Laurie R. King

Award-winning, bestselling, thought-provoking mysteries

LAURIE'S NEWSLETTER

Making Sense of It (the edit)

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As I’ve said any number of times, my first drafts are awful, more like expanded outlines than an actual novel.  Mostly, they’re a way to confirm the machinery of the plot before I buckle down to craft a sensible narrative out of contradictory notes, half-baked characterizations, and half-seen sub-plots.  (No modesty here: they really are that bad.)  In other words, there’s a lot of editing that goes into making a book out of it.

And because it’s REALLY tough to edit at your own work, I depend on the skill and good will of my publishers, who are willing to:

  • Read the VERY rough first draft without instantly canceling my contract (editor)
  • Read a (hopefully) improved second draft (editor, art department)
  • Read a “final” draft (editor, marketing, publicity, copyeditor)
  • Read the copyedited pages (the poor souls inflicted with the task of transcribing the mess for typesetting)
  • Read the proof pages (in-house reads followed by more poor souls having to incorporate various peoples’ remarks, questions, typo notes, etc etc)

After which the book goes public, and various other people send in notes and objections and places where we all missed untrimmed plot snippets, repetitions, and eyes of the wrong color, some of which have to be jammed in at the very last instant before the presses start running.

Some writers of series novels have a “bible” reminding them of the things that they’ve said before.  Mine is not that organized, but the publisher does have a Style Sheet that transfers from one book to the next, so that I only need to explain once that in the Russell books, it’s finger-nail and school-teacher but ash tray and bedsheet; that Mrs, Mr, and Dr have no full stop (period) after them; and that the possessive of Holmes is not Holmes’s but Holmes’.

Individual copyeditors also have styles.  Sometimes I get a remarkably detailed plot-line, page after page of what exactly happens when.  Other times it’s a sort of index with every proper name and its first appearance in the book.

 

But the key element of any story is the back-and-forth with my editor.  And although now, houses tend to use e-edits—

—and I certainly know how to do them, I’m old-school enough to value the dialogue that comes with an actual on-the-dead-tree edit, whether with a copyeditor—

—or the editor herself.  Because there’s nothing like seeing notes like this to let you know you’ve done the right thing:

Laurie’s Writing Corners

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My publisher asked me recently to give them a couple photos of my writing space, along with a short piece of writing, to use for their Instagram (@randomhouse) series called #WritersRoutine. But Insta posts aren’t meant for detail, so, for the insatiably curious (and for those who don’t have Instagram) here’s the photo of where I work, with a longer explanation of what you’re seeing.

My study is in a room that, when I bought the house 9 years ago, was the garage.

The deck outside the windows wraps around the back of the house, and is surrounded by trees—the most immediate leaves are a black bamboo, in a large pot.

What the picture shows, left to right:

The day bed I use to write on. It was built to fit into a window-well in the last house I lived in, as were the shelves—I brought them all with me when I moved, since what normal person shelves 3000 books in their master bedroom?  The two drawers under the bed are filled with files of things related to the books—clippings, fan letters, articles, catalogues, etc.

Sitting on the bed is a small chest of drawers that I bought at the BSI weekend one year—its two drawers have handles shaped to look like the head of Sherlock Holmes.

I plug a wall-mounted external monitor into my laptop, so I can write without my neck seizing up.

On the window are large PostIts listing things I need to ask my informants about, for the work in progress (WIP).

My laptop, sitting on folders containing notes, printouts, etc to do with the WIP, and several of the pads I use for notes.  I mostly use the kind that Levenger sells, with lines on the right and a section of empty space on the left, to put notes about the notes.

The small pillow and bolster are covered with alpaca fabric woven by my mother.

On the windowsill is a mug saying: When God created man, she was only joking.  It contains a magnifying glass I received as a gift, and a (rather crooked now) beeswax candle stolen from the monastery in Wadi Kelt, described in O Jerusalem.  Behind the mug is a decorated gourd from a trip to Mexico City when my daughter was 7 months old.

Under the day bed: the file folder holds printouts of the current WIP.  It will be filled with more printouts, notes, maps, etc—and at the end, the first copy I receive of the book.

Leaning against the day bed: an oversized artist’s clipboard I use as a lap desk when I write, a habit that started when I wrote with a fountain pen on pads. (This is the second clipboard, the first one is a bit frayed now.)

My father made the three-legged Shaker table out of spalted maple. (Look it up.)  On it is a clipped-together version of the current manuscript, since it has a complicated structure—I tag each chapter with one of three colors, and shift them around to see how they work together.  Not my usual system, by the way, which is to just have the WIP in a folder like the one on the day bed.  Also on the table is a mug painted with Medieval characters, from a pottery somewhere in southern England.

Books: top of the shelf are my sets of Kittel (Theological Dictionary of the New Testament) and the Interpreter’s Dictionary of the Bible, from the days of my theology degree. The next three shelves are general Biblical studies and theology, much if it to do with feminist themes.   Then a shelf of Ordnance Survey maps, modern and old, and various books to do with England.  Below that, England and a variety of guide books, mostly Baedeker’s. The other books are reference material for Britain, the Twenties, and writing.

The narrow cork-board, formerly used for images to do with a WIP, currently shows book covers: useful as a Zoom background.

Top shelf: ceramic skull intended to place in a fire so it glows: small print of Folly Bridge, Oxford, from 1906 (I owned a house one street away); dragon figurine (from a Medieval manuscript illumination) I bought thirty years ago at one of my favorite museums, the Musée de Cluny in Paris.

The shelf underneath it has Twenties references (including a Mrs Beeton) and books used while writing Castle Shade.

The next shelf has the 3D model of Bran Castle my grandsons helped build—or rather, that I helped them build—and a stack of my books published in the past year.

The armchair used to be my father’s, covered with a horrible scratchy green fabric.  My mother had it re-covered back in the nineties, and I now use it for Zoom events, pulling around the white table to hold the laptop.

The framed painting is by my friend Jean Lukas, who did the pen-and-ink drawings used in the maps for Garment of Shadows, Dreaming Spies, and Island of the Mad, as well as several pieces of Beekeeper art over the years.

The red stove keeps me warm in the cold weather. (Propane—the pilot’s off for the season.)

And yes, the carpet and curtains are both purple.  And that bit of empty shelf at the top of the picture is one end of the shelf of LRK Books that wraps around three sides of the room, more than 2/3 filled with various editions of my 30+ books.

…a picture illustrating that at the moment, my study is also a workout studio…

And that’s where the words take place.  I like having a full study, with my own books and research material, surrounded by books I love.  However, I’m not a fussy writer.  When I need to, I can turn out words pretty much anywhere.  After all, my first ventures into fiction (Califia’s Daughters) were in Oxford during the kids’ nap-times.  Later I moved on to scribbling longhand on an oversized clipboard propped against the wheel of the Volvo during the kids’ piano lessons or soccer practice.  And before the purple carpet went down and the shelves got fastened to the walls, while that garage was undergoing its transformation, my writing place (for The Bones of Paris) was the circular seat in a corner of the bedroom, with the sound of hammers and Skil saws to keep me company.

What’s Your Super Power?

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Many skills mastered by others fill me with awe. Juggling, applying flawless nail polish, turning a quadruple back flip, walking the Appalachian Trail—my life will never include those skills.

But by God I can fold a fitted sheet.  Not only can I, I then package each set in a neat package, and store them in my linen closet ready to go.

Take that, Simone Biles.

Noblesse Oblige

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I’ve been putting together a book discussion guide for the Castle Shade book club kit (like the ones we did for Riviera Gold and Island of the Mad) and wanted to include a question about the idea of noblesse oblige.  So I did…but I have to wonder what kind of conversations that one will prompt.

Queen Marie of Romania

The phrase refers, of course, to the obligations inherent in being a noble.  Those born into the “upper” classes, whether aristocrats or royals, hold the power, but they also (speaking ideally, of course) hold the responsibility.

Without giving any spoilers, I can tell you that the idea permeates Castle Shade, for good and for bad.  In 1925, Romania was still a land of peasants and monarchy.  Its Queen (in many ways more ruler than the king) was a granddaughter of Victoria, raised to the idea of service.  She lived in mind-boggling luxury, yes, with palaces and jewels and servants for every need; she expected her people to literally bow and press her hand to their foreheads when she approached; she never doubted that even the nations’ rulers meeting to divide up Europe after the War would receive her and do as she commanded —and yet this same woman spent her War years nursing the sick and wounded, and did not retreat to England even when her young son died of typhoid as enemy troops approached.

In feudal times, the survival of a region depended on noblesse oblige.  If a duke or king felt no responsibility for his people, they wouldn’t make it when the next kingdom over invaded.  Over the centuries and millennia, boundaries have expanded, until now entire countries are looking at their neighbors and realizing that responsibilities reach beyond national identity.

If you’re reading this, you are almost certainly one of the world’s aristocracy, born into a degree of power and luxury that vast swaths of the world’s population can only begin to imagine.  If bombs are not falling on your head; if your children and neighbors are not wasting from malnutrition; if you need only flip a switch to push away the night; if your brother disappears into a prison you still feel he has rights—then you, like me, are one of our globe’s aristocrats.

So, is all that too much to inflict on a book club discussion?

Castle Shade, out June 8, 2021, here. Order a copy signed from Bookshop Santa Cruz and Poisoned Pen, or from your local Indie bookshop, or Barnes & Noble or Amazon.

Blood Countess? Or Strong Ruler?

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(Two weeks to Castle Shade! And here’s background of one of the people mentioned.)

Elizabeth (Erzébet) Báthory was the daughter of a prominent noble Hungarian family, born in 1560.  As a child she suffered from seizures, possibly epilepsy.  She was educated, as only the highest levels of women would be, including several languages including Latin and Greek. She was engaged at the age of 10, a common means of establishing political ties.  At 15, she married (her husband was 19) and received as her wedding gift a castle, a country house, and seventeen surrounding villages.

When she was 18, her husband was made commander of Hungary’s war against the Ottomans, and while he was away, she not only ran their vast estates, she oversaw the defense of these key areas. And she did so not by cajoling and depending on the skills of the men around her, but by shoving them aside and curtly getting on with the job. Not a nice woman, by the way, but a strong one.

Her husband died of an illness in 1604, when she was 44. Before he died, he entrusted his family to one of the richest nobles in Hungary, Gyorgy Thurzo—who did not succeed in setting the Countess aside.

And, the king owed a great deal of money to the Count Báthory—and thus to his widow.

Around that time, convenient rumors began to circulate, that the Countess was mistreating girls given into her care.  No, she was abusing them.  Oh no—she was doing worse than that, by beating and torturing them, starving and murdering them—in fact, she kept her beauty by bathing her face in their blood, and she stripped off their flesh to eat it.

Interestingly, the man the king sent to investigate the rumors was… Gyorgy Thurzo.

He elicited testimony by torturing her servants—always a good way to get unbiased and complete information.

He compiled reams of statements from hundreds of accusers—none of which was actual evidence, merely second-hand rumors.

And when she was found guilty and her vast properties taken for redistribution—she was neither executed nor imprisoned, merely sentenced to live out her days in her own castle.

Was Erzébet Báthory a twisted pervert, the worse female serial killer ever, who horribly tortured hundreds of young innocents for her own pleasure?  Or was she a stubborn, impatient, tough-minded woman with what would have been seen as a shameful disability, who married young and almost immediately assumed enormous responsibilities, and who was clearly quite ready to do without any man’s help.

A threat, who was removed by the use of rumor?

In Castle Shade, confronted by rumors against another woman ruler, Mary Russell isn’t so sure the woman was a horror…

Castle Shade, out June 8, 2021, details and excerpt here. Order a copy signed, from Bookshop Santa Cruz and Poisoned Pen, or from your local Indie bookshop, or Barnes & Noble or Amazon.

Family Reunion

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In the summer of 1914, two branches of a powerful and affectionate family came together in the Black Sea resort of Costanța.

It was a summer day in the middle of July, and this would be both a family holiday and a meeting of the heads of two neighboring states. One family travelled down from the summer palace in Sinaia, the other sailed in across the water.

As a state occasion, the arrival was public, with much film expended on capturing every royal move.

At 2:50 you see the motion version of the below photo

And at 4:00, a very young Princess Ileana approaches the camera

One assumes that the family reunion began after the hot, humid, and protracted public arrival. They went off for a cool drink, the young cousins were sent off with their nannies, and the family was free to spend the rest of the visit visiting friends, attending churches—


And maybe even an evening at Costanța’s grand casino—

But another important purpose of the visit was for the children of the two families to mingle, with an eye to future marriage—although as things turned out, the older son of the host family and the daughter of the visitors (Prince Carol, age 21, and Grand Duchess Olga, then 19) would have little to do with each other.  However, the younger ones (Romania’s Princess Ileana and Russia’s Tsarevich Alexei) got along very well, and their parents thought, hmm: perhaps, in ten years or so…

Except that three weeks later, an Archduke was shot and the Great War began.  When it was over, everyone in that visiting family—The Tsar, his wife, and all the children—was dead at the guns of the Bolsheviks.

Standing:

Carol 1 (King of Romania); Russia’s Grand Duchess Anastasia; [?Russia’s Grand Duchess Xenia?]; Prince Carol of Romania; Crown Prince Frederick of Romania (King of Romania a few months later); [?]; Tsar Nicholas II.

Seated:

Russia’s Grand Duchess Maria; [?Russia’s Empress Alexandra?]; [?Russia’s Grand Duchess Tatiana?]; Princess Ileana of Romania (in the Duchess’ lap); Marie of Romania; Russia’s Grand Duchess Olga, with [?Romania’s Prince Mircea?] in her lap.

Front:

Russia’s Tsarevitch Alexei; Prince Nicholas of Romania

Castle Shade, out June 8, 2021, here.

Signed from Bookshop Santa Cruz and Poisoned Pen,

or from your local Indie bookshop,

or Barnes & Noble or Amazon.

Making Hay in Transylvania

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I love finding some ordinary part of life that is so vastly different in a foreign land.  Such as the simple matter of how to store hay for the livestock for the winter. As Russell and Holmes travel through Transylvania towards the village of Bran, they see a rural landscape that is both familiar…and very much otherwise:

I began to catch sight of the haystacks that I had been seeing all day from the train. Nothing like the familiar piled domes of England, these were six or eight metres high with a trimmed sapling protruding from the top. The stacks marched over the countryside like a clan of enormous, shaggy creatures.

“Those haystacks look like gigantic bears,” I said to Holmes, after a while. “Or those mythic Himalayan creatures said to live above the snow line.”

(Image from here.)

“One  does  wonder  if  the  local  hooligans  don’t  occasionally adorn them with a pair of dinner plate–sized eyes.”

I laughed, then with a glance at the driver—behind a glass shield, but still—lowered my voice. “They do rather loom. I’d have thought the people would build their horror tales around those things, rather than dead folk climbing from their graves.”

….

Moonlight is always uncanny. It obscures as much as it reveals, putting every object into sharp and deceptive contrast. Here, it exaggerated the presence of those haystacks. I found myself trying to catch them move. As if they were trolls or woolly mammoths, dancing an imperceptibly slow pavane across the fields.

(Image from here.)

And here’s how it’s done:

 

You can order a copy of Castle Shade signed from Bookshop Santa Cruz or Poisoned Pen Books, unsigned from your local shop through Bookshop.org or Indiebound, or from Barnes & Noble or Amazon.

Meeting Queen Marie

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I met Queen Marie during a trip to Eastern Europe in the fall of 2018.  My friends who own the Poisoned Pen bookshop in Scottsdale talked me into it.  Not that it was difficult.  They said that they were going and asked if I wanted to join them and I had never been on a cruise, and it was on a river and I thought, sure, why not?

Anyway, with that amount of deliberation and pre-planning, and with a full load of writing until the minute I got on a plane, you can understand that my research was less than complete.

I mean hey, this was a holiday.  It’s all about the surprises, right?

So off I schlep to Bucharest, and a couple days later we pile our way into some buses and drive up  into the Carpathian mountains, with a guide who tells us all kinds of interesting things and leads us up a hill to this crazy little castle, and inside it I spot a photo (at the right, below) and hear the guide talking about this English-born Romanian Queen…in the 1920s…and I say: hmm.

So yes, I decided that Queen Marie of Romania could well meet a certain detecting woman and her husband.  And so she did.

And because this little castle up in the Carpathians is in Transylvania, and because we all know what Transylvania is known for–in the world of fiction, at any rate–Bram Stoker’s fantasies enter in.

But I’m not giving away any spoilers.  Instead, let’s see Marie with her people, during the War—

And in an interview, here–

And we also meet her daughter, Princess Ileana, who has a charming accent, and a pair of mischievous ponies, seen here five years after Castle Shade:

 

Castle Shade will be out June 8, here. You can get a copy signed from Bookshop Santa Cruz and Poisoned Pen, or unsigned from your local Indie bookshop, or Barnes & Noble or Amazon.

 

The Wisdom of 71 Writers

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I’m a self-taught writer, in that when it comes to fiction, I mostly learned by reading a million stories.  Naturally, I took the basic writing classes in school, and I do have a lot of How-To guides on my shelves, but I’ve never done any advanced courses in how to be a writer.

So it always astonishes me, when I’m asked to teach a class or give a workshop on mystery writing, to find that I do actually have something to contribute.

I’m not sure I’ll ever write my own handbook, beginning to end, but I have been involved with two handbooks now, and have loved both of them.  More of my own words made it into the 2013 Crime and Thriller Writing, but that doesn’t mean I’m not on every page of the new MWA handbook, How to Write a Mystery.  After all, I first proposed the book, back in 2017.  I helped MWA’s Publications Committee choose Lee Child as editor, I worked with Lee and the committee to narrow down the list of invitees, I edited all the pieces and helped shape the “Tips” contest.  And yes, I wrote one of the chapters, on The Rewrite. I’m amazingly proud of it, this collection that Booklist starred and called

“a writing guide that readers and writers will turn to again and again.”

We’re holding various group conversations about the handbook over the next few weeks (see the times and participants here) but on Monday the 26th, the day before How to Write a Mystery publishes, Lee and I will be talking on our own with Barbara Peters at the Poisoned Pen about this amazing book.  Do join us, on the Pen’s Livestream (register here) or on their Facebook page.

And if you write, or know someone who does, you can get a copy from Bookshop Santa Cruz (which I’ll sign, if you like); your local Indie; Barnes & Noble; or Amazon.

Two Months to Castle Shade!

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You get two Mutterings today–because not only is it the anniversary of The Meet, but it’s also two months until Castle Shade appears on shelves and e-readers. Yay!

Over the next couple of months I’ll be sharing various aspects of the writing process of the story, from travel to research to creation of the map–

and building Bran Castle for the silly videos that are coming up later this month–

But in the meantime, enjoy the idea of two unhappy strangers stumbling across each other on a deserted patch of countryside and finding a reason for living, 106 years ago. May you find many kindred spirits of your own, in 2021.

You can pre-order a copy of Castle Shade at Bookshop Santa Cruz (signed); Poisoned Pen Books (signed); Indiebound (your local bookshop); Barnes & Noble; or Amazon.

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