At the End of Their Rope – The Death Penalty in Maine by Tim Queeney

Today’s post is by Maine writer Tim Queeney, author of the fascinating book ROPE- How a Bundle of Twisted Fibers Became the Backbone of Civilization. You can learn more about Tim on his website.

TIM QUEENEY is the former editor of Ocean Navigator magazine. Tim’s work has appeared in Professional Mariner, American History, and Aviation History magazines. He has had short stories published in the crime anthology Landfall, Best New England Crime Stories 2018 and in the speculative fiction anthology A Land Without Mirrors. Tim has been interviewed on BBC Radio London, Maine Public and Connecticut Public Radio, The World on NPR, Talk Radio Europe, Late Night Live on Australian ABC radio and on podcasts like Decoder Ring from Slate.com, History Unplugged, Something You Should Know and GarageLogic with Tommy Mischke. Tim lives in Cape Elizabeth, Maine, with his wife and a rescue dog, Frankie. A life-long sailor, he has taught celestial navigation, radar navigation and coastal piloting ashore and at sea — where he tied plenty of knots and handled many a rope.

At the End of Their Rope – The Death Penalty in Maine

By Tim Queeney

In mid-April 1885, two men stood on the gallows at the state prison in Thomaston amidst the splendor of a Maine spring morning. A newspaper reporter present recorded that, “A bright sun shone upon the scene, the green grass was showing itself, the birds outside the prison walls were chirping and everything spoke of life.” For the men on the scaffold, however, the day would prove a short one.

Neither Raffaele Capone nor Carmine Santore, two immigrant railroad workers from Italy, spoke English and so the proceedings of their two-day trial for the shooting and bludgeoning murder of Paschual Coscia, a fellow immigrant, had been translated for them by “a man from Camden.” The state’s newspapers had trumpeted the details of the case and following Capone and Santore’s speedy conviction, the Kennebec Journal ran the ghoulish headline: “Hemp for two.”

At the appointed time on that spring morning the executioner threw the lever that released the trap door. For the briefest of moments, the men fell free in the April air — until the coiled slack of the two ropes ran out and the twisted hemp fibers brought the two convicts up short.

Legal procedures for trying and convicting murder suspects in Maine evolved from the 17th century and the jurisdiction changed from Massachusetts to the new state of Maine in 1820, but one aspect of capital punishment remained the same: rope. Every convicted criminal in state history, from “Goodwife” Cornish in 1644 to Daniel Wilkinson in 1885, was dispatched by the noose.

We don’t know the first name of first person to be hanged in Maine for murder. She was only listed in the records using a common term for married women in that period: Goodwife. Married to a man named Richard, Goodwife Cornish and her husband lived in the prosperous town of York, one of the larger Maine towns in the 1640s. It was not a happy marriage, with the couple said to argue in public and with Goodwife known to engage in affairs. One day Richard was found floating in the river. His abdomen had been pieced by a wooden stake, his skull was bashed in and his canoe sunk under a pile of rocks. Suspicion first fell on native Americans, but they pointed out that no native man would destroy a perfectly good canoe. Goodwife and her lover Edward Johnson became the next likely suspects and were brought to trial. During the proceedings they were forced to touch Richard’s remains under the mystical (and not a little bit crackpot) theory that if they were guilty, their touching of the body would make it bleed. Apparently at the laying on of hands, Richard’s rotting corpse effused blood. As a result, Goodwife was convicted and hanged in York in 1644 (in a sadly classic case of patriarchal sexism, Johnson was acquitted).

It’s unlikely that Goodwife Cornish ever trod a purpose-built gallows for her execution. It was probably done using a rope and a few local men. The concept of hanging as a short, sharp shock resulting in immediate death via the “hangman’s fracture” of the neck vertebrae is a surprisingly recent development. For most of history, hanging was not thought of or administered that way. Most hangings resulted in a gruesome, twitching dance of strangulation by the rope. At Tyburn, the famous execution place in London, it was common for the executioner and a few others he’d enlist from the overflow crowds, to hoist the convicted into the air as the condemned kicked and swung in eye-popping agony. Friends of the condemned would often grab the poor soul’s legs and pull, adding their weight to speed the deadly process.

By the mid to late 19th century, however, the idea of a more “humane” instant death began to be adopted. In 1866 an Irish doctor named Samuel Haughton published a formula, based on the condemned’s height and weight, for calculating the right length of drop to induce the hangman’s fracture. A British executioner named William Marwood took the idea further by publishing tables for finding the right length rope to achieve a quick death. This approach was dubbed “the long drop.” In the U.S., the long drop caught on more slowly. Eventually, the idea was accepted and an executioner strangling a condemned person was considered a bad day at the office.

Between 1644 and 1885, 21 people were hanged in Maine. Twenty of those were for murder or for the combination of murder, rape and/or robbery. Included in the 21-person total were two women, two native Americans and three black men. One young man, Jeremiah Baum, accused of aiding the British in 1780 during the American Revolution, was the only one hanged for treason.

An early case of crime scene forensics occurred in October 1834, when Joseph Sager’s wife Phoebe died after eating a mixture of eggs and wine (!) given to her by her husband. A doctor called in to administer to Phebe noticed white powder smeared on the egg and wine pitcher. He took a sample of the powder and later analyzed it: arsenic. Sager swung the following January.

Probably the most incongruous of the hangings was that of Samuel Hadlock in Dresden in 1790. On the first attempt, the noose slipped off Hadlock’s neck and he fell to the ground. The executioner, perhaps feeling a little hangdog at the miscue, promptly repositioned the rope and the second time was the charm.

The last person hanged in Maine, a British immigrant named Daniel Wilkinson, was dispatched in Thomaston in November 1885, only a few months after Capone and Santore.

Wilkinson was a habitual criminal who had been arrested for robbery early in 1883 but he managed to escape from the Bath city jail. On the night of September 4, 1883, a Bath policeman named Kingsley was on foot patrol along the waterfront when he saw Wilkinson and an accomplice named John Ewitt breaking into the D.C. Gould ship chandlery — inside of which were many valuable items, including, ironically, numerous spools of rope. Officer Kingsley shouted at the pair to stop but they took off at a dead run. Blowing his whistle, Kingsley drew his revolver and fired a lone shot at the fleeing duo.

Another policeman, William Lawrence, was on patrol on nearby Front Street as the two robbers emerged from an alley. Alerted by his colleague’s whistle and the gun shot, Lawrence was able to grab hold of Wilkinson. The criminal, however, was armed with a .32 caliber revolver and had it at the ready. Wilkinson brought the gun up into Lawrence’s face and fired. Lawrence collapsed to the street, a bullet in his brain. Wilkinson and Ewitt split up, disappearing into the night.

Wilkinson was later apprehended in Bangor by a Boston private detective hired by the Bath Police Department to hunt down Lawrence’s killer. After his trial and conviction, Wilkinson took his place on the gallows at the state prison at Thomaston. Once again, as it seemed so often was the case with hangings, things went awry. The noose was poorly tied and the rope slipped from behind one of Wilkinson’s ears, leading to a slow, choking death.

Although capital punishment was outlawed in 1876, the Maine legislature later reversed itself, reinstating the practice in 1883. In 1887, however, a bill was passed that once again ruled out the death penalty. Despite numerous attempts, that bill has never been overturned.

For more on the history of rope and its development as one of humanity’s greatest tools, see my book Rope – How a Bundle of Twisted Fibers Became the Backbone of Civilization.

Author’s note: One valuable source for this piece was Portland writer Troy R. Bennet’s excellent 20-part series on the death penalty in Maine, published from February to December 2022 in The Bangor Daily News.

Sources:

Bennet, Troy R. “Maine Death Penalty,” Bangor Daily News, https://www.bangordailynews.com/topic/maine-death-penalty/?_ga=2.63800108.24668731.1657053362-236464136.1654195228 Retrieved February 24, 2026.

Executions in Maine – 1644-1885 – DeathPenaltyUSA, the database of executions in the United States. deathpenaltyusa.org. Retrieved February 24, 2026.

Hearn, Daniel Allen (2015-08-13). Legal Executions in New England: A Comprehensive Reference, 1623-1960. McFarland. pp. 11–12. ISBN 978-1-4766-0853-2. Retrieved February 24, 2026.

Queeney, Tim. Rope – How a Bundle of Twisted Fibers Became the Backbone of Civilization. New York: St. Martin’s Press, 2025.

Schriver, Edward. “Reluctant Hangman: The State of Maine and Capital Punishment, 1820-1887.” The New England Quarterly 63, no. 2 (1990): 271–87. https://doi.org/10.2307/365802. Retrieved February 24, 2026.

Wikipedia contributors, “Capital punishment in Maine,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Capital_punishment_in_Maine&oldid=1338469670 Retrieved February 24, 2026.

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Weekend Update: March 28-29, 2026

Next week at Maine Crime Writers there will be posts by special guest Tim Queeney (Monday), Kaitlyn Dunnett/Kathy Lynn Emerson (Thursday) and Kate Flora (Friday), with a group post on Tuesday and a writing tip from Kate Flora on Wednesday.

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

 

 

 

 

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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Mysteries, Thrillers, Historical, and Humorous by Matt Cost

I need variety in my crime. An assortment of styles is required to keep the pages from growing brittle and the mind stagnant. As of late, that has been accomplished all within the crime fiction genre.

According to AI, Crime fiction is a genre of literature that focuses on the commission, investigation, and motives of crime, typically involving a detective, a victim, and a criminal. It explores themes of justice, law, and social issues, often providing suspense, clues, and a resolution where the perpetrator is caught.

I dabble in four areas of this genre of literature. This is necessary for me to not bog down in my inspiration, my research, my writing, my editing, my marketing, and my promoting. The diversity within my crime is the spice that gives flavor to my life, and therefore, hopefully, my books.

Currently, I am writing a traditional mystery, the seventh book in my Mainely Mystery series. Goff Langdon has been pulled into a murder case to prove the innocence of an immigrant wanted by ICE. The best way to accomplish that is to find the real perpetrator. Detective, victim, criminal. Mainely ICEd delves into current events, follows a colorful cast of characters in their quest for resolution, and even has a dog named dog central to the storyline.

In May, my thriller, Book 2 of the Modern-Day Chronicles of Max Creed, Everything vs. Max Creed, will be published. A thriller differs from a mystery in that it is a race to stop something, rather than something happening, and the race is to find out what that something was. In this book, a social media site that allows for everything is trying to take everything away from humanity, and Max Creed must scramble to stop the mogul who owns it before it is too late.

In October, the first in my new historical series, 1955: A Jazz Jones and January Queen Mystery, will be published. This is a traditional mystery like Mainely ICEd, but it takes us back in time to 1955 in Raleigh, North Carolina, and, like my contemporary book, it is very much a fight for civil rights and the abuse of those rights faced by minority populations in our society.

Currently, out on spec, I have a new humorous mystery looking to find a home. Bob Chicago Investigates is about a former schoolteacher turned struggling writer who is mistaken by an employment agency for a private detective because of the material he writes. Hijinks ensue. There is also a dog, this one named Danger, and a diverse assortment of characters filling contemporary small-town Maine.

As of late, a common theme in all my crime fiction has been justice and what it means. The central tenet of right and wrong is adhered to by all of my protagonists, but the definitions are understood differently by all of them. Goff Langdon, Max Creed, Jazz Jones, and Bob Chicago all pursue justice in different ways.

What say you, readers of Maine Crime Writers? Is there only one justice and one means of achieving justice, or is it a destination of many places and many paths?

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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Here I Go Again!

Vaughn C. Hardacker

Vaughn Hardacker here. In my post last month, I gave in to SAD (Seasonal Affective Disorder–aka the effects of another Northern Maine winter) and cabin fever. If you are not familiar with Cabin Fever, it’s that point where you and another person have been cooped up together for three or four months, and your companion is beginning to look like the number 1 item in the food chain. Then, in the middle of this month (March),  the temperature hit 50+ and harmony has returned. Well, almost. Skipper. our male Yorkie. is suffering from  CF, too. With the return of warmer temperatures, he has begun playing his favorite game. I call this game: Let Skipper Out; Let Skipper In; Let Skipper Out; Let Skipper In. My office is in front of our house, next to the front door. After an hour of the game, I get slightly irritated. Jane, my significant other, tells me to ignore him. Easily said, there is a plastic trash can beside my desk, and Skipper has learned that if he beats on it with his front paws, after ten minutes or so, I’ll give in and play some more. I’ve tried everything. I’ve gone so far as to sit him on my bed and have a father-son discussion —once I threatened to take him to the used Yorkie Lot and trade him in. He either didn’t

Skipper, it took months to train him to smoke outside.

understand what I said, or made up his mind to ignore the two-legged fool (he is a Yorkie after all). I looked up Yorkie in Roget’s Thesaurus; there were two entries: 1. Stubborn and 2. independent (Sometimes I wonder if he’s an undercover cat).

I called the vet and explained my problem. Her response: “It isn’t that Yorkies aren’t intelligent. They’re just hard-headed. For instance, they understand anything they consider important. The next time you are having one of your heart-to-heart talks, and you think he’s not paying attention, say: TREAT. Then watch his response.”

On a more serious note. As mentioned in last month’s post, one of my former publishers returned the rights to the two books that they had published.  (Truthfully, I’ve come to believe that I made a mistake when I signed on with them.) I thought about what I had to do to avoid going through the entire agent-and-find-a-publisher routine. I started thinking: why not avoid all that? Neither of the books was released as an ebook. I decided to try to put another book to the test. In 1989, I wrote a novel entitled THE WAR WITHIN, and have never been able to place it with a publisher. I entered the book in the International Literary Awards and was awarded 2nd place (and a $ 1,500 prize — they sent it to me, too!). I have had it looked at by a number of agents, all of whom said, “Not for me.”

A bit more regarding the book. I wrote it at a time when I was living in a very dark place (I was later diagnosed with PTSD), and bit by bit, I felt as if I was going crazy. Every facet of my life was turning into feces, and I felt like I was traveling 90 miles an hour down a dead-end street. My professional life and my personal life were a shambles. The only thing I found easy to do was drink. If you had invested in Jim Beam stock, you might have doubled your net worth. As I started the book, I began to feel changed. It was as if a great burden had been lifted from my back.

I’ve talked before about my dysfunctional past, and parts of the novel were semi-biographic. The plot was simple: a kid who grew up on the streets of South Boston, and hung out on the fringes of a local mob, learns that the mob boss plans to set him up to take the fall for a murder. He flees. He has no trade, can barely read or write, and quickly learns he has to do something to survive. He asks himself where he could go where the mob would never look for him. He comes to a conclusion: I’ll join the military. The Navy, Air Force, and Army turn him down. He realizes that he has one last chance. He knew a friend who had been arrested, and the court gave him a choice: join the Marines or go to prison. The Marines take him on. They were involved in the Vietnam War, and infantry troops were in demand. He enlists, goes to Vietnam, and wins the country’s highest award, the Medal of Honor. He believes that he’s got it made now… He had no idea how wrong he was.

I had several people read the first draft, and one woman gave it back to me within days. Her review, “It’s too angry and dark for me.” I realized that writing the book helped me purge a lot of demons, and all my writing was the most healing. It allowed me to realize that my problems all had a single thing in common… me. The greatest source of my constant anger, my parents’ alcoholism, was not my fault. What was my fault was the way I dealt with it and let it control me. As a result of her feedback, I wrote a major revision (which is still quite angry and dark).

To return to the subject of this. I have discovered a website, https://www.digital2draft, that publishes both ebooks and paperbacks. For an eBook, all they charge is 10% of whatever price you sell the book for. I have searched online and found quite a bit about them. The most detailed info came from reedsy.com. Their review was good enough for me to give them a try.  The eBook will be available on April 1, 2026. I’ll let you know how it works out.

I have scheduled the launch for April 1, 2026. So if you are interested in a book with an unlikeable protagonist and deals with veterans returning from Vietnam (still an unfavorable war — as much as people try to thank us, I can still sense an undercurrent of hostility and dislike).

BTW, for the first time in a couple of years, I am writing again.

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Writing Tip Wednesday: Shower Thoughts

Rob Kelley here, thinking about thinking about writing.

When I was still working full time, especially when I was traveling, I had a pretty strict schedule. Up, hit the treadmill or the hotel gym, shower, coffee, off to work. The only bummer about that (other than the work part) was that I didn’t get to really linger in the shower, which is my absolute best place for writing ideas. I did, however, get ideas in the car during my weekly drive from Cambridge to Philadelphia: five hours of highway time that also sometimes led to some really good writing ideas (I’d send myself voicemail messages).

Turns out there’s some solid neuroscience behind this. First, creativity is enhanced when your body produces lots of dopamine in an activity that makes you feel good: a warm shower or a relaxing car ride (which explains why most of my ideas on drives did NOT come when I was on the Jersey Turnpike). What’s also critical is distraction. When you are actively not thinking about a problem in your book or what the next scene needs to be, that’s the moment the flash of insight can come. Finally, you need to be in a relaxed state, letting that warm water loosen up those shoulders and your imagination.

Now, on days when my schedule allows it, I will wait to take my shower until I hit a snag in my writing day. It’s not quite failsafe but more often than not, I towel off, dress, and run back to my computer to unload all of the new ideas and insights.

How do you spark creativity in your work? Is there a reliable trigger or habit that works for you?

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I Used to Be a Writer

Kate Flora: Recently, I made the exciting discovery (which everyone else probably already knows) that I can put my manuscripts on my kindle and they read like any other book. So much fun. Also so helpful in seeing bad punctuation, missing words, awkward scenes, and things that just generally need to be rewritten. I started with some of the “books in the drawer.” Kindle lets me make notes, so I could see what I had to go back and fix. Now, of course I have a whole lot more revision to do than was already on my desk. I may be done with books that were “almost done” around about the turn of the next century.

Once I’d finished reading through The Darker the Night, Scarred, and Memorial Acts, just out of curiosity, since I hadn’t read it in many years, I loaded my first stand-alone novel, written as Katharine Clark. Steal Away was supposed to be my breakout book. I had a great new agent. He got me a big advance and the book was a book club selection. I went to New York to meet with the publishing team. They took me to an amazing restaurant and treated me like a queen. So very different from my experience with my first publisher (a post for another day) that I actually told them how wonderful it was to be treated well.

The publisher said—absolutely the first truth, if a cold-hearted one—the first true words I’d heard from a publisher. She said, “Ah, yes. But we can turn on you at any moment.”

I wasn’t discouraged. I was riding the high of possibility. My career was going to take off.  This would be my break out book. Alas, it did not. Another sad story for another day. But they did put some energy behind it and I enjoyed some of those perks like someone to escort me on a local book tour. All of that faded away, though. My agent didn’t like the next book, which after many rewrites was published in 2024 as Burn the Diaries and Run. And then the agent decided to stop agenting and go find himself.

I shoved Burn the Diaries in a drawer and started writing Joe Burgess police procedurals.

So what does all this have to do with the title of this blog? Only this. That for the last few days, I’ve been rereading Steal Away on my kindle and damn! It is a very good, fast-paced, compelling book and even though I wrote it, I found I couldn’t put it down. Which brings me, finally, to that title. I don’t think it’s just me, waxing nostalgic for my old book. I think at one point in this long, long, roller-coaster writer’s journey I’m on, I was a surprisingly good writer.

Or, as the Tess Gerritsen quote on the cover says: Beautifully written and heart wrenching…searingly memorable

And this: Full of real characters and raw emotions, simmering resentments and shocking revelations. Steal Away is a richly compelling mystery that twists and turns at a breakneck pace until its absorbing, thrilling conclusion. Katharine Clark knows how to write suspense. Palo Alto Daily News

I’ve been wondering whether other writers go through this. Whether there are times in the long career when they hit their stride, or their peak, and that’s the best writing they’ll ever do. I’m not whining. This is not me inviting you to my pity party. I’m only musing. I’m curious. Is it not that this book is better but that it’s different? Was it the story and characters? Was it the challenge of writing multiple points of view, which I’d never previously done? Was it the difference between crafting a whodunnit/whydunnit and turning instead to the suspense of a race against time?

I was lucky, with that book, to have a great and very demanding editor who forced me to work harder to develop my characters. It was a challenge to be asked to make a character I truly didn’t like, Steven, the husband in the story, more understandable. When I was done, I felt like I’d done a better job on him than on Rachel, the mother searching for her missing child. I had battles with her about things I wanted to keep in the book—some she won, some I did. And to prove to her that the genetic disease that had killed their first child was real and the way I’d described, I had to bring her medical articles. It was a wonderful treat to have such an editor. And then she died and I never got to work with her again.

Oh boy. What a trip down memory lane. I’d forgotten so much of that. I think, as I dig into all the helpful comments from beta readers on the new Thea, Until Death Do Us Part, I will be reminded to make it the best book I can, and not a good enough book that I’m in a hurry to get to the publisher.

If you’re a writer, have you ever reread an old book and had the thought “Wow that’s good. Did I really write that?’

Posted in Kate's Posts | 9 Comments

Dying is Easy . . .

Shameless Commerce Division

As many of you know, Islandport Press will publish the second in the Ardmore Theberge series Hard as a Headstone in September. Here is the cover.

The web page for the book is here, if you’d like a glimpse. And if you are so inclined, would you also please press the Notify When Available button on the page? This helps the publisher gauge interest—you are not committing to buying the book (though of course I would love you to).

Islandport is also re-releasing The Last Altruist in September. More on that later. And thank you for your support, as those great winemakers Bartles and Jaymes used to say.

Return to Regular Programming

Having spent much of the last eight weeks with my toes above my nose—physical therapy speak for how to ice your new knee—I’ve had a fair amount of pondering time. As usual, nothing earth-shattering or lifechanging came out of it; too much time inside a writer’s head can be dangerous, even to the writer himself. What I did realize, after finishing the third Ardmore Theberge book (currently untitled), was that I wanted my next project to be something lighter.

Part of the feeling came from an experience I had at the Noir at the Bar put on in conjunction with last fall’s Crime Wave. (This year’s is scheduled for Saturday, May 30, 2026; details here).

A section of Ardmore three that I thought worthy of reading got unexpected laughs. Laughter is the sweetest music I know. I love to make people laugh. But I was surprised because the humor, which I only saw afterward was there, was more or less unintended.

Here in our part of the world, humor often means sarcasm. When we lived in the Pacific Northwest, one of the first things I learned in that other far corner of the country was that people there, for the most part, don’t get sarcasm. I was at a cocktail party celebrating my wife’s hiring at a private school and unleashed a comment that here in New England would have gotten a solid chuckle, at least. Blank faces and looks between my listeners as if asking each other “What did he mean by that?” Which is why we eventually came home.

In the 1982 movie My Favorite Year, Peter O’Toole delivers the line “Dying is easy, comedy is hard.” I’m not convinced being deliberately funny isn’t one of the most difficult tasks in writing there is. Which is why I’m in awe of writers who can do it, comedians who can tap into whatever receptive vein we have with humor. I suppose it could be a learnable skill—you can learn to dance, even if I haven’t. But the downside of failed humor is that, when it falls flat, it’s not only sad, but it annoys. And the last thing any of us wants to do is annoy our readers.

Posted in Dick's Posts, Uncategorized | 3 Comments

Weekend Update: March 21-22, 2026

Next week at Maine Crime Writers there will be posts by Dick Cass (Monday), Kate Flora (Tuesday), Vaughn  Hardacker (Thursday) and Matt Cost (Friday), with a writing tip from Rob Kelley 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 doing a TAC TALK (Two Authors in Conversation) at the Fryeburg Public Library on March 24th at 3:30 PM with DonnaRae Menard. In the area? Come on by. Should be quite the show. Write on!

 

 

 

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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The question isn’t ‘Is it original?’, but ‘Is it yours?’

An article in the newspaper the other day gave me that uncomfortable feeling a lot of authors get at least once in a while — there’s my story (kind of) and now no one is going to think my book is original. It was followed, fortunately, by a good does of “get over yourself.” Not just because the book has been languishing for years without being finished, but because it shouldn’t matter to a writer if a real-life situation is similar to one in a book. It’s the book itself that matters.

In grade school, Sister Catherine used to tell us, in her smug, superior way, “Shakespeare was not one bit original.” It was meant to shock us and disabuse us of the silly notion that even the greatest of the greats could pull a story out of thin air. Every writer, Sister Catherine pounded into us (literally as well as figuratively), gets their ideas from somewhere. As a 12-year-old, it bothered me. Since Sister Catherine’s motives were usually rooted in making us miserable, it was probably meant to.

More than 50 years later, as a published writer (take THAT Sister Catherine!), I not only am not bothered by the notion of ideas “not being original,” I embrace it.

I spent more than 35 years in the newspaper business. Obviously a lot of that is going to inform my writing. I’d be a fool to deny it. More importantly, though, all writers draw from the world around them and their experience, in both big and small ways. It’s what they do with that information and how they make the stories their own that matters.

A friend a while back told me that she went to an author talk at which an audience member asked if the book was based on a very similar real-life incident. The author denied that it was. My thought was, why deny it? Maybe the author believed that it diminished their writing to admit it. Who knows? I wasn’t there. I have had the expereience of audience members wanting to know how much of my writing is “from” my newspaper career. The answer is, a lot. Some of it frames plots, but most of it helps with the details, the little things, that give the book some texture. When someone expresses disappointment — one guy once said something like “Doesn’t that make you a chronicaller rather than a writer?” How do you even answer that? I said “NO.”

It would be virtually impossible to write a book where it was all totally from the writer’s imagination and nowhere else. How could that even happen? Imagination is sparked by what we see and experience. We take it a step, or many steps, farther, asking “What if?”

Once, years ago, I was driving to work and stopped at a red light, saw a little boy standing on the corner waiting for the light to change. He was dressed up, holding a box of cupcakes, and crying. By the time I got to work 10 minutes later, I had a whole story in my head. That story, sadly, is no longer in my head or anywhere else, but I still remember the moment, because it’s a great example of how a writer’s mind works. We see something, big or small, and it blooms. [By the way, if you’re that little boy, drop me a line and tell me what was going on. It would’ve been 1995-97, corner of Hanover and Maple streets in Manchester, N.H. Thanks!]

When I first started writing fiction, I wasn’t so much concerned about pulling things from real life and being judged about it as I was other books having similar things. While they’re different issues, they come from the same root — “stealing” ideas from real life, or from someone else. What’s original and what isn’t? What can be considered “writing” and what won’t be?

With more than a decade and four finished books, two unfinished, and countiless ideas for more, I don’t worry about that stuff. It can’t be avoided. Or it can be, or should be, depending on what it is. Over the years, I’ve devised categories to look at these things as a way of reviewing and revising my writing.

Here are the most major and general of these categories. These aren’t “rules” or judgments, they’re my opinion and a way to help me write what I feel are better books. Your opinion may be different. That’s okay!

It’s a trope, but it’s fine. There are some tropes that are just going to happen, and they actually make for good stories. That’s one reason they keep happening. One common one is the protagonist returning to the small town where the grew up, or where they first worked. They’re older and wiser, maybe with a backstory that was a big bump in the road for them, and kind of a fish out of water. I’ve done it. You may have done it, too. It’s a great way to frame a story and no one seems tired of it yet. There are other ones, too, that just work. They’re a thin frame for a more robust story, and when done right, they just glide through the story without drawing attention to their tropiness.

It’s a trope, and there’s got to be something better. There are other tropes that can be cycled out for something better. I could name a bunch, but let’s just leave it at you know it when you read it. Your reading brain goes, “Ugh, not this character/situation/whatever again. I know how this arc is going to go.” One benefit to recognizing these as a writer is that when you brainstorm with yourself about how to rework it, your plot and themes expand in ways you may ot have expected.

Pulled from the same headlines. There are situations in the world we want to say things about. We’re not alone. A lot of other writers do, too. The important questions to ask as a writer, though, are what am I saying and how am I saying this? Or am I just including this type of crime/situation/person because it’s a big thing right now? It’s important for better writing to make sure it’s not gratuitous or just an easy fall-back, or boring for readers who have seen it all before.

Pulled from a headline no one has read. The flipside of that is drawing from something in real life that readers (or a publisher or editor) can’t get their head around. The fact that it really happened may not be enough to sell it. Your writing has to do some work, too. Once example is a manuscript critique I underwent while writing my first book. The bestselling author doing the critique read the first chapter and found it laughable that a police chief would be at the scene where a body was found in a snowbank. I’d worked for daily newspapers in Maine, Massachusetts and New Hampshire for years by then and could assure the world that, yes, small-town police chiefs show up at all sorts of things. But if this top author didn’t get it, then a lot of readers [or agents, publishers, etc.] also wouldn’t. That didn’t mean I had to remove it from my book. It meant I had to do a better job of selling the sitaution with my writing.

Pulled from a headline as your plot framework. There’s nothing wrong with using a real-life incident to frame a work of fiction. There are plenty of really good books, famous ones even, that do this. It doesn’t diminish the writer. It’s up to the writer, though, to make the story their own and not feel licked in by what happened in real life. The major incident in my first book, Cold Hard News, was sparked by a real one in New Hampshire. But it’s not “based” on it, and in some ways it’s wildly different. In part, because I was unhappy with some of the real-life conclusions and writing my own story was a way to work that out.

At the beginning of this post, I mentioned an article in the paper that was similar to a book I’ve “been writing” for years. In fact, my book precedes the real-life incident. My first thought was, great, now my great, original idea is going to look like it’s not that original. But, of course, that’s silly. Not just silly because I momentarily fretted about a book I’ve been working on since 2018 that shows no sign of every being completed, but for the reasons I’ve written about today.

If anyone even read about, or remembers, the real-life incident, it may even help get attention for the book. In the end, it doesn’t really matter. What matters is the book itself, on its own merits. Is it well-written? Did I de-trope where necessary? Did I make even the unbelievable believable? Did I say what I wanted to say?

None of us are Shakespeare, but the lesson is the same. “Original” doesn’t matter. If you tell your story well, its origins won’t matter.

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The Race Around the World

Kaitlyn Dunnett/Kathy Lynn Emerson here, this time with a post in honor of Women’s History Month. For once I will not be writing about a sixteenth-century woman.

Way back in 1988, after I had written a middle-grades biography of journalist Nellie Bly, I sold an article to Highlights for Children about one of her most famous exploits, her trip around the word in 1889. Her goal was to beat the fictional record set in Jules Verne’s novel, Around the World in Eighty Days, but my focus was on the fact that Nellie was not the only one in the race. Her competition was a rival journalist. Twenty-six-year-old Elizabeth Bisland was literary editor of Cosmopolitan Magazine, which published lengthy first-hand accounts of her adventures.

Elizabeth’s publisher proposed the idea that she travel in the opposite direction—west to east while Nellie went east to west. At first she resisted the idea. She was uncomfortable with the potential notoriety. In an age when many women believed their names should only appear in print when they were born, when they married, and when they died, Elizabeth did not even use a byline on articles she wrote for her magazine. Even more concerning was that she was given only five hours to prepare for a trip that would last for months. Nellie Bly left New Jersey at 9:30 AM on Thursday, November 14. Elizabeth boarded a train for San Francisco that same evening, her hastily assembled belongings packed in a steamer trunk, a Gladstone bag, and a “shawl strap.”

At first she made good time. She reached Japan on December 8 and was in Hong Kong on the 18th. Halfway to Singapore, her ship passed the one Nellie was on and when Nellie reached Hong Kong on December 22, she learned for the first time that not only was she was in a race, but that “the other woman” was “a good five days ahead of” her.

Elizabeth, meanwhile, traveled on to Ceylon, where she took another steamer to Italy. Boarding a mail train, she reached England two months after leaving New York. It was at that point, however, that her luck ran out. The weather turned against her and the voyage from England to New York took twelve days. She completed her trip in seventy-six days, beating the time of Jules Verne’s hero, but Nellie Bly had beaten both records, arriving back at her starting point in just seventy-two days, six hours, ten minutes, and eleven seconds.

Although she was probably glad to have avoided the notoriety, Elizabeth Bisland ended up regarding her adventure in a positive light. She wrote the following in one of her articles:

I was a young woman, quite alone, and doing a somewhat conspicuous and eccentric thing, yet throughout the entire journey I never met with other than the most exquisite and unfailing courtesy and consideration; and if I had been a princess with a suite of half a hundred people I could have felt no safer or happier. It seems to me this speaks very highly for the civilization existing in all traveled parts of the globe, when a woman’s strongest protection is the fact that she is unprotected.

Why do I have a feeling she might not have felt so safe if she made the same journey today?

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.

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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