uncurl in May. Spade up a clump and hose away the soil so you can easily cut the root mass apart, leaving one bud on each division. Plant the roots three feet apart with the buds set about two inches below the soil surface. Because a rhubarb bed is usually a lifetime investment, the roots should be set in good loam enriched with compost and old manure. But because rhubarb is such a hardy plant it will do well in almost any soil as long as there is good drainage and as long as it is fed annually with plenty of old hay or compost. Many rhubarb growers feed their plants by dumping kitchen scraps–peeling and other compost material–right under the spreading leaves.

There’s a local story about about a coastal farmer who once asked a neighbor for enough rhubarb for a bit of sauce. Upon being told there was none to spare, the farmer promptly went out and acquired enough roots to plant a 200 foot row. He allowed as how no one would ever ask him for a mite of rhubarb without being generously provided. Years later, when a younger man took over the farm, the roots needed dividing. With true Yankee ingenuity, he drove his plow straight down the middle of the whole row, split the plants in half, transplanted one half, and ended up with two 200 foot rows.

I once read that farmers in Afghanistan cover their rhubarb with several feet of gravel so that by the tie the shoots have struggled up through this, they are pale and very tender. By placing a chimney tile over one of my plants and pouring several pails of sand inside, I have produced a reasonably accurate facsimile of this method and found the stalks far more delicate than those of the usual plant. Another year I discovered a way to produce earlier rhubarb: placing an open-ended barrel over one hill and mounding manure up around the outside of it. I got tender ruby stalks weeks ahead of the rhubarb in the open field.

The best rhubarb for cooking, canning, or freezing comes from the long tender stalks of well-fed roots pulled between May 1 and July 4. After that, the skin gets tougher (although a well-mulched bed will produce good stalks for pie as late as August). One of our favorites is blu-barb pie, half blueberries and half rhubarb, invented in 1962 for the Maine Blueberry Festival.

Although rhubarb is a vegetable, it is generally used as a fruit–naturally enough since it is in season in spring when fresh fruits are scarce. Because it’s easy to freeze, it can provide a variety of desserts all through a winter.

Rhubarb should be pulled, not cut. Stalks should be be twisted sideways and pulled at an angle. Snip the leaves and the base of the stems onto the mulch around the plants. To freeze rhubarb, wash, dry, cut into half-inch pieces, spread on a cookie sheet and freeze, the move into double plastic bags.

Old-timers around this part of Maine (mid-coast) claim that rhubarb has a tranquilizing effect and surely almost anyone would agree that a flaky-crusted rhubarb pie can exert a calming effect at the end of a working day. But rhubarb is versatile and can be used in many ways.

 

Sennebec Hill Rhubarb Pie

Beat together:

1 1/2 c. sugar

2 eggs

1/2 t. nutmeg

2 T. butter

1/4 c. flour

1/2 t. salt

Stir into this 3 cups chopped rhubarb. Pour into pie crust, add top crust, and bake 10 minutes at 450, then 40 minutes at 350.

Blue-Barb Pie

Mix together:

1 c. sugar

1/4 c. flour

1/4 t. salt

1 1/2 c. rhubarb cut in small pieces

1 1/2 c. blueberries.

Dot with bits of butter and bake 10 minutes at 450 and 30 minutes at 350.

Strawberry Rhubarb Pie

Blend together:

2 c. rhubarb

2 c. sliced strawberries

1 1/4 c. sugar

1/4 t. salt

1/3 c. flour

2 T. butter

Bake as a two-crust pie at 450 for 10 minutes and 30 minutes at 375.

Rhubarb Flummery

4 c. cut rhubarb

1 3/4 c. sugar

stew gently for 10 minutes

8 slices of buttered white bread

Layer buttered bread and warm stewed rhubarb in a deep baking dish. Chill for 24 hours. Serve with whipped cream.

Rhubarb Cake

1/2 c. sugard

2 c. finely chopped rhubarb

Blend together and set aside:

1/2 c. butter

1 1/2 c. sugar

1 egg

1 t. vanilla

Mix together:

2 c. plus 2 T. flour

1 t. cinnamon

1 t. baking soda

1/2 t. salt

Add alternately to blended mixture with 1 c. buttermilk

Add rhubarb mixture

Add:

1/2 c. shredded coconut

1/2 c. raisins

1/2 c. chopped walnuts or pecans

Blend together. Pour into a greased and floured 7 x 12 baking pan. Bake at 350 for 45 minutes.

Sennebec Pudding

Mix together:

2 c. blueberries

1 1/2 c. rhubarb

1 t. tapioca

1 1/4 c. sugar

Put this mixture into a buttered 2 quart casserole.

Mix together:

1/2 c. sugar

1/2 c. flour

1/2 c. oatmeal

1/4 c. wheatgerm

blend in 1/4 c. butter

Spread over fruit mixture and bake 45 minutes at 350. Serve warm with ice cream

 

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Who Knows What When?

Kaitlyn Dunnett/Kathy Lynn Emerson here, still working on what will become The Murder in Colchester Gaol. A couple of weeks ago, after letting the manuscript sit for nearly a month (to give me some perspective), I sent my docx file to my iPad, opened it in the Kindle app, and started what I thought was going to be a final proofread before launching the e-book and POD paperback at Draft2Digital.

Boy was I wrong! I found typos, sure, and places where the spacing was squirrely (these really stand out with the Kindle format), but I also found umpteen places where I had changed something and then failed to delete the original wording. An example: wary brown eyes that were wary. I’d like to blame Word for this, but it was probably just my arthritic fingers or my failure to check carefully enough after typing in changes.

AI’s idea of what the cover should look like–a big NO from me

There were some fiddly bits, like writing poppy syrup in some places and poppy juice in others. They were all supposed to be poppy syrup, a popular sixteenth-century cure for insomnia and other problems.

Then there was the wordiness. Nothing like using a half dozen words when one would do. There were also a great many unnecessary uses of that, now, only, even and, yes also. To give one example of wordiness/awkward wording, I changed “but to flee into the night would only convince those men to look for us.” to “but to flee into the night would make those men suspicious.” I also changed Alison lifted a hand to his face, needing to touch it to affirm he was real. to Alison needed to touch his face to affirm he was real. Minor stuff, I know, but the new version reads better. Incidentally, when I went in to find that last example for this blog, I discovered that I’d screwed up yet again. What it said until I fixed it was: Alison needed to touch to his face to affirm he was real.  Arrghh!

I found way too many cases of passive voice—how did I miss these on the other read-throughs?

most likely final cover

There were information dumps—no horrendous ones, but whole paragraphs needed to be cut because they added nothing to the story.

The worst problems were the places where I either contradicted something I’d written earlier or left a gap in logic. I did trim a lot—maybe too much—in earlier passes, but on this so-called “final” proofing I noticed missing details I simply never thought about when I wrote the original (published under a different title) version. As an example, my protagonists’ sister (the victim) had eloped from their oldest sister’s house, but I never explained why her sisters were unable to discover the name of the man she eloped with or where he lived until months later.

The best solution I’ve found for fixing continuity problems is to create a file titled “Who Knows What When?” I cut and paste excerpts into this so that when this revision is complete I can go through them and make sure the contradictions have all been fixed.

Maybe the next proofread will actually be the final one. Wish me luck.

Kathy Lynn Emerson/Kaitlyn Dunnett has had sixty-four books traditionally published and has self published others. She won the Agatha Award and was an Anthony and Macavity finalist for best mystery nonfiction of 2008 for How to Write Killer Historical Mysteries and was an Agatha Award finalist in 2015 in the best mystery short story category. In 2023 she won the Lea Wait Award for “excellence and achievement” from the Maine Writers and Publishers Alliance. She was the Malice Domestic Guest of Honor in 2014. She is currently working on creating new editions of her backlist titles. Her website is www.KathyLynnEmerson.com.

 

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Weekend Update: May 30-31, 2026

Next week at Maine Crime Writers there will be posts by Kaitlyn Dunnett/Kathy Lynn Emerson (Monday), Kate Flora (Tuesday), Jule Selbo (Thursday), and Joe Souza (Friday) with a writing tip from Allison Keeton on Wednesday.

In the news department, here’s what’s happening with some of us who blog regularly at Maine Crime Writers:

 

Matt Cost will be actively involved in the Crime Wave Conference happening today, Saturday, May 30th. On Monday, June 1st, he will be giving a COST TALK at the Brewer Public Library at 6 PM. This will be followed on Thursday, June 4th, at 6 PM for another COST TALK at the Farmington Public Library. The focus of both of these talks will be on the Modern-Day Chronicles of Max Creed.

 

 

 

An invitation to readers of this blog: Do you have news relating to Maine, Crime, or Writing? We’d love to hear from you. Just comment below to share.

And a reminder: If your library, school, or organization is looking for a speaker, we are often available to talk about the writing process, research, where we get our ideas, and other mysteries of the business, along with the very popular “Making a Mystery” with audience participation, and “Casting Call: How We Staff Our Mysteries.” We also do programs on Zoom. Contact Kate Flora

 

AND DON’T FORGET! One lucky Maine Crime Writers reader who leaves a comment on the blog this month will win a bundle of books!

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Conferences, Conversations, and Comraderie

Taking a cue from Matt Cost’s wonderful post yesterday about all the ways he’s connecting with readers, I wanted to talk about why conferences like Maine Crime Wave this weekend matter to me as a writer, and mattered even more before I was published.

Matt mentioned that we’ve changed the format of Crime Wave to include conversation tables in place of panel discussions. This grew out of the realization that some of the best parts of the conference were the conversations between panels: in the line for the boxed lunch, at the Kelly’s Books to Go table, in the halls and with the person seated next to you.

One of the things I have come to appreciate about smaller, more intimate conferences–specifically Maine Crime Wave and New England Crime Bake–are the conversations and relationships that spring out of them. Whether I’m talking to readers or writers, the love for the work is the same. We’re all looking for exciting stories well told, narratives that take us out of our daily lives, introduce us to characters we love to love, and love to hate, and see justice done, or at least injustice thwarted.

It’s common enough to almost be a cliche, but I can’t count the number of times I’ve heard people say how much fun crime writers are. I really do think it’s something about our shared world view in which we are trying to bring order in the form of a coherent narrative to a decidedly chaotic world.

When I was still an unpublished author, conferences helped me feel part of the writing world, giving me a kind of affirmation that one doesn’t get alone at your writing desk. But there’s also lots to learn in these interactions. Connections with other writers and readers are all the more important as the publishing world continues to evolve at breakneck speed. It’s instructive to hear what it’s like for one author working with their agent, another who is working directly with a small press, another who is self-published with their own imprint, and think about what your own options might be.

So, if you’re a writer or a reader of crime fiction, it’s not too late to join the fun tomorrow at Maine Crime Wave on Saturday, or tonight for Noir at the Bar at Belleflower Brewery at 7:00 to hear readings by me, Tess Gerritsen, Allison Keeton, Travis Kennedy, Joanna Schaffhausen, James Ziskin, Zakariah Johnson, Gabriela Stiteler, Mo Drammeh, and Rebecca Turkewitz.

Currently reading: Alias Agnes: The Notorious Tale of a Gilded Age Spy, Elizabeth A. DeWolfe, 2025.

Next in my TBR list: Dead Money, Jakob Kerr, 2025.

 

Posted in Rob's Posts | 1 Comment

Writer/Reader Interactive Opportunities by Matt Cost

Since breaking into the writing scene in March of 2020, I have actively pursued creating and participating in writing events. Actually, attending Crime Wave in 2019 is the catalyst that most likely kicked me into high gear. I had previously done several historical fiction conferences and just didn’t seem to jive with that crowd (so MUCH historical fiction is really just romance!). But, in that year, right before Covid struck, I came to realize that crime writers were my jam.

Seven years later, I am on the committee that helps organize Crime Wave. It will be on Saturday, May 30th. Last year, we made some changes to be more inclusive of writers and readers attending the conference, focusing on round tables rather than panels. These round tables are meant to prompt discussion and interaction instead of a lecture. The feedback on this innovative change was fantastic last year, and we hope to build on that momentum and continue to grow.

Thanks to the hard work of the amazing Gabi Stiteler, Crime Wave has been expanded to include Friday events. Crimes in the Archives with Elizabeth DeWolfe will take place at 1 PM on May 29th, and then Noir at Belleflower will explode at 7 PM in Portland at the Belleflower Brewery. This year, I will not be reading, but will continue my stint as master of ceremonies alongside the astounding Jule Selbo.

There will be marvelous readings of mayhem, humor, and crime from an array of wonderful writers, including Tess Gerritsen, Allison Keeton, Travis Kennedy, Robert Kelley, Joanna Schaffhausen, James Ziskin, Zakariah Johnson, Gabriela Stiteler, Mo Drammeh, and Rebecca Turkewitz. Join us for a pint, food truck delicacies, and delectable readings from some of Maine’s best authors. This will be my fourth noir of the year, with only one more planned, but I hope to add more!

 

The last two years, I have introduced COST TALKS to many libraries in Maine. This is a solo event where I speak about the writing process and journey with a focus on my most recent book. So far this year, that has been either Glow Trap or The Not So Merry Adventures of Max Creed. I will be switching that over soon with the imminent publication of EveryThing vs. Max Creed. In November, I will switch again, as 1955; A Jazz Jones and January Queen Raleigh Mystery will be published.

 

This year, I have expanded to offer libraries (or other venues) three more options for author/reader interaction. The first is my TAC TALKS, with is Two Authors in Conversation. During this, I engage another author to join me in discussing the business of writing as seen through our latest published works. In a slight variation on that, the Topsham Public Library has asked me to conduct four such conversations, in which I interview another author, billed as the TPL Author Interviews with Matt Cost.

A very popular event, originating with the legend Kate Flora, is MYSTERY MAKING MAYHEM. In this popular event, three to four authors sit on a panel and interact with the audience, creating a mystery on the spot with patron participation. Attendees are asked to fill out five slips of paper and then drop each slip into the corresponding bag labeled character, profession, setting, weapon, and motivation. The authors then pull out these slips of paper and create a crime, complete with a victim, a protagonist, red herrings, and a killer.

The fourth option I have proposed is the WOW PANEL, Writers On Writing, featuring three authors discussing their writing process, books, and where everything goes, with me as the moderator. Audience participation and interaction are actively encouraged, as the purpose is to answer the questions that people have about writers.

I also engage in podcast interviews, book club discussions, sidewalk sales, and book fairs. In August, I will be starting a podcast with the extraordinary BJ Magnani, entitled Pets, Plots, & Poisons. There will be more about this new venture in another post at a later time.

If you are a venue looking to engage any of these options, please contact me at matthew-cost@comcast.net for further details. So far, I have 58 events planned this year, and I am hoping to add more.

 

Matt Cost was a history major at Trinity College. He owned a mystery bookstore, a video store, and a gym before serving a ten-year sentence as a junior high school teacher. In 2014, he was released and began writing. And that’s what he does. He writes histories and mysteries.

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 due out imminently.

Cost now lives in Brunswick, Maine, with his wife, Harper. There are four grown children: Brittany, Pearson, Miranda, and Ryan. Cost now spends his days at the computer, writing.

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Some of The Covers I’ve done.

As a follow-up to my post yesterday, here are some of the covers I’ve done using Copilot for the background and ezcovermaker to create the cover.

The new cover for Ripped Off

The 3rd Houston & Bouchard

My current work in progress

 

 

 

New Cover for The Exchange

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A Small Step for Mankind; A Huge Step for Me!

Vaughn C. Hardacker

I have recently taken a big step forward and dipped my toes into the waters of Self-Publishing. One of my publishers, whom I won’t mention, has released the rights to two of my books, and there is no way in hell I am going through the query process again! I have learned a few things about the release of rights. One, when the publisher releases the book rights back to the author, it might not include the cover rights. So, even though Amazon and other booksellers still list your book online, they may not have the updated cover.  The novels that were released had not been published as ebooks, so I decided to publish them myself. I have sent the three manuscripts to Draft2Digital.com and have had to design new covers. I decided to try D2D because they do not charge you up front. They take 10% of the price you decide to sell at, and you get the 90% (try and get that from a traditional publisher!). They will also offer print-on-demand paperback, and they do not require the writer to share in the production costs (they will pay for printing and shipping the book, and you will get a percentage of the price — again, if they sell no books, you don’t incur any cost). There is a hitch, though, you have to adhere to their eBook format requirements. They want the book to be single-spaced and recommend you include a linked table of contents. It took me a couple of days per manuscript to convert each book from manuscript to eBook.

When everything meets their requirements, they send the ebook (and POD if ordered) to a wide list of booksellers (B&N and a wide array of eBook publishers), and within a day or so. I got contacted by quite a few that the books were available through them. One of my books has already shown up on Amazon (B&N had it within an hour). There is one problem with POD, though. One of my book covers had the author’s name two spaces too wide, and they rejected it. If you are planning on POD, be careful with margins. On one of my covers, the author’s name was too close to the guide, and they were afraid the last letter would be cut off. Then I encountered AI.

I decided to use Microsoft Copilot to do a cover. What I thought would be a quick deal turned into a four-day marathon! By the time I was finished, any reservations I had about AI were diminished. I worked in the computer world for most of my adult life and knew one basic fact about them. There is no reason to fear a computer … they are nothing more than a fast idiot. If you ask a computer, “What is 2 times 2? It only performs a few functions: it adds, subtracts, and compares. Computers multiply using repeated addition and divide using repeated subtraction. The process is that the computer goes through every possibility before it answers. It asks: Is it 0 plus 0? No. Is it 1 plus 0? No. Is it 0 plus 1? Finally, it will come across the correct answer. It’s only advantage is that it does it at 600 million miles per hour (the speed of light). Have you ever played chess against a computer? Early on, the computer makes its move instantaneously. Before it moves, it tries every possible move against every possible countermove. As the game progresses, the computer slows down as it checks every possible move until it decides which one to make. Thus, it’s a fast idiot. Getting back to my experience with Copilot (AI), I followed the idiot’s instructions, and at the very end, it blew my mind. I was under the impression that after I completed the entire process, it would spit out a single file I could upload to the publisher. WRONG! When you are dealing with a computer always remember GIGO! If you put garbage in, you get garbage out. In this case, garbage in is what question you ask the fast idiot. It took multiple attempts before I finally asked THE right question. The program took all the inputs I gave it and returned a list of what I had told it. The purpose of the program is not to give you a single file. It gives you all the parameters you need to provide to either D2D’s support team, so they can create the cover, or to whoever is designing the cover! DUH?

I spent four days repeating the same questions and getting the same answers (what was it Einstein said about doing the same thing over and over and expecting a different result? I believe he said it was the definition of insanity.) For many years, I taught at technical schools and junior colleges, and I always told students to RTFQ when taking a test. Read The Full Question. I had a test. I gave them it consisted of ten absolutely ridiculous questions, such as: If you built a house and all four sides had a southern exposure. Where is the house? The instructions for the test said: Before answering any questions, READ THE ENTIRE TEST. At the very end of the test, it said: Now that you have read the entire test, put your name in the date line and the date in the name line and turn the test in.

The moral of the story? Read what the AI is asking. As human beings, we all have a tendency to let experience guide us. We ASSUME. We all know that there are three words in assume.

In closing. In 1989, I was battling major personal and professional issues. To be blunt, I was being a major asshole. I later learned it was something called PTSD. If you spent as much time with me as I do, you’d have it too! I wrote a book entitled: The War Within. It dealt with an angry, confused kid who was always in one sort of trouble or another. He dropped out of school and became involved with a South Boston gang. He learns that the mob is going to turn him in for doing a job they gave him to do, and runs. To hide, he joins the USMC and is sent to Vietnam, where he wins the Medal of Honor. He now believes his life will be better, only to learn that he still has little education, no skills, and still carries a lot of anger. Nothing happens as he hopes. I entered the novel in the International Literary Awards and won a $1300.00 second prize. Many people read it and said it was great. Unfortunately, none of them were agents, editors, or publishers. I knew it would be controversial as it dealt with an unpopular war, and an unlikable (but realistic) protagonist. I have just recently published it myself and am getting requests for it. I decided that if nobody else would take a chance on it, that I WOULD!

 

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The Knee and the Novel

I don’t doubt you’ve had enough of my knee adventure this winter but it was, as you can imagine, a major change to the body and one that echoes out into the future as the healing continues. It was not, I admit, so much as the surgery and the immediate aftermath that interested me—the painkillers took care of that—but what went on in the slow regaining of function and movement until the joint could move more or less normally.

The standard advice is that it can take a year or more for a knee surgery victim—er, patient—to feel “normal.” So, in essence, the real healing taking place is not so much the closing of the incision, the massage of the scar, the exercises and physical therapy designed to break up scar tissue but the long slow almost imperceptible improvements: walking up and down stairs, the absence of pain, swimming, lifting weights. And finding the balance between doing enough to improve without exhausting the knee and the body is a challenge.

Because I’m always thinking about writing, I realize how much this process reminds me of writing a novel. It’s way too dramatic to talk about cutting yourself open to find the beginning of a book, but in essence, you are opening yourself up, exposing something: a can of worms, a belief, an idea, a character, a setting. At the beginning, a novel can feel vulnerable, too open an incision.

As you write forward and you start to see what you’re writing about, how the book is going to look, that openness tends to close up. You have a better idea what you’re doing, how you’re going to do it. You don’t know everything about it but it feels wholer. And then, after your first draft is done comes the slogging: revision, rerevision, restructuring, editing, copyediting, and so on. The physical therapy, the repetitive exercises, the near-boredom of daily introspection, i.e., how am I doing?

And because you’re never satisfied, every improvement in the book is incremental and feels gained by great effort and attention, like being able to bend your knee 10 degrees more than you could the day before.

And this is the gift of long-term attention, the opportunity to make your book (and your knee) as healthy as it can be, through repetitive and sometimes boring effort. It’s not about the milestones any more—being able to go upstairs, walk out to the mailbox, survive a long PT session—but the minute ongoing efforts that improve things. And it’s this labor that separates the serious work from the trivial.

OK, done with knee. But talk to me in a year. I may have another idea.

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Weekend Update: May 23-24, 2026

Next week at Maine Crime Writers there will be posts by Dick Cass (Monday), Vaughn Hardacker (Tuesday), Matt Cost (Thursday), and Rob Kelley (Friday).

In the news department, here’s what’s happening with some of us who blog regularly at Maine Crime Writers:

Today, Saturday, May 23, Matt Cost will be participating in MYSTERY MAKING MAYHEM with fellow crime writers Kate Flora and Dick Cass at the Gray Public Library at 1 PM. Come visit with us! More Info HERE.

 

 

 

 

On Sunday, Matt Cost will be participating in the Mid-Maine Book Bazaar in Fairfield, along with 40-plus other amazing authors. This will be at the community center in Fairfield and will have food trucks, books, sunshine, and authors!

 

 

 

 

 

Next Friday, May 29th, Matt Cost will host, along with fellow Maine Crime Writer Jule Selbo, Noir at the Belleflower (Brewery) in Portland at 7 PM. There will be readings by Tess Gerritsen, Travis Kennedy, Joanna Shaffhausen, James Ziskin, Zakariah Johnson, Mo Drammeh, and Rebecca Turkewitz, as well as fellow Maine Crime Writers Allison Keeton, Rob Kelley, and Gabi Stiteler. More Info HERE.

 

 

Matt Cost will be at the Crime Wave Conference in Portland on Saturday, May 30th. If you are a writer or a reader wondering about the inner minds of writers, come check this thing out. More Info HERE.

 

 

An invitation to readers of this blog: Do you have news relating to Maine, Crime, or Writing? We’d love to hear from you. Just comment below to share.

And a reminder: If your library, school, or organization is looking for a speaker, we are often available to talk about the writing process, research, where we get our ideas, and other mysteries of the business, along with the very popular “Making a Mystery” with audience participation, and “Casting Call: How We Staff Our Mysteries.” We also do programs on Zoom. Contact Kate Flora

 

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GUEST BLOGGER, ELIZABETH DEWOLFE – The Accidental Crime Writer

The Accidental Crime Writer
By Elizabeth DeWolfe

I hadn’t intended to write about crime. A graduate school class on Women and the Law was as close as I got to nineteenth-century disorder. And while the subject of my first book, an anti-Shaker activist, had her day in court, nobody committed a crime, or at least, no violent ones. Women’s history, cozy-style.

And then I found Mary Bean.


I was hunting around for a new project, and at my antiquarian bookseller husband’s store, I stumbled on The Narrative of the Life of George Hamilton, a rotter of a criminal who plied his trade in Saco. Counterfeiting! Thievery! MURDER!

Rulison Cover

 


The 1850 novella read like overwrought fiction, one of many mid-nineteenth-century works that popularized murder, lust, kidnapping, and other crimes, and offered the reading public trashy, ephemeral reads. The opening scene hooks the reader: evil George Hamilton dumps mill girl Mary Bean’s body in a brook and pins the crime on his brother, and “Hamilton,” that cad, “felt relieved of a burden.”

“Mary Bean” Ad


I used to live in Saco, and as I read, I recognized street names and landmarks, and while the characters were larger than life, the setting rang a bit too familiar. Was this story true? My project radar pinging, I went to the Dyer Library and from the vault, pulled out the 1840s and 1850s Saco newspaper, the Maine Democrat. It didn’t take long: “Dead Body Found!”

I had my next project. The story unfolded in newspapers and court records, payroll registers, and medical texts. Mary Bean – Berengera Caswell (1826-1849) – worked in the textile mills. In New Hampshire, she met a Biddeford boy, William Long, and in the summer of 1849, they engaged in “criminal relations.” Six months later, Berengera died in Saco from septicemia following a legal abortion at the hands of a botanic physician. The doctor panicked and attempted to dispose of her body. He tied it to a board and placed her in a stream that emptied into the Saco River. But the board got hung up in a culvert and buried by snow; Berengera was discovered four months later, ironically, where the Saco police station sits today.

Newspaper Headline about the trial


I had become a crime writer, writing of cases not very cozy. And the reason is simple: in writing women’s history, crime is where you find the women. As Pulitzer Prize-winning historian Laurel Thatcher Ulrich famously quipped, “Well-behaved women rarely make history.” But the ill-behaved leave trails. And it’s those trails I followed.

The discovery of Caswell’s body set off a media frenzy with newspapers across New England reporting the news. One newspaper was blasé, headlining a short piece on the death of “yet another mill girl.” But in Saco-Biddeford, there were fears to calm and money to be made; editors published daily “extras,” single newsprint sheets carrying the latest intel and authors-for-hire churned out at least eight short stories featuring Saco-Biddeford factory girls who ignored parental warnings and met unsavory ends—cautionary tales designed to instruct young women on how to be safe, with an overlay of forbidden topics: lust, seduction, and the specter of unwed pregnancy.

Image from “The Murder of Mary Bean”

 

As a historian, my goal is to recover forgotten lives – to document the twists and turns that led to my subjects’ ultimate fate. So, I work backward to make the dead come alive, pulling out details from available documents, chasing down each name, parsing the fact from the fiction, making timelines, exploring medical procedures that could cure you, or kill you.

History relies on written documents, and in women’s history, we see the noisy women, the women who transgress boundaries, the women who sought more than their prescribed role allowed. The women who make great protagonists in writing, factual or fictional.

History is storytelling – and it’s all about choices of whose story we tell and whose story gets left out. As writers, we have options for our tales: historical fiction, contemporary fiction that borrows from history, or my genre, narrative nonfiction – deeply researched but written like a novel. The writing paths are many: the past is fair game for inspiration. How will you use history in your work?

If you’d like to explore how historical archives can provide story ideas, obscure murder weapons, or colorful characters, join Professor DeWolfe and Maine Historical Society staff for Crimes in the Archives, a pre-Crime Wave tour and mini-workshop at the Maine Historical Society in Portland on Friday, May 29, at 1 p.m. Uncover history’s mysteries and incorporate the past in your writing. REGISTER HERE:  https://www.mainewriters.org/events/maine-crime-wave-in-the-archives

 

Historian and Crime Writer Elizabeth DeWolfe


Elizabeth DeWolfe is the award-winning author of The Murder of Mary Bean, recipient of a 2008 IPPY Award in true crime, as well as awards from ForeWord magazine, the New England Historical Association, and the Northeast Popular Culture Association. Her recent book, Alias Agnes: The Notorious Tale of a Gilded Age Spy, is a finalist for the 2026 Maine Literary Award in Nonfiction. Recently retired from a thirty-year career teaching history and archival research methods at the University of New England, she is hard at work on her next book. Mum’s the word, but when this criminal died, thousands came to the funeral. Read more about her work at http://www.elizabethdewolfe.com and follow her on Facebook.

Maine Literary Award Nominee, 2026

Kent State (murder of Mary Bean) https://www.kentstateuniversitypress.com/2010/the-murder-of-mary-bean-and-other-stories/

UPKY (Alias Agnes) https://www.kentuckypress.com/9781985902244/alias-agnes/

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Don’t forget! Leave a comment on any May blog post to be entered into a drawing for free books!

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