Did I mention That I Hate Winter?

Vaughn C. Hardacker

Vaughn Hardacker here: It’s January, the longest 31-day month in the year. It is also our coldest month and the one with the most snowfall. There’s another fact about Maine winters that many people experience, but no one seems to talk about. Have you noticed that if anything is going to break down, it happens in winter!

For example. When we had our first measurable snowfall, I tried to start my snowblower. It started, but didn’t seem to respond to either the accelerator or choke. It would idle for several minutes and then stall when I tried to use the auger. The gas in it had been left over from last year, and I figured I might have bad gas, so I let it idle until it used up all the old gas. Fortunately, my neighbor had two machines and offered to let me use one until I could get it looked at. After three storms, it was becoming a bit of a hassle to borrow their machine after each one. My decision to take it to the repair shop led to another problem. The machine was too heavy for me to lift into the back of my pickup. I do own a trailer, no problem, right? Wrong. The trailer was behind my storage shed, buried under three feet of snow. I decided to take a chance, engaged the four-wheel-drive in my pickup, backed through the snow, and, after four tries, lined the truck and trailer up. I shoved the snow away from the hitch and cranked the trailer down until it sat on the ball. Then I cawled through the snow and dug out the snow under my truck by hand so I could attach the safety chains and plug in the trailer lights. Finally, I had the trailer out of the snow and into my drive, lowered the tail ramp, and loaded the snowblower.

I had no issue driving the seven miles to the repair shop owned by a fellow named Hewett, called The Stubborn Swede. We got the machine inside, and he started it. The motor was still running like s–t, and he told me that if I wanted to wait, he’d take a look at it. When he took the covers off, we got quite a surprise. The carburetor was the problem … or what was in it was. The carburetor was packed full of bird seed! How it got there is still a mystery. However, my loving partner, Jane, is the greatest animal lover on Earth. Several years back, I hit a moose. It was a glancing blow, and the animal was lying in the ditch on the opposite side of the road. I inspected my truck to see if it was drivable and saw Jane walking toward the moose, which was getting to its feet. “Where are you going?” I asked. She said, “It may need help.” My reply: “You are approaching an 800-pound animal, which is without a doubt not happy. The last thing it wants is our help.” She had no thought of the danger she was in by approaching the moose. All she saw was an animal in need.

Back to my snowblower. Jane feeds every animal in northern Maine. She fills at least a half-dozen bird feeders and two bowls of sunflower seeds for several chipmunks. She stores seeds in our garage. The only thing that we can figure out is that one of her critters (anyone out there recall Ellie Mae Clampett?) was storing food for winter and stuffed the carburetor full. Hewett told me he would have never thought a carburetor could hold that much seed.

The snowblower is now working fine. Next item to crap the bed: One of the headlights on my truck went out. Not a big deal, you remove three screws, and the assembly pulls out, allowing you to insert a new LED. Minor thing, but just one more source of aggravation.

Now that the headlights are functioning. The radio in the truck stopped working. Most people would say, no big deal, you don’t need a radio to drive. Wrong. You could remove every TV in my house, and it wouldn’t bother me. My Sirius Radio is another matter. A bit of history. I grew up in a crazy, dysfunctional house. My only refuge from the craziness was my room, my books, and my radio. In my world, a radio is not just another entertainment device — it is an essential item that helps me maintain my sanity (well, at least fake it). I took the radio to the local dealership to see if they could fix it. They looked at it and said, “The radio is fine. But, your Audio Control Module is bad.” In a Ford F150 truck, the Audio Control Module is the radio, CD, and Satellite Radio combined in a single box! I asked how much it would cost to fix it. $875.00!!! I told them I couldn’t afford that. They charged me $180.00… they did, however, wash the truck. Have you ever paid that much for a car wash? Thank god for YouTube and eBay. I found a company in Virginia that repairs ACMs, and a YouTube video showing how to remove it. I sent it off for repair for just over $100.

Finally. Yesterday Jane and I went to Lowe’s. She tripped in the parking lot and fell face-first onto the pavement. Six hours and eight stitches later, she looked like she’d been in a brawl with a professional wrestler. It didn’t help that she has a sense of humor like mine. In the emergency room, we met a friend of mine all the way back to junior high school. She said, “Look what Vaughn did to me.” I knew he was recalling my reputation back then. All I could do was stand there in my Vietnam Veteran hat and USMC sweatshirt, shrug, and smile. I’d have been convicted in any court in the country.

Did I mention that I hate winter?

Only 56 Days until the Spring Equinox!

 

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What the Writers are Reading

From time to time, we like to share what we’re reading as well as what we’re writing. We’re always delighted when you chime in with what you are reading as well. We can never get enough book suggestions.

Kate Flora: For my book group, this month we’re reading Margaret Renkl’s The Comfort of CrowsNatural history, country living, a great sense of place. Her writing reminds me of my late mother’s columns for the Camden Herald. I just finished Lily King’s Heart the Lover, a Christmas gift, and really enjoyed it. Now I’m reading Susan Orlean’s memoir, Joyride. As often happens when I read writers who allow themselves to be totally immersed in their projects, I am jealous even as I’m enjoying it.

Matt Cost: I recently read two books that have not yet been published. The first was by amazing fellow Maine Crime Writer, Allison Keeton. The magic of Arctic Green is the rich smorgasbord of inhabitants of the town, the tight bonds of love and friendship, and the rugged but exquisite setting in a winter wonderland of pristine grandeur. Arctic Green is highly recommended and will pub at the end of February. I also read an out-of-my-genre science fiction book by a friend and enjoyed it immensely. Why: Earth 2278 by Leo Hill has action that is fast and furious, the characters pop from the pages like holograms, and the plot drives itself forward at a dizzying pace as it traverses not only human emotions and pain, but the science of a new world. From mother ships to transports to hovercrafts to cities, there are hints of Star Wars, Battlestar Galactica, and the Fifth Element as rebel elements fight to save earth from the corruption of a dictator abusing his power. It will pub at the end of March. I am currently reading Imminent Risk by good friend S. Lee Manning. It is the fourth in the Kolya Petrov/Alex Feinstein series and it doesn’t disappoint, or it hasn’t yet! Filled with action, suspense, fully-fleshed out characters, and a twisting plot, it is something that should be checked out immediately. On audio, I am currently listening to Wreck Your Heart by Lori Radar-Day. The book is about a down and out country singer in Chicago that grabs your heart and pulls you in for a warm embrace from the very first chapter.

Kaitlyn Dunnett/Kathy Lynn Emerson: As usual, I am (slowly) reading more than one book at a time. In nonfiction, I’ve just started Kamala Harris’s 107 Days and am finding it fascinating but also a bit depressing since we know the ending. I’m also reading a biography of Anne of Cleves, fourth wife of Henry VIII. Accounting for Anne looks at her life through the account books for her household. I know that sounds dull, but in fact it is fascinating. Among other things, the records reveal details about members of her household that I’ve not seen elsewhere. In fiction, I’m rereading two favorites, Jo Beverley’s Georgian romance Hazard and Elizabeth Peters’s The Deeds of the Disturber (#4 in her Amelia Peabody Emerson series set in the Victorian era). Both are comfort reads. Next week I’m looking forward to reading a new release, the next in J. D. Robb’s Eve Dallas series, Stolen in Death. I’m not sure I can call it comfort reading, since it is a futuristic police procedural and will inevitably contain both sex and violence, but J. D. Robb (aka Nora Roberts) is a terrific writer and I’ll happily read just about anything she writes.

John Clark: My two most recent reads were a demon fantasy and a YA slasher tale.
Not today, Satan by Samantha Joyce
The Prince of Darkness’s only daughter — a seventeen-year-old born and raised in Hell — falls for one of the damned who claims he’s innocent.
Final cut by Olivia Worley
Eighteen-year-old Hazel Lejeune lands the lead role in a slasher film set in the town where her father, the Pine Springs Slasher, was convicted of a series of murders, but when real killings start occurring on set, she must uncover whether a copycat is at work or if the wrong killer is behind bars.

Rob Kelley: I confess my reading has suffered in the face of needing to get my next manuscript to my publisher (just went out the door!). Right now I’m reading The Emergency: A Novel by George Packer (2025) and really enjoying it. It’s a tough novel to categorize. I guess you would call it SF, though it is more a novel of ideas, exploring class and family after the fall of an empire and the dissolution of stable cultural expectations. If I were to look for comps, I’d say a novel like Invisible Cities by Italo Calvino, or something by Borges.

I had just finished The Proving Ground: A Lincoln Lawyer Novel by Michael Connelly (2025), which I loved. Attorney Mickey Haller is representing the family of a girl killed by her boyfriend who was influenced by a ChatGPT-style AI companion. Since technology is my bag, I really appreciated the detailed (and 100% accurate) research that Connelly brought to this novel, and the moral dilemmas he exposes that all of us are (or will have to be) facing when interacting with AI.

Maureen Milliken: I have a lot of trouble reading fiction — particularly my favorite genre, mystery fiction — when I’m writing, which is almost all the time now. That said, I have an urge to revisit some fiction I really love that is nothing like anything I write. On my to-read list are a few Anthony Trollope books, which I first read when The Pallisers was on Masterpiece Theater. I figure 50 years is enough of a gap to revisit books I read more than once. I still have the copies I bought at Mr. Paperback in Augusta way back then. So, on my shelf for this year are “Can You Forgive Her?,” “Phineas Finn,” and “The Eustace Diamonds.”

Some of what I’m reading. Or will be soon.

In case you think I’m just trying to seem high-brow, I’m always reading some nonfiction. And I’m not talking the kind that poeple say they’re reading so they sound smart when they’re really not reading them at all. No, with me it’s true crime all the time. Right now I’m reading “The Phillip Island Murder,” by Vikki Petraitis, after hearing her talk about the topic — a 1986 Australian murder — on a podcat. Next on my nonfiction list is “Barbarous Souls,” by David Strauss, about Darrel Parker’s 1956 wrongful conviction for the murder of his wife. My sister and I just did a three-episode set on our podcast, Crime & Stuff, about it, using newsapper accounts from the time, accessed on newspapers.com. But you can only get so much information that way, and I now want to know more. Parker’s case launched John Reid of the infamous Reid interrogation technique to national fame, and Parker’s “confession” at Reid’s hands was the only “evidence” against him, ignoring evidence from a known violent criminal who “passed” a lie detector and went on to kill at least one more person. The irony of it being the case that Reid hung his hat on seems to be lost to time.

I got myself a Kindle as a Christmas gift — It was on sale! — which makes reading on the go and in bed a lot easier and less expensive. I was using the Kindle app on my iPad, but the actual Kindle is more versatile and makes piling up books to read easier. This is not to say I don’t read print books as well. My sister Liz, who lives in [the other] Portland, always gives me a gift card from Powell’s Books. I usually buy some northwest-themed books with it, and also waiting on my shelf is “Murderland,” by Caroline Fraser, with looks at why the Pacific Northwest was such a hotbed of serial killers in the 1970s-1990s.

Sometimes when I’m at my author table someone will feel the need to tell me they don’t read. My response is always, “That’s too bad.” And I don’t mean that it’s too bad that they won’t be buying one of my books, but rather too bad that their life is missing such a vital piece. I can’t imagine life without reading, no matter what else I have going on.

Gabriela Stiteler – Late December / January Reading

  •  Wind-Up Bird Chronicles by Haruki Murakami – a little surreal and meandering but unlike anything I’ve read. Really has me thinking about Japanese crime writing.
  • Crooks by Lou Berney – If you like Lou’s other stuff, you’ll enjoy this. Family crime saga where you are really rooting for a bunch of grifters.
  • Are You Happy? by Lori Ostend – Lori was in Portland for an MWPA class. I caught her speak at Print and wanted to check out the book. It is absolutely beautiful. Definitely not crime writing but definitely worth the read.
  • Wreck Your Heart by Lori Rader-Day – Lori was the Guest of Honor at Crime Bake and I couldn’t wait to get my hands on this book. As always, her plotting is amazing. And the voice is delightful. Lori also did a deep dive into all things country music for this, which I really appreciate.
  • God of the Woods by Liz Moore – This was dense but did not meander. Told from multiple character POV, Liz tiptoes around a tragic secret buried and rotting under a girls camp in the Adirondacks. Gave of Maine summer camp vibes with absolutely compelling tension.
  • The Baseball 100 by Joe Posnaski – My older son recommended this. I’m working my way through it. There is a lot I don’t know about baseball.
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Writing Tip Wednesday: Make an Outline

I make an outline for every book that I write. The kicker is that most of it gets filled in after I write.

I base the outline on the idea that my chapters usually average around 2,000 words each. My goal is to have my first draft be around 80,000 words. I am the rare breed of writer who adds content when I edit more than I cut content. In other words, my final version will usually come in around 85,000-88,000 words. This is what I have determined to be the sweet spot for mysteries and thrillers.

The math calculation determines that the first draft of my book will be forty chapters long. Through many a year of analyzing the writing process, I have decided a system that works for me. This most likely does not hold true for most writers, as we are unique, like snowflakes, and that is why AI will never replace us.

 

My personal system dictates that something important must go down every 12.5% of the book. This creates a landing atop each set of stairs for me to climb. It is an eight-story building and I knock it off one story at a time.  Some of these checkpoints are standard in the industry. At the midpoint of the novel, at 50% or 40,000 words, the protagonist gains a better understanding of what is really going on. Other important events are my own creation but made from others as I process processes to create what works for me.

Now my book is broken into eight parts and the math indicates that those parts will be five chapters long each. Often, what goes into the outline first is what is going to happen in chapter five, which, for me, is the revelation of what the novel is all about. Then I start writing, building chapter by chapter to reach that important event in the book. After I write each of those chapters, I then fill in what occurred, usually three things, date, word count, location, and chapter number.

Then? I fill out what is going to happen in chapter ten and begin building to that important event. Word by word. Chapter by chapter. Important event by important event. Brick by brick. Bird by bird.

The moral of the tip? Writing is a unique and solitary exercise. Take advice with a grain of salt and mold what you like to work for you and discard what you don’t like. Write on.

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About the Author

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. Glow Trap is his eighteenth published book.

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

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Look at Your Fish

Thanks for the good wishes and other support for my current recovery—knee rehab is going well, if slowly, and I have an excellent pile of books to keep me company.

I’m also reading a posthumous collection of short pieces by David McCullough, the historian, called History Matters. One piece in particular delighted me because it reminded me of a story I’d heard back in high school and forgotten.

The 19th century  Harvard naturalist, Louis Agassiz, set a test for every new student of his. He’d procure an old dead fish from a pail of them. Set it in front of the student, and tell him or her: “look at your fish.”

When he came back to ask the students what they saw, the usual answer was “not much.” Agassiz’s usual response was “look at your fish.”

This might go on for weeks, until the student observed something and was able to articulate what it was. McCullough used the anecdote to illustrate his belief that seeing, looking deeply, is as important to a historian as to a writer.

Much writing advice is made of “show don’t tell,” that hoary proverb. But the essence of being able to show you reader something is to be able to imagine a scene, to see it in full detail, through all the sense. Good writing immerses you, makes you see. The telling is only important as connective tissue for the scenes—the seeing.

This kind of imagination—seeing—takes time and mental effort. And patience. Often we don’t like to slow down. We want our story to flow, to carry us forward on the fastest highway we can manage. But it is in the slowing down—in the looking at your fish—that you can see what needs to be told, what detail will make your readers see.

That slowing down is no fun when you’re hot on the trail of your story, but patience is, as John Dewey said, an expenditure of energy. Before you can make your reader believe your story, you have to make them see. And to make them see, you have to look at your fish: observe, categorize, connect. The fish may be dead, but your story will live.

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Weekend Update: January 24-25, 2026

Next week at Maine Crime Writers there will be posts by Dick Cass (Monday) John Clark (Tuesday), and Vaughn Hardacker (Friday)  with a writing tip on Wednesday from Matt Cost and a group post on Thursday.

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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Writing and stopping by the woods on a snowy morning

I’m sure I’m not the first one to write about this, even on this blog, but it’s worth saying again: Never underestimate the value of a nice walk as part of the writing process.

Now that I have a dog again, I actually get out and go on walks, no matter what the weather is. It’s not that I didn’t want to pre-dog, but there were always other things to do most of the time. My dog, Willow, doesn’t care if I have other things to do. So, we walk.

If you don’t go out for a daily walk, I recommend it. Whether you’re writing or not. It’s a great way to reset your head, and the stream of conscioiusness that naturally comes with a walk is great for generating writing ideas.

One of my favorite walks in town has always been the road carved out of the woods along the lake on land that once belonged to the majestic Belgrade Hotel. It burned down in 1959 (definitely a blog post for another day), and the land was quickly subdivided by its relieved owner, who’d been in financial trouble.

It’s always a joy to me how in my town and so many in Maine, even right in town there can be woods, thck and tangled, strewn with downed trees and giant rocks. Woods play a part in the book I’m writing now, and if I weren’t taking that walk, even though I’ve spent a lot of time in the woods of Maine and know all about the thickness, the tangledness, and all that, I don’t know if I’d be getting it quite right if I didn’t get out there and experience it. The experience includes the subtle parts, like how even on a placid day, a previous night’s snow will drift down from the evergreen bows. Or the variety of types of tree. How winter reveals views that you forget all about when leaves are on the trees.

When Willow and I took a walk down the road the other day, there were a few inches of fresh snow from the night before. The morning was intoxicatingly quiet, at least to me. Willow’s satellite-dish ears, though, rotated to sounds I could only imagine. She hear something, stop, look into the woods, sometimes with a soft “woof.” Sometimes pulling on the leash to go see. I held firm, though. That snow can cover a lot of ankle-breaking hazards.

The new covering, though, revealed to me, with my inferior senses, the animal tracks that Willow always knows are there snow or none: rabbits, deer, that fox who we see walking through the yard many mornings. It’s tracks show it’s marching from the woods around one lake, to those around the other, across the village.

Willow and I take a walk in the woods.

A lack of tracks in the snow are also telling. Even the summer people who are clever enough to have their driveways plowed during the winter can’t don’t have a trick for making it look like someone’s living there this time of year. Willow and I like to assess who only comes for the sun and warmth, and misses this glorious time of year. On this road, it’s about two-thirds of the homes.

Old vestiges of the hotel property remain. For instance, I’d been curious about a small raised rock foundation in the middle of a plot of woods. A friend who’s also president of the town’s historical society told me recently that it’s not a foundation, but part of an evated tee for the hotel’s old golf course. It’s intriguing, how it’s now surrounded by tangled woods, including giant Eastern pine and balsam.

We always stop and look through the trees at the old golf tee, one of the many acre or so plots along the road where there’s no house. I always wonder who owns that land. If they’ll ever build on it, or that old golf tee will sit there for another 100 years.

“Whose woods these are?” I asked Willow on our walk the other day. “I think I know. His house is in the village though. He will not see me stopping here, to watch his woods fill up with snow.”

Willow, as usual, was unimpressed with my recall of poems memorized half a century ago. [Note to the younger folks: Before screens, social media and streaming, we used to entertain ourselves by memorizing poems. They never leave your brain.]

My favorite lines of that poem fit, too. At least the first half: “Between the woods and frozen lake, the darkest evening of the year.”

My second-favorite two lines are also fitting on this day: “The only other sound’s the sweep of easy wind and downy flake.”

I always thought the poem ended too soon, always a little disappointed with the ending. All of those promises to keep, miles to go, and everything, instead of just enjoying the quiet woods.

In any case, as we walked along, Willow sniffing the animal tracks, me reciting the poem in time to our steps, a new scene for my book emerged in its entirety. Funny how that can happen with a poem going through your head. Must be the invigorating winter air, the towering trees, the easy wind and downy flake.

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Writing Goals for 2026 by Matt Cost

Ninety-nine times out of a hundred, success is the result of hard work and does not happen overnight. I wrote my first novel in 1991 and twenty-nine short years later, in 2020, it was my first traditionally published book. I am Cuba. Last August, my eighteenth book was published. Three historical fiction novels, thirteen mysteries, and two that combine historical and mystery. That takes sitting in the chair and getting the work done. This dedication also requires organization and goals.

What are my writing goals for 2026?

I plan on publishing three books this year. EveryThing vs Max Creed, Book 2 of the Modern-Day Chronicles of Max Creed is out on May 21st and 1955, Book 1 in the Jazz Jones & January Queen will pub on October 13th. I’m hoping also to have an August release of Mainely Iced, the 7th in the Mainely Mystery series. Although the inspiration, the writing, and the editing is done for these books (except Mainely Iced), there is plenty of work left to be done.

EveryThing vs Max Creed:

EveryThing vs Max Creed is a modern-day Robin Hood thriller where Creed and his band of people try to bring justice to those wronged by the ultra-wealthy in a world where the law overwhelmingly favors those with money and power. He is bound only by the laws of humanity and not those of the legal system. It is the second book in the Modern-Day Chronicles of Max Creed where Max and his band take on a social media mogul who is trying to enact chaos to grab the reins of world power.

 

A breathless thrill ride that will keep your heart pounding long after the last page is turned.

I have begun the marketing phase by emailing libraries offering four different kinds of presentations.

COST TALK

Matt Cost will talk about the process of writing a book with emphasis on his latest, EveryThing vs Max Creed, the second book in the Modern-Day Chronicles of Max Creed. He will talk about where ideas come from, the research process, the writing itself, and of course, editing. Cost will read a short excerpt from the book and field questions.

 Two Authors in Conversation (TAC)

Matt Cost will share the stage with another author, and they will discuss their writing process and latest books. A nod will be given to the IREAD national library summer theme touching on how writing and reading is like how farmers nourish crops, sparks imagination, and grows the culture.

 Writers on Writing (WOW!)

Mat Cost will moderate a panel of authors speaking about the writing process with an emphasis on their latest books. A nod will be given to the IREAD national library summer theme touching on how writing and reading is like how farmers nourish crops, sparks imagination, and grows the culture.

Mystery Making Panel

The final possibility would be a panel of authors doing a Mystery Making event with audience participation where they take suggestions and make a mystery right in front of your eyes.

I am in the process of sending these options out to over a hundred libraries. If you would like for your library or organization to feature one of these events, please reach out to me. Once EveryThing vs Max Creed is available for purchase (with an ISBN), I will start reaching out to bookstores to do signings and talks.

I hope to do more book clubs this year and will actively be pursuing that option as well. Next month, I have my first of the year at Illume in Newburyport, Massachusetts. I only have one other book club set up at this point, at the Richmond Public Library in May.

Last year I did sixty-two various events and hope to do more this year.

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My writing goals will be to finish Mainely Iced, write the third Jazz Jones & January Queen Mystery, and write my second Bob Chicago Mystery. That is if I can get a contract for a three-book series with the first one, Bob Chicago Investigates. I also hope to sign a contract for three more of the Modern-Day Chronicles of Max Creed. Maybe a couple of short stories.

Those are my goals for 2026. Library events, podcasts, bookstore signings, sign two contracts, and write and edit three books. Write on!

 

 

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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Matt Cost Bio:

Cost has written six books in the Mainely Mystery series starting with “Mainely Power”, six books in the Clay Wolfe Trap series starting with “Wolfe Trap”, and two books in the Brooklyn 8 Ballo series starting with “Velma Gone Awry”. “EveryThing vs Max Creed” will be his second in the Modern-Day Chronicles of Max Creed. A few historical fiction pieces fill out the shelves. He lives in Brunswick, Maine.

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Writing Tip Wednesday: Creative Humility

Rob Kelley herewriting this week about creative humility. I’ll get to writing in a moment, but I’ll start with music.

In summer of 2020, faced with the long pandemic quarantine ahead, I decided to finally fulfill one of my lifelong goals: to learn to play a musical instrument. Music hadn’t been part of my childhood, and I always regretted not learning an instrument. I masked up and made my way to Starbird Piano in Portland. I found a teacher who would do Zoom lessons, and met with him every week for five years. I got better, but those first two years were brutal.

Then in 2025 I took up what was always my dream instrument: cello. Cello makes piano look easy. Hit the middle C on a piano and it always sounds like middle C. On the cello? Not so much. If the left hand doesn’t hit the right spot on the string, if the right hand isn’t placing the bow in the right place or with the wrong level of force, the squeaks and off-key sounds can be (and often are) horrifying.

I had transposed a piece of music I really like for piano down an octave so I could play it on the cello. The first time I played it, I thought I’d made a bunch of transcription errors because I didn’t even recognize the piece. Played it next on the piano, it was fine. The problem was my cello playing. A humbling experience.

But creative humility is necessary. Critical. The only way to improve.

There’s a lovely short recording of This American Life‘s Ira Glass talking about the gap between taste and ability early in a creative practice. It’s good. Give it a listen. You’ll recognize the feeling he’s talking about.

Now to writing. I owe my manuscript for my next novel Critical State to my editors at High Frequency Press in the next couple of days to make the fall 2026 list. As part of final edits I have a very long list of words I chronically over-use: what I call my “Tic List” (as in verbal tic). How chronically? 1134 instances of “that.” 1792 uses of “and.” 134 of “just.” And the list goes on.

Do you need those words sometimes? Yes. Do I overuse all of them? Absolutely. I really hate that edit because certain turns of phrase just flow from my fingertips and it’s hard to imagine saying things differently. But the effect of removing those words or finding synonyms absolutely makes the prose sparkle. Makes it move faster.

It is a humbling edit, not the least of which because it foregrounds the fact that I had 700 instances of “and” I absolutely did not need.

What sorts of edits do you know you have to make every time?

Remember: Leave a comment on any blog post this month to be entered into the January drawing for free books!

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Using the Feelings of a Memory

Last month, when I saw photographer April Morrison’s beautiful photograph of milkweed pods in snow, I was instantly brought back to my childhood. One fall, my mother, along with my sisters and me, collected dozens of dried out pods. She then cleaned them out, decorated the insides, and made each one into a winter scene by gluing small, plastic figurines, felt, rickrack, and glitter into the prepared pods. These dioramas were then carted down to our church and sold at the annual Christmas bazaar fundraiser.

Milkweed Pod with Snow. Photography by April Morrison. Copyright April Morrison

Seeing Morrison’s pod photograph, and remembering my mother’s milkweed Christmas tree ornament, was delightful in itself, but it made me realize the importance of the feeling of a memory, not just the facts of a memory. Lucky for me, one of my sisters still has her milkweed pod ornament, made by our mother decades ago, and I’m able to share it with you below.

Milkweed Ornament made by Emily Keeton, approximately 1972

Tapping into how both photographs and the memory made me feel, and also pondering about how I think I felt about it back when I was seven, was an excellent exercise that I used to capture emotions. It is exactly what a writer needs in order to develop depth to a character, a scene, or an action. “Show, not tell” is ingrained in all of us writers for a reason. Without layers, a novel becomes flat, like a textbook.

The other reason to incorporate feelings is to relate to your reader. There are passages of books that stay with me because of how they made me feel when I read them. Layers draw me in as a reader and allow me to interpret the scene. The writer is acknowledging that the reader is smart and doesn’t need everything spelled out. Besides, words can only go so far. I can’t remember having any emotions from reading a manual.

Emotions enrich fiction in many ways:
—They create character-driven work. While we may admire a plot, it’s the characters that we attach ourselves to as readers.
—They give depth to the plot. For example, a car chase is just a car chase if we don’t know the importance of it, or the tension in it.
—They raise the stakes. We all learn when we study craft that creating tension, and more tension, is what keeps driving the work forward.
—They cause the characters to react. Have you ever had something you’ve written critiqued by a writers’ group, and the reviewers ask, “Why would she have done that?” Or “Why didn’t she respond to that?” Being true to the emotions in the work as a writer allows the reader to put themselves in the characters’ shoes.

I’m grateful to Morrison’s photograph for bringing me back to my childhood and my creative mother. As writers and photographers, being in touch with our emotions are important and conveying them to our audiences allow us to have a universal connection.

What works evoked feelings that you still remember? Can you think of a memory that evokes an emotion you’d like to convey in a piece you’re working on? Use it to drive the work to a new level, one that will grab your reader and make them remember you and how you made them feel. They won’t forget you.

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Thank you to April Morrison for allowing me to use her photograph in this piece. All rights belong to her. To view more of her wonderful work, please visit her photography pages:
Instagram:

https://www.instagram.com/photos_by_aprilmorrison?igsh=cHRwMDU5cjdmYTUx

Facebook:

https://www.facebook.com/share/18oxmdfvDY/?mibextid=wwXIfr

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

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Allison Keeton’s debut novel is Blaze Orange, Book One in the Midcoast Maine Mystery series. Arctic Green, Book Two, hits the streets (and snowmobile trails) in February 2026. She can be reached at http://www.akeetonbooks.com

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Learning to See, Again and Again

If you aren’t looking, you won’t see the special visitor outside the door

Kate Flora: One January, we rented a funky apartment on Russian Hill that belonged to a writer. Writer’s house meant writer’s books. One that I picked up and promptly got lost in was called  Writers Workshop in a Book. My meanderings through that book tuned up my own sense of the importance of using our senses to see the world, and then rendering that world for our readers. In his essay, A Writer’s Sense of Place, James D. Houston talks about location and the power of landscape. Houston writes:

The idea of a sense of place is nothing new, of course. It has been a constant in human life from day one. You can’t avoid it. You have to park somewhere, have a roof over your head, and wherever this happens has to be a place of one kind or another. But we’re not always aware of it as such. At some point, places move into the conscious life. When that occurs, we begin to have a sense of it, an awareness of it and our relationship to it.

Many of us live and write in Maine because that particular sense of place is important to us. Because being surrounded by a place that forces us to deal with it makes it harder not to notice. Maine weather is a significant factor in our planning. It can be aggressive and demanding. It affects what we wear, what we carry in our cars, how attentive we are to the tread on our tires, what the challenges of a journey from point A to B may be, and whether we might postpone our trip for another day. Whether that chill in the air makes us dream of fish chowder or a cup of our favorite tea. Sometimes one of our more perilous winter drives fetches us up at home longing for something stronger. Sometimes the air is so cold and damp we can literally smell that snow is coming. And the crunch of snow underfoot is different depending on how cold it is.

Our environment, whatever the season, finds its way into our storytelling. We write about

Exposure to other writers’ ways of seeing is also part of writing

how a hot summer brings such an excess of tomatoes we want to stop cooking and canning and have a tomato war. We write about how the summer heat in a city cooks the streets and trash into a pungent, fetid brew. We write about how to survive a fall through the ice because falling through the ice really happens. We write about the smell of the Maine winter air because we’re more likely to be moving through it and notice, rather than going from enclosed home garage to parking garage to offices with canned air.

But sometimes, as James Houston reminds us in his essay, our own environments become commonplace. We stop seeing them. Then we must take steps to get ourselves reconnected.

Going away to someplace different can have the effect of retuning our senses. Noticing the sounds of a city, instead of the country can remind us of what it sounds like at home. Different noises at night can remind us of what the sounds of our own houses are like. What bangs and dings and hums and creaks have become so familiar they are invisible. We notice anew what vehicles go past and what their tires sound like. How far away sirens carried over the Maine water are not like emergency vehicles roaring through the canyons of city streets. What it is like to watch the multiple reflections of a fire engine off nearby windows, as opposed to our neighbor’s strange red bathroom light seen through a filter of trees.

Maybe it’s just a boat in the water or maybe it’s am amazing reflection and contrasts of colors

As we write, drawing on those real world observations, our thoughts are turned inward. We’re hearing the voices of our characters and not the voices of those around us, walking darkened Portland streets instead of the streets in our neighborhoods. We’re in a patrol car with a flashing light bar and not in the real world. But as we create those environments for our characters, we are bringing in our observations of the real world. We are importing the smells and sensations, the rustlings of  oak trees that never shed their leaves, the delicious scents of cooking dinner or the sour rot of trash in an alley. We are using the observations we’ve trained ourselves to make to make our fictional situations feel authentic, and we are taking the additional step of learning to filter those observations through the eyes of the characters we’ve created.

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