My books can be purchased as e-books for only $1.99. If interested, just click here: Books.
Match Play is a golf/suspense novel. Dust of Autumn is a bloody one set in upstate New York. Prairie View is set in South Dakota, with a final scene atop Rattlesnake Butte. Life in the Arbor is a children's book about Rollie Rabbit and his friends (on about a fourth grade level). The Black Widow involves an elaborate extortion scheme. Doggy-Dog World is my memoir. And ES3 is a description of my method for examining English sentence structure.
In case anyone is interested in any of my past posts, an archive list can be found at the bottom of this page.
My newest novel, Happy Valley, can be found here.
Monday, August 31
I read in an interview on McCafferty’s blog what he had to say about the act of writing novels, and I was impressed: “I’ve said it before, but it bears repeating, that writing a novel is like setting sail for a distant land. You can see as far as the horizon, and that will get you a few chapters in, and at a certain point you’ll smell land or a shorebird will perch on your mast, and you’ll be able to see the end and work toward it with a sense of excitement — say over the novel’s last four chapters. It’s those 250 or so pages in between when you’re lost at sea, sharks circling, and no stars to take a bearing, that separate those who wish to write novels from those who actually do.”
Here are a few more examples of his writing that impresses me: “There are many ways of feeling alone. There is the squeezed chest loneliness of walking down a dark alleyway, and there is the self-reliant isolation of fishing a midnight river in wilderness. There is that delicious hollow feeling of standing alone in a slumbering city, waiting for the light to change on the metropolitan avenue shining under the street lamps after the rain, secure in the knowledge that the woman whose bed you have left is dreaming about you and it is two against the world—a loneliness built for two. And then there is the devastation of being left by someone you love.” (pp. 82-83, The Royal Wulff Murders)
“Stranahan idled down the drive with the windows open. When the great grey hooted, he stopped and shut the engine off. The voice echoed into silence, leaving the undertone of the current. The owl was the sonorous heartbeat of the night, the river song its breath, and these sounds resonated in Stranahan’s chest long after he had retired to the futon in his studio, as the bass notes of nature do with those who sleep alone.” (p. 278, The Royal Wulff Murders)
“It gets lonely when someone close to you starts pulling away. It’s like living with a shadow.” (p. 203, Dead Man’s Fancy)
You could do far worse than to find the four Sean Stranahan mysteries and read them. I think you’ll be as impressed as I am.
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