Happy Fifteenth Birthday to Us

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.

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And It’s Out in the World (at last!)

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.

So, what is this book?  The Murder in Colchester Gaol began life as Murder in Colchester Gaol, a proposal for the third of four Mistress Jaffrey Mysteries. Unfortunately, and despite the fact that I had already written a draft of that book, the publisher preferred the plot I had suggested for Book Four. Rather than end the series at two novels, I set aside my manuscript and wrote Murder in a Cornish Alehouse, which was published as the third and last Mistress Jaffrey Mystery.

Colchester Castle

For Book Four to become Book Three, the chronology of events had to change, which meant that even if I later published it independently, the events in the original Book Three would no longer fit into Rosamond Jaffrey’s timeline. It didn’t take me long to decide on an alternate plan: revise the novel with new characters but keep much of the plot intact.

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.

After rights reverted to me I intended to do a quick review and reissue the title independently. Instead I ended up doing a total rewrite. Once again I changed character names. I also altered some of the motivations and interactions between characters as better ideas presented themselves. I am convinced the result is much improved, but if you happened to have read the earlier version, you probably won’t want to bother with this one. The general plot is unchanged.

I’ve given some consideration to producing an omnibus edition that would include all three versions—a study aimed at folks who like learning how writers work. I’ll have to reread the one featuring Rosamond Jaffrey (with a supporting role played by Lady Appleton, the sleuth in my Face Down series) before I decide. That version definitely wasn’t fully polished, but perhaps that’s what a fledgling writer or an interested reader would enjoy seeing. Feel free to express an opinion.

Getting back to The Murder in Colchester Gaol, the story is set in London and Essex in 1591 and the plot revolves around Alison Wynter’s efforts to discover if her youngest sister, Sybilla Palmer, was murdered while a prisoner in Colchester gaol. Sybilla was incarcerated there for the crime of hearing Mass and Alison is certain one of the other Catholic women arrested with her must have killed her. Discovering that person’s identity is no simple matter. To find out the truth, Alison contrives to have herself placed in prison with her suspects and pretends to be a new convert to Catholicism, but when Queen Elizabeth pardons all recusant women, Alison is also released. Unwilling to abandon her quest, she manages to be invited to Otley Manor, where Sybilla was living before her arrest.

Notorious Essex witch Elizabeth Lowys

This was a time of religious turmoil, when anyone who did not conform to the Church of England was suspected of being a traitor. Alison initially believes that Sybilla was killed because she changed her mind about converting and someone feared she would betray the Catholic priest who regularly said Mass at Otley Manor. She soon learns that matters are much more complex. She believed her sister had run away with and planned to marry Lady Otley’s brother, but Sybilla was serving as that gentlewoman’s companion, not a future sister-in-law. Worse, a short time before the arrest, Sybilla was accused of being bewitched, and then of being possessed by a demon and was forced to undergo an exorcism. Once she hears that, the priest who performed it and Sybilla’s lover become Alison’s prime suspects.

That’s the short synopsis. There’s a lot more going on. Living in the household at Otley Manor, Alison comes to realize that there are not as many religious differences between Catholics and Anglicans as she had supposed, and that not all Jesuit priests are plotting the overthrow of the queen. She becomes involved in the troubles of one of the maidservants. And just when she feels she is getting close to finding the answers to her questions, she herself is accused of witchcraft and ends up back to Colchester gaol.

Did I mention she has two older sisters who approved her scheme to investigate but grow concerned when their plan to retrieve her from gaol is thwarted by the queen’s pardon? She also has a husband, a wealthy merchant who is conveniently away on a trading voyage . . .  or is he?

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.

This book is a bit darker than most of my mysteries, but I guarantee it has a happy ending with all the loose ends neatly tied up. The e-book (ISBN 979-8-235-56015-4) is reasonably priced at $5.99 while the trade paperback is as inexpensive as I can make it at $15.99 (ISBN 979-8-235-68466-1). Since I publish through Draft2Digital, both versions are widely available online, including through Bookshop.org, a website that assures the profit will go to the independent bookstore of your choice.

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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We’re Celebrating the 4th of July

Today we thought we’d share some of our July 4th traditions, photos, memories, etc. We’d love it if our readers would share some of theirs as well. Hopefully, it will finally be full summer and we can put away our fleeces and not gravitate toward the grill like it’s a fire pit.

Kate Flora: My mother loved picnics, so we always had a picnic by the lake for the 4th. Swim in the lake. Eat all the great food everyone had brought. Loll in the sun on the hillside. Prowl for late wild strawberries or early blueberries in the grass. Now we’ve reinstituted the tradition on Bailey Island, where new generations are joining us. Here are some photos.

Gathering on the dock

Jule Selbo here:  The 4th in Fargo, North Dakota for a young teen? Memories are of deep emerald green grass, soft breeze off the lake (well this was Minnesota, 45 minutes from my home in Fargo, a cabin my parents bought for basically the price of a Jimmy Choo slingback or a Christian Louboutin men’s loafer today that I actually think of more as my home than Fargo, even though it wasn’t winterized and could only be used three (if that) months a year), my dad and brothers heading across the street to play golf, the sunfish we caught off the dock already cleaned and flash-fried and eaten for breakfast, my dad and brothers heading across the street to play golf, me with a book on the dock, my sister sunbathing, my mother smoking cigarettes with the neighbor and talking about getting the hangar steaks marinated and the adding bacon to the brown beans before baking them. I became an annoying stickler early on for “real whipped cream and homemade biscuits for strawberry shortcake”, so that was on my to-do list because most others would have been fine with store-bought and Ready-Whip. Friends came over, we played croquet, and dodgeball, and swam.  I don’t remember liking the holiday at all, too many people and too many martinis for the adults. But of course, now the memory makes me feel lonely, and wishing I could get back those idyllic days and give myself permission to enjoy them.

Kait Carson: So many memories of 4th of Julys in New Jersey. The smells of popcorn (JiffyPop on the grill), grilled hot dogs and hamburgers, the scratchiness of the wool picnic blanket, and the smell and sounds of fireworks exploding across the river. We were lucky that the fireworks were the only explosions. Somewhere along the way, someone figured out sending fireworks up that close to fuel storage tanks might not be the best idea and the fireworks were moved to a high school football stadium in a nearby town. Didn’t matter, we still picnicked and barbecued, and laid out on that blanket!

Happy 250th USA.

Fourth of July 2006 Wallagrass, ME

Matt Cost: The Fourth of July, to me, is based on the notion that ALL people are created equal. That is the fundamental piece of the Declaration of Independence and the part that has held up, and will hold up, for eternity. As a former social studies teacher, delving into the creation of this historic document is so much more than the paper it is written on, and it is much more significant than the 13 colonies breaking away from England. The Fourth of July is an idea that, at the core, we are all the same. We breathe, live, and love.

John Clark: The Thomaston 4th parade was a staple when our daughters were young. Then it was back to Sennebec Hill Farm for the family picnic. Alas, times have changed and yesterday I experienced sticker shock when I passed a bin of watermelons that were $12.50 each.

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Weekend Update: June 27-28, 2026

Next week at Maine Crime Writers there will be posts by Kaitlyn Dunnett/Kathy Lynn Emerson (Thursday) and Kate Flora (Friday) with a group post on Monday.

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

Matt Cost is excited about the release of his latest work, EveryThing vs Max Creed. Who are you going to call when a billionaire abuses you? Max. That’s who.

Max Creed is a modern-day Robin Hood, an anti-hero willing to do whatever it takes to enact justice for those who have been wronged by the ultra-wealthy. He and his band of not-so-merry people investigate a billionaire for shoddy safety protocols on EveryThing, but quickly discover that the diabolical plot is much more elaborate than merely warping hearts and minds.

 

 

There will be a COST TALK today, Saturday, June 27th, at 1 PM at the Vassalboro Public Library. In the area? Come say hi!

More Info

 

 

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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EveryThing vs Max Creed by Matt Cost

EveryThing vs Max Creed is now published! My 19th published book is doubly pleasing as it was delayed five weeks in its release, not to say that this is a good thing, but the excitement twisted with relief of it finally being out leaves me a bit wrung out.

This is the second book in the Modern-Day Chronicles of Max Creed, in which Max and his band of not-so-merry people seek justice for those who have been wronged by the ultra-wealthy. Much like his predecessor, Robin Hood, Max is an anti-hero with a dark past that has led him to this point.

This time, the target is a social media mogul twisting the minds of young and old through an algorithm that shapes and triggers people’s actions, turning it into a fierce weapon that could lead to catastrophe.

 

Alfred Prince has created a social media site that is… EveryThing.

“I am looking for investors to support a new tech startup that will transform the world.” Prince had apparently moved into business mode. “It is an app called Triangulation, with an avatar named AL, for Artificial Learning, that will gather the data gleaned by EveryThing, Universe, and Totality.”

Max Creed is a modern-day Robin Hood, an anti-hero willing to do whatever it takes to enact justice for those who have been wronged by the ultra-wealthy. He and his band of not-so-merry people investigate a billionaire for shoddy safety protocols on EveryThing, but quickly discover that the diabolical plot is much more elaborate than merely warping hearts and minds.

Prince plans to sow the seeds of discord, create chaos, burn the establishment down, and emerge as the de facto emperor of the world. Max Creed is tasked with stopping him. What will happen when an unstoppable force collides with an unmovable object? An electrifying thriller that rivets the reader to the page with a breathtaking climax.

This book anchors us in the world we live in today, but in this case, someone is doing something to make the world a better place. Check it out. You might just find it thrilling and heartwarming all at the same time.

Find EveryThing at:

Amazon

Barnes & Noble

Bookshop.org

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 now out.

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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Publishing Time Travel

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.

So, it can get confusing. I’m thinking about a book from last year, another that will come out in 2027, and a couple that should come out in 2028.

Other authors manage this, including a few of our Maine Crime Writer colleagues who publish multiple books a year (you know who you are!). Especially when thinking about work in different series, I find I need to take a moment and set myself in that world again before picking up the draft or making notes.

I know some authors don’t read when they are writing, some because they don’t want to be influenced by another writer’s voice, some because it’s too complicated to inhabit multiple worlds at the same time. I get that now.

Currently reading: Dead Money, Jakob Kerr, 2025

Next in my TBR list: The Architects of Control, Harold Greene, 2026

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On the Scent of Murder

by Kait Carson

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.

Science tells us that smell is more closely linked to memory, mood, behavior, and emotion than any other sense. The olfactory nerve shuttles odors directly to the limbic system. The limbic system, or “old brain”, doesn’t reason, it reacts. Scents are like nature’s body blows. Smell smoke, the fight-or-flight response activates. Smell your boyfriend’s aftershave, you go all mushy inside. Smell your ex boyfriend’s aftershave, you feel a rush of irritation. The jerk! Smell is also an integral part of taste, which opens the door to the second hardest sense to write.

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.

What’s a writer to do then? Leave out scent and go with the big four? Tempting. NOT. When tied to emotion or memory, subtle scents become easier to write. Your character can smell the sea and feel terror if the salty scent brings up memories of a near-drowning experience, or relaxed and at ease if memories of a glorious trip to the Caribbean surface. Scent can serve as a clue. Every individual has a personal scent. Fear has a scent, so do sorrow, rage, and joy—Joy smells like roses—sorry, couldn’t resist. (For those who might not know, Joy is a pungent rose-scented perfume that’s not much worn today.)

Scent opens up your story and, used well, opens up your characters. There’s more to it than smoke and fire.

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.

What’s yours, and if you’re a writer, how do you use scent in your work?

Happy 250th Fourth!

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Grammar

Vaughn C. Hardacker

Since I started writing, I’ve been told several rules, a couple of which I’ve never seen written in any style manual. Rule #1: I’ve heard countless times–never use semicolons in dialogue. Then I read a John Grisham bestseller, and he used sems in dialogue. Prior to using Word, I didn’t even know what a semicolon was. When I began writing with Word, the darn things showed up everywhere. I decided to delve into this further. I recently read an article by a NYC writer, Bennett Kleinman, and here are his thoughts

4 Important Ways To Use a Semicolon

The semicolon is one of the most misunderstood (and misused) English punctuation marks. When should you use a semicolon? Let’s learn more about the specific functions of this unique punctuation mark.

The semicolon appears to be a visual blend of a colon and a comma, and it can perform similar jobs to each of those punctuation marks. Its primary use is to link ideas that are closely related in thought, but that’s a task that can also be done by a comma or an em dash. In part because of this, the semicolon is one of the most misunderstood (and misused) English punctuation marks; let’s learn more about the specific functions of this unique grammatical tool.

To Connect Independent Clauses

The most common way to use a semicolon is by joining two independent clauses. That means it links together two stand-alone clauses into one sentence. We’re going fishing; you can borrow one of my poles.

Tomorrow is the big game; I can’t stay out late tonight.

Keep in mind that the two independent clauses should be closely related. Otherwise, it makes more sense to break them into separate sentences. It’s also important to note that a comma can’t replace a semicolon in this usage — that creates a comma splice.

Another note: If there is an independent clause and a dependent clause, it’s not a place for a semicolon. Dependent clauses feature a subject and a verb, but aren’t complete sentences. If there’s a dependent clause, a comma and a coordinating conjunction are likely needed instead of a semicolon.

In Place of a Conjunction

Independent clauses can be joined by a semicolon or by a comma and a coordinating conjunction. (Use the mnemonic FANBOYS to remember the seven coordinating conjunctions: “for,” “and,” “nor,” “but,” “or,” “yet,” and “so.”)

The following example illustrates how the semicolon replaces the comma and the coordinating conjunction:

Vaughn went to the party, but Jane stayed at home. / Vaughn went to the party; Jane stayed at home.

The snake slithered past my feet, yet it didn’t seem to notice me. / The snake slithered past my feet; it didn’t seem to notice me.

When the semicolon links the independent clauses, it shows a relationship or contrast. It can also create variety. For example, the semicolon allows a writer to add a longer sentence among other short, clipped sentences.

With Conjunctive Adverbs

Semicolons are also used to link clauses when the second begins with a conjunctive adverb or transitional expression. These include “accordingly,” “furthermore,” “however,” “instead,” “otherwise,” and “therefore.”

Vaughn set an oven timer; nevertheless, he burned the casserole.

Jane helped her brother study; however, he failed the class.

As long as it’s joining two independent clauses, using a semicolon is appropriate.

To Separate Items on a List

In speech, pauses or visual cues can break up long lists of items, but writers rely on punctuation to do the heavy lifting. Semicolons can make a long or complicated list of items easier to read. Typically, these are lists that contain phrases or other internal punctuation that might be difficult to read without semicolons.

My book tour is visiting Portland and Bangor in Maine; Chicago and Springfield in Illinois; and Philadelphia and Pittsburgh in Pennsylvania.

The semicolon should be used only if the list contains three or more elements, and they’re elaborate enough that the extra punctuation would help readers understand the meaning.

Not a single book that I consulted specifically addressed dialogue. Shortly after I was told the rule, I read a novel by John Grisham, and right off the bat, he broke the rule. Personally, I have my own rule: avoid them whenever possible. In one of my novels, Microsoft Word used them a lot, and I had to do a line-by-line edit and wherever possible, separate the independent clauses into sentences. Which, by the way, was my editor’s recommendation.

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Weekend Update: June 20-21, 2026

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

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

Matt Cost: COVER REVEAL! 

EveryThing vs Max Creed is coming to bookplaces everywhere! Prepare yourself for this chilling modern-day. Robin Hood story.

Max Creed and his band of not so merry people fight for justice for those who are wronged by the ultra-wealthy.

This time, it is a social media tycoon with nefarious plans for those who visit his site.

 

On Wednesday, June 24th, at 6 PM, Matt Cost and Jule Selbo will engage in a TAC TALK (Two Authors in Conversation) at the Baxter Memorial Library in Gorham, Maine. We will talk about 6 & 7 Days, EveryThing, and a few things in between.

 

 

 

 

 

 

 

 

 

 

 

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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Marination

Between the Crime Wave and a couple other appearances, including a West Bath book group where I ran into someone I worked with in Chelmsford, MA in 1985, it feels like I’ve been out and about a fair amount this spring, for someone who doesn’t yet have a new book to promote.

(See: September 1, 2026, from Islandport Press, a reissue of The Last Altruist and the second book in the Ardmore Theberge series, Hard as a Headstone.)

As always, talking to readers and writers in these situations can generate the most interesting questions. Readers often ask about the split between writers who plan out their books and writers who start out with no idea where they’re going. Variously, this split is called plotters vs. pantsers or architects vs. gardeners. Normally, I fall to the freewheeling side of the split but weirdly, the book I’m writing right now (fourth in the Theberge series) has turned me into what I’d call a marinator.

Not sure if I’ve stolen the idea from somewhere—I remember vaguely a conversation about something like this with our own Kate Flora—but events of the winter (which I’ll refrain from whinging about all over again) made me want to write something lighter and less overtly violent than is my wont. So I started in on a traditional mystery that I like to talk about as the marriage of Slow Horses 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.

The interesting thing about it was that, unlike my usual propensity to dive in and start writing, I found myself holding back, fiddling with lists of potential scenes, character ideas, and generally letting my brain free of the notion I had to write the story yet. Of course, this may have had something to do with the fact I was already writing another book. I don’t know many people who can simultaneously work on multiple books, though I’m sure they are out there. I know I cannot.

I cook a number of dishes that require long marination and slow, low-heat cooking. I’m starting to think that this is how this book is finding its way into being, not as my usual get-the-draft-down-fast-and-revise method but something more measured and, I hope, more thoughtful. Will it make a better book? Quien sabe? But it has been a necessary reminder that the way you have done things before is not necessarily the way you will do things, and even if this new book doesn’t work out, I’m grateful for the reminder.

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