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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Weekend Update: January 17-18, 2026

Next week at Maine Crime Writers there will be posts by Kate Flora (Monday), Allison Keeton (Tuesday), Matt Cost (Thursday) and Maureen Milliken (Friday) with a writing tip on Wednesday from Rob Kelley on creative humility.

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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Sixteen, But Hold the Candles

Arlo Topp knew that folks called him Muffin behind his back, but couldn’t care less. It fit in with the persona he’d cultivated for more than thirty-five years, twenty-five of them as a special investigative agent for the FBI. His clear Ben Franklin spectacles, the occasional use of a corn cob pipe, and his penchant for wearing cords and a faded flannel shirt, had lulled many a soul into thinking he was dumber than dirt. He was anything but.

After his retirement from federal law enforcement, he’d moved to Maine, having found he liked the people and their tendency to accept him at face value when he’d been assigned temporarily to the Bangor office. His camp, as the locals called it, was a fairly new ranch on ten acres overlooking one of the rivers flowing through western Maine. It gave him privacy, great fishing, and still allowed for high speed internet, something he required for his second career.

After getting settled, Arlo had out a discrete word through Maine law enforcement channels that he was available as a professional consultant. It wasn’t long before that feeler brought an inquiry from a small police department in Washington County. His successful solution of the case soon led to more business than he could comfortably handle. Arlo had to make a decision. Ultimately, he chose to take cases on the following basis; how interesting or challenging they were, and whether their location was somewhere he had yet to visit in the state. His secret goal was to solve at least one crime in every county and then write a book inspired by the actual crimes.

He was finally at that point, having just wrapped up a case in Sagadahoc County. Now he just needed to decide which sixteen were the most interesting.

Arlo decided to select cases in alphabetical order by county. The Androscoggin Arsonist certainly fit the bill. Twenty-three fires were set before desperate law enforcement officials brought him on board. At first, he was as puzzled as they were, until he followed one of his famous hunches. It led him to a right-wing chat group where he found mention of every single building that had been torched. Once he began monitoring the chatter, it wasn’t long before his fellow officers, at his suggestion, nabbed the suspect when he attempted to torch one of the buildings mentioned in the online chatter.

After his solution of the Aroostook bank robbery caper, Arlo made himself a promise, only accept cases north of Lincoln in the months between May and October. A week of staking out banks in twenty below weather made that decision easy. That the poor soul who had been responsible for a dozen bank heists, only to bury the money in his late mother’s grave, had believed she’d need it now that she couldn’t collect Social Security, still had him shaking his head every time temperatures dropped.

Of course there has to be at least one alliterative crime, and it happened in Cumberland County. Even more interesting was the perpetrator, one Arlo couldn’t arrest, even while solving the crime. Everyone in southern Maine law enforcement still refers to it as the Cumberland Crab Caper. It started when local seafood dealers reported small, then larger numbers of Maine crabs vanishing from holding tanks on the wharves in the Old Port, but it soon spread to smaller dealers in other nearby towns. It wasn’t until Arlo caught the thief on infrared video, that the crime was solved and the very skilled harbor seal, recently escaped from an aquarium in Massachusetts, was captured and returned to the custody of the aquarium’s extremely embarrassed staff.

The Franklin Forger was another unusual case. Forgery generally involves counterfeit bills, wills, or doctored deeds. In this instance, the forged documents were ski passes at the big ski area named after the mountain where it operated. At first Arlo thought the authorities were pulling his leg until he saw how expensive ski passes were. It took some serious good guy, bad guy role playing with a local law officer named Sandy, interrogating several of the college students caught using forged passes, before one of them cracked and implicated an elderly woman in Kingfield. When arrested, she was more amused than upset, telling Arlo, that at least being incarcerated wouldn’t exhaust her pitiful social security check, and she’d get regular meals.

The Hancock Hair Heist came during a very slow time, crimewise. Arlo was dancing on the edge of boredom when the chief of police in one of the coastal towns called to ask for help. Someone was stealing hair, not only from beauty shops, but even going as far as sneaking up behind inebriated patrons of local bars and clipping off long hanks of hair before the startled folks could react. It definitely had to go in the book as the culprit’s motive was quite bizarre, their being obsessed with weaving a weeks worth of hair shirts.

Kennebec’s most memorable caper involved kidnapping, but not people. Puzzled police in the two largest towns turned to Arlo for assistance when the number of ferrets, guinea pigs, and hamsters reported stolen hit a hundred. Arlo solved that one quickly, but not without a twinge of sympathy for the criminal who ran an animal refuge, but couldn’t afford to keep his menagerie fed.

Knox County’s most memorable crime required Arlo to go on stake-out with night vision goggles. Someone was sneaking into prime blueberry fields and high grading berries at night. What made that case memorable was the number of mosquitoes and deer ticks he had to deal with. It made going into the woods almost impossible for months afterward.

The Lincoln land feud seemed pretty straightforward at first. That was until Arlo followed up on local gossip and discovered the real reason two families were fighting over an old cemetery. Why not go to court and have a judge decide was his initial thought, but when he started digging, he couldn’t stop. If what he found was accurate, the two families were not only fighting to own the cemetery, but the ghost of a woman whose mythical inheritance was rumored to be secreted in one of the graves.

Oxford County provided one of the more bizarre drug cases Arlo had ever encountered, and during his FBI years, he thought he’d seen it all. What he found after agreeing to investigate, was a group of organic farmers who’d discovered and then cultivated an exotic strain of bacteria that, when added to maple syrup after it had gone through the evaporation process, made users not only susceptible to suggestion, but mildly addicted to the altered syrup. They had a grand, albeit cockeyed plan to convert large numbers of customers to a vegan diet.

Arlo wished he could forget what happened in Penobscot County, but that wasn’t likely to happen. His ample backside twinged every time he thought about all the miles he’d had to travel over extremely rutted dirt roads on that case. All of it nearly in vain until he picked up a fairly intoxicated fellow who was attempting to hitchhike on one of the more remote logging roads. All Arlo had done, once the fellow, who desperately needed a bath, had gotten into his pick-up, was ask where he was headed and the poor soul began talking, literally giving Arlo the piece of the poaching puzzle he’d been missing, proving that luck and good listening skills, were key to solving some crimes.

Piscataquis County’s most memorable crime involved theft, multiple times of the same item. Even stranger was that the victims were linked by a couple physical characteristics they all shared. All were in their teens, had blonde hair, and generous bottoms. The thief’s target in every instance was their underwear. Since most of the thefts took place in more rural areas (although there really wasn’t much in the county that wasn’t rural), where folks hung their wash on clotheslines to dry, such thievery was easy. It wasn’t until Arlo was on stake-out thanks to another of his hunches, that he got to the bottom of the case when the thief, took a muddy corner way too fast, rolling numerous times and spilling plenty of evidence when the trunk popped open.

Sagadahoc’s lone case involved verbal threats. Arlo was ready to bust things wide open until he discovered that the alleged threats involved two very opinionated women in the same quilting group. He was able to convince the district attorney that telling the perps they could be banned from the group if they didn’t restrain themselves would be sufficient punishment. That, coupled with the humiliation heaped upon them by local lobstermen whenever they showed their faces, was sufficient to get things settled.

The absolute stupidity of two sports from away he’d apprehended in Somerset County, was something that Arlo still chuckled about. However, had the two idiots gone through with their ill conceived plan to stun game fish behind Wyman Dam by tossing in half a dozen sticks of dynamite right above the spillway, it might have turned stupid into tragedy. When the federal agents arrived right after Arlo had conned the pair into thinking they’d bought fake explosives, offering to get them real dynamite if they let him take possession of what they were ready to use, things got tense. Guns were drawn and It wasn’t until Arlo was recognized that tensions ebbed. Had the explosives been used, the aging dam could well have breached, flooding countless homes downstream.

Arlo had to give the fellow he arrested in Waldo County credit. It it wasn’t for the number of fender benders caused by the criminal’s suddenly appearing in a colorful striped costume, looking eerily like a famous character in childrens’ literature, Arlo might have cut him some slack, but the man was so convinced he was the character, he ended up involuntarily committed to a state psychiatric facility., and then everyone could find Waldo easily.

Washington County isn’t exactly a hotbed of technology, so Arlo was intrigued when he was called in to help solve the case of the purloined fir tips. Bough tipping was an important source of seasonal income for many in the county. When tips started disappearing in huge quantities with no sign of human involvement, Arlo had to ponder any unusual possibilities. It wasn’t until he stopped at the county airport on a hunch and discussed a theory with the airport manager that he was able to solve the case. When the fellow mentioned the large number of tiny blips on the airport radar, Arlo put two and two together. After requisitioning a powerful drone from Maine Drug Enforcement, and using it to intercept half a dozen smaller ones outfitted to cut and retrieve fir tips, he was able to track them to a warehouse and put the balsam thieves out of business.

York County didn’t seem like a true part of Maine to Arlo, until he was asked to help solve a real case of street crime in a small town near the New Hampshire border. After the fourth instance of an auto falling into a huge crater in one of the town’s dirt roads, all resulting in injured drivers, he put on his ‘offbeat thinking cap’ as he’d come to call it. Over a hearty breakfast, he asked patrons at the local diner if anyone local had come into money recently. Two days later, he caught Finley Buzzell, a recent lottery winner, drunk as a skunk. He was playing with a new excavator he’d bought with his winnings. A search warrant for his property turned up piles of purloined gravel scattered around his back yard so his kids could race go-carts. “More proof that money without brains is a dangerous combination,” he said to the county sheriff as he watched Finley entering a cell.

“Yup,” was the cop’s response, “kinda like Augusta and Washington, DC.”

Now, good readers, This long blog is a way of asking those who are regular members of MCW whether they think we might want to write a collaborative county mystery collection. Wadda ya think?

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The Blog of Last Resort

Kaitlyn Dunnett/Kathy Lynn Emerson here. I’m having trouble coming up with something I want to write about this time around. The world outside my cave alternates between depressing and horrifying. I’m not actively engaged in any writing project at the moment. And I doubt readers really care what I’m currently binge-watching—The West Wing, if you must know—or reading. For those who do, I’m into my umpteenth reread of the fourth book of Elizabeth Peters’ Amelia Peabody mysteries, The Lion in the Valley, having read the first three again during the last part of 2025. I just finished the latest Jayne Ann Krentz paranormal romantic suspense (The Shop on Hidden Lane) and am about to plunge into the next installment of Patricia Rice’s historical series, this one titled The Madman’s Dangerous Delusion.

Short blog, right?

Since I suspect we could all use a smile right now, I’ve decided to go with something most people enjoy—cat pictures. Here are some of my favorite photos of various cats who have brightened our lives over the years, starting with our current housemate, Shadow. Here’s one of the rare occasions when she actually let me hold her.

These are the cats of 1970, Spot, who stayed with my parents, and Jeremiah, who adopted me and my husband one day at the laundromat in Lewiston.

Here is Jeremiah (a female, by the way), with her adopted kitten, Lancelot (also female), from a friend’s litter. Her brothers were Merlin and Idyll. I was in grad school for a degree in English literature at the time.

Lavinia came from the local animal shelter. Isn’t she a beauty?

You may recognize Calpurnia, adopted at the same time as Lavinia. She appears in my Deadly Edits mysteries.

This is Feral, who came to us from my in-laws. He was always good at helping with cleanup in the kitchen.

Bala and Nefret were barely weaned when we found them under the floor of the stable we used as a garage. They were with us a long time and both appeared in my Liss MacCrimmon mysteries (under assumed names). Here they are “helping” my husband fish a cat toy out from under the refrigerator.

Both had their nutty moments. Bala is trying to break into the closet.

Nefret went crazy over over the cover detached from one ear of a pair of earmuffs.

Say what you will about cats, most of the time they make you smile.

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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Writing Tip Wednesday: Comp Titles? What’s that?

Ok, so Comp Titles, also known as Comparison Titles, are officially used in query letters once you’ve written your book and are seeking a literary agent or a small press. They are needed for the sales pitch, but I hope you will give me grace for writing about them on Writing Tip Wednesday.

For me, selecting published books to juxtapose to my manuscript is the most difficult part of writing a query letter. “My book is like ___.” Who am I to compare my unpublished work to a successfully published novel? How could I possibly think that my story is as well written or could be as popular as the comps in my query? Coming up with comparison titles has always made me feel like a fraud.

I lost the fear of selecting titles a few years ago when speaking to a literary agent at a conference (the Maine Writers and Publishers Alliance PITCH conference to be exact). That agent explained an aspect of comp titles I had never considered: tone.

He told me to look for books—published within the past five years—that felt like my book. That advice, and my hunt for recent books, led me to find comps that helped me pitch, and sell, my current Midcoast Maine series.

From him, and other agents since, I’ve learned the following about the books to select as comps. These books should
–Be published within the past five years.
–Land in a similar genre or category.
–Have the same or similar tone.
–Not always be a best seller. Use also lesser known titles.
–Be a full-length book. Don’t use novellas.

Comp titles, however, are more than just a sales tool and a demonstration of having a bit of understanding of the market and your book’s placement in it. Similar to the value of “reading as a writer,” reading books for comparison helps you appreciate your own work. You understand your writing through the eyes of another manuscript. You find your holes and ponder how to fix them. You admire a craft and consider what techniques you might employ in your own story. A search for comp titles is never a waste of time. It is a learning experience.

I finished writing a locked-room mystery in 2020 that I haven’t been able to sell (yet). I’m in the process of rewriting it, using some of the feedback I received from sending it out. I’ve been considering comps for a few months now, partially because I need newer ones than the ones I had used in 2020.

Daisy Darker by Alice Feeney


I’m currently reading Daisy Darker by Alice Feeney, and it is the closest I’ve found to my novel in tone, use of setting, and first person point of view. I also admire Lucy Foley’s use of setting as part of her novels, and while The Guest List is also a locked-room, so to speak, the tone and multiple points of view aren’t as close a “feel” as her novel, The Hunting Party, which worked great as a comp in 2020 but is now seven years old. I’ve already passed on many other books and have a couple more to read. I’m sure I will find one or two more to use.

Books by Lucy Foley


Are you as perplexed and worried about comp titles as I have always been? How do you look for comp titles for your work? Please share any tips. I’d love to up my game.

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Don’t forget! Leave a comment on any blog post this month to be entered into the January 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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Producing and Publishing the Audiobook of Raven, Part 2

Rob Kelley here, concluding last month’s Producing and Publishing the Audiobook of Raven, Part 1.

When last we met, I’d selected audiobook narrator Nicole Fikes via Amazon’s ACX platform. There were a few things I was looking for in a narration partner that Nicole delivered as part of her overall package. First, I wanted a partner who had their own social media platform to help get a little more visibility for Raven. Second, I wanted a professional who had a process she had proven over multiple projects with other authors. Nicole had both: a TikTok presence she actively managed and a standard process for how she planned and executed an audiobook.

The great thing about ACX is that it also has a process to ensure a quality book. That process begins with the narrator submitting a fifteen minute preview of selections from your work. This allows you to refine character voices together with your narrator, while getting a feel for the narrator’s pacing and pronunciation.

Nicole supplemented this process with a welcome packet containing three extremely helpful tools. First, she had me fill out character sheets for the primary characters, giving her their name, age, who I’d ideally cast them with, level of education, adjectives describing them, and other attributes. It was a fun exercise; one that made me realize I hadn’t necessarily done that level of visioning for all my major characters when I was writing!

The second part of the packet was a timeline. Here was yet another lesson in publishing my first book: I started too late with audiobook production. I’d wanted it to launch on the same day as the paperback and Kindle ebook, but I didn’t have a sense of how long the process would take. I posted the ACX audition request on August 19, 2025, got auditions every day until Nicole’s came in on September 1, took a little more time finalizing who I liked, then executed a contract with her several days later. From there to a mutually agreed upon audiobook took two solid months. ACX then takes about two more weeks to review and approve the audiobook, so it launched on November 19, 2025, approximately three weeks after the paperback/ebook debut and three months after I opened auditions.

Nicole also provided a pronunciation sheet with test pronunciations of character names and places. Here, again, lessons learned. Despite the fact that she identified 147 pronunciation tests, we still missed a few. One should have been an obvious add on my part. I should have checked that she had all the character names included, but we missed one: Special Agent Paul Ostrowski of the FBI. We pronounced his last name differently and I didn’t catch that until the full audio draft came back to me. The second one didn’t occur to me until I got back the audio because everyone I know pronounces it the same way. In Boston, Massachusetts Avenue isn’t usually called that; it’s “mass av.”

But those two small items aside, her first draft of the audiobook was amazing. Still, my job was to listen to the whole thing and identify any errors in pronunciation or dropped or incorrect words. I found very, very few. And with those corrections (what the narration professionals call “pickups,”) we were ready to go. Nicole mastered the audio for consistent volume and submitted it to ACX for final review.

Here are a few of my takeaways from the process. First, selecting an experienced narrator was absolutely the right call. Folks in my life were trying to convince me to do it myself, but it is clear to me now that picking a professional partner for the job was the right call. Second, it is unbelievably cool to hear a voice actor read your work. Like chills running up your spine cool.

Working with Nicole was amazing, and we got to cap it off with another collaboration. Nicole asked her clients for submissions to read for  Human Voices Only, a movement supporting voice actors versus AI narration. Again, what a thrill for me as she read a passage from my forthcoming 2026 novel Critical State on her TikTok channel.

And one final fun collaboration. As part of being a “rights holder” on ACX, you get 25 free audiobook giveaway codes for both the US and the UK. So we held a giveaway of three codes for TikTok users who liked and commented on the post. Great for Nicole’s visibility and mine!

 

 

 

 

 

Currently still reading: The Proving Ground: A Lincoln Lawyer Novel, Michael Connelly, 2025. (I owe my final draft of Critical State to High Frequency Press this month, so not much time for reading!)

Next in my TBR list: The Emergency: A Novel, George Packer, 2025

 

 

Finally, a reminder that once again, in January, one lucky Maine Crime Writers reader who leaves a comment on the blog will win a bag of books!

Posted in Rob's Posts | 3 Comments

On Creativity

Hello all.

Before moving to Maine to be near my husband’s family, we lived Minnesota. My younger son was born there. My children attended school there. I worked in schools and communities there. I made lasting friends there and learned many, many things. It is a beautiful place filled with hard-working people and vibrant communities.

Today, as my younger son would say, my feelings are big.

And I’ll be honest it’s been tough to figure out what to write about.

But today is my day to post and I have a job that starts soon and children who need to get to school and a dog to walk. There are thank you letters to mail and a lego car that is taking up a lot of real estate on my coffee table to finish with my older son. There is dinner to be made later. And this post needs to be written and it should be somewhat adjacent to crime writing and it needs to be done before my meeting, which is starting soon.

So today I’m going to write about art and creativity.

In her book, The Artist’s Way, Julia Cameron talks about two practices that I’ve found helpful to foster creativity and a connection with whatever the source of creativity is. For Julia it is spiritual. I’ve heard others refer to this as “the subconscious.” I find it comforting to think that there is something that binds some piece of us together. Do what that what you will.

In crime writing, other authors explore this concept through their writing. James Lee Burke blends crime with history, religious meditations, and personal reflection, believes that stories come from a quiet, somehow connected voice inside. Haruki Murakami, who integrates history and philosophy, explores this world with his writing style and the embrace of surrealism. Reading his stuff is like meandering into somebody’s subconscious.  It is especially evident in The Wind Up Bird Chronicle. 

In The Artist’s Way, Cameron shares some practical suggestions on how to foster creativity. Two especially resonated with me.

The first practice has to do with writing something called the “Morning Pages.” The goal – writing three pages longhand each morning to unblock the mind of clutter. It isn’t about creating art. It can be to do lists or complaints or just a brain dump of whatever comes to mind. Sit down first thing and write. Fill three pages. Don’t listen to the inner critic and when that voice emerges, note it. Cameron encourages artists to use this practice to reflect on the inner critic and to tune it out. These voices inhibit creativity.

I learned about this particular practice from two of the other writers I met during my residency at Hewn Oaks. One who specializes in using meditative writing as a form of healing. This year, I’m going to try integrating Daily Pages into my morning routine.

The other practice that I’ve been thinking a lot about is called “The Artist’s Date.” This is a practice of doing something purely for pleasure, fun, or newness. This might be something simple like going for a walk somewhere you haven’t been and staying locked in to the experience. Or browsing a bookstore. Or going to a museum. There is no output tided to this. Just pleasure and curiosity.

As a mother and educator, I’ve curated experiences for other people and for my relationship with my husband. But I don’t often do this for myself.

This weekend I went to the Portland Art Museum while my husband took my younger son to get a haircut. I was especially curious about this Grace Hartigan exhibit. I really enjoy the poetry of Frank O’Hara. It is beautiful and funny and also, at times, a little sharp. I like this about it. O’Hara and Hartigan collaborated on a number of pieces and it was really fascinating to see the relationship between visual arts and poetry. Hartigan’s paintings are vibrant. I especially liked her earlier pieces from outside her home. The Brides and the Bodega painting really stood out to me. And then the piece with Ophelia at the end of the exhibit.

There was mother there with her child who was maybe two. The child said, “Oh is she sleeping?”

And the mother said, “Oh yes. Sleeping.”

And then I caught the mother’s eye and said, “Sort of sleeping.”

And the mother and I laughed together and I went upstairs to look at one of the Winslow Homer paintings that I like of the woman watering the geraniums in the windowsill.

I did feel better when I walked back to my husband and son.

I’m wondering do you have practices that help with creativity? That keep you active and curious and maybe even a little hopeful? That remind you that there is beauty and truth and moments of connection?

Anyway – wherever you are and whatever you are up to, I hope you are well.

Until next time,

Gabi

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Weekend Update: January 10-11, 2026

Next week at Maine Crime Writers there will be posts by Gabi Stiteler (Monday), Rob Kelley (Tuesday), Kaitlyn Dunnett/Kathy Lynn Emerson (Thursday) and John Clark (Friday) with a writing tip on Wednesday from Allison Keeton.

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

Matt Cost, Jule Selbo, and Kate Flora will be with Travis Kennedy at the Portland Stage Company on Monday, January 12th, at 7:30 PM. Actors will be reading an excerpt from one of each of these authors’ books on stage. Excellent Portland Stage actors (directed by Todd Backus) bring crimes mystery books to “life” in wonderful and fun  readings. The authors whose work will be presented this winter are: Travis Kennedy (Whyte Python Mystery Tour) Matt Cost (Mainely Mayhem) Kate Flora (Such a Good Man) and Jule Selbo (7 Days.) MORE INFORMATION HERE.

 

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

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

 

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THIS MONDAY. JANUARY 12! Come for the FUN!

Jule Selbo

MAINE CRIME WRITERS IN A FUN FORMAT! 

Next week, on Monday, January 12, at 7:30 pm, there will be a crime/mystery reading event at Portland Stage. That’s on Forest Avenue, about a block west off Congress Street.

Anita Stewart, the head of the theater, has been keeping this theater viable for the last 25 years. That’s an amazing tenure for a regional theater director. She’s dedicated to providing theatrical/live entertainment and chooses six plays each season that – for the most part – are of literary value and are full of ideas an audience can enjoy and/or chew on. I had met Anita a few times at July 4th picnics in my neighborhood. We got to know each other and she found out (when some of my plays were done here in Portland) that I started my writing life as a NYC playwright, then moved into screenwriting in LA, and finally—when I moved to Portland I focused on my first love: novels.

At one of these picnics, she asked if I would “curate” nights of reading from novels. She told me that, before the pandemic (and before I moved to Portland), she had held a few of these nights sporadically over the years, but she was hoping to do them on a more regular basis.

She wants to continue to promote Maine writers (with some emphasis on books that take place in Maine) and give her loyal audiences a new way of experiencing writers, writing, literature and ideas. She wants to make these nights a definite part of the Portland Stage experience for her subscribers and the general walk-in audiences.

I agreed to help set up the readings. We’ve done some crime/mysteries. We’ve done romance. We’ve done memoir. The audiences keeps growing, they love this format! This Monday, January 12, it’s crime/mystery again. The readings were chosen to go along with Ken Ludwig’s comedy/mystery Lend Me A Tenor that opens at the theatre this month. After the readings (I put the novels into “script format” for the actors who are assigned parts, Portland Stage assigns a director (Todd Backus) and the novel comes to life in a new way). I get to interview the writers – the questions/content of the interviews always relate in some way to the playwright of the show we are paired with.

Ken Ludwig (playwright) is one of the most prolific playwrights alive today (35+ plays so far).

Most are comedies, some are musicals and he has taken on lately – writing mystery/crime/comedies.  He’s written plays featuring  Sherlock Holmes, Moriarty, adaptations of Agatha Christie’s work and more. He knows his genre inside and out and is intent on providing his audiences with fresh laughs, but admits he goes back to the “comedy tropes” of the ancient Greeks and Shakespeare and other fine playwrights. As I work out the questions I want to put to our writers on January 12 (Kate Flora, Matt Cost, Travis Kennedy), I hope we can explore some of the most well-loved tropes of the crime mystery genre.

Tickets are for sale at Portland Stage (it’s an inexpensive night of entertainment) and Kelly Books will have books for sale in the lobby.

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