Guest Blog by Laurie R. King

I've known Laurie R King for well over ten years now (she writes about our meeting in the guest blog below) and I can't praise her mystery novels too highly. She is an incredibly gifted writer who has won numerous awards and been featured on The NY Times bestseller list, and most of all, her books are great fun. Almost as prolific as she is talented, Laurie writes a mystery series featuring Mary Russell (Sherlock Holmes young wife and partner), a series featuring San Francisco cop Kate Martinelli, and numerous stand-alone thrillers, of which the most recent, just out this last January, is Touchstone (I highly recommend this book-and all of Laurie's books). Laurie visited equestrianink, enjoyed our stories, and volunteered to write a guest blog-I hope you enjoy it as much as I did. Be sure to check out her ebsite and blog.
Virtual Book Club: http://laurierking.com/vbulletin
web site: http://laurierking.com/
web log: http://www.laurierking.com/wp.php
myspace: http://www.myspace.com/maryrussell

Thanks, Laurie!

Laura Crum

By Laurie R King

I've been friends with Laura Crum since her first manuscript was in copy edit. We were both with St Martins Press then, and shared the same editor as well. I'd been through the process a couple of times, and she, faced with a manuscript bristling with changed commas and snippy remarks, phoned to introduce herself and to get my advice. (Which largely consisted of, It's just the copy editor's opinion, feel free to ignore it if you disagree.) Since then we've picked each others' brains any number of times, I most recently when I needed the name of an old-fashioned rose for a Duke's estate, in Touchstone--Laura's the expert gardener, as well, who actually likes the process.

But mostly, Laura knows horses. Her books' equine vet, Gail McCarthy, works the gamut of the horse world, from dressage to roping to trail-riding to the current barrel-racing setting in "Chasing Cans" (love the title!) I, on the other hand, am more or less required to bring the
occasional horse into my books, because I write a series set in the 'teens and twenties, when horses were still in daily use.

However, I know nothing about horses except that they're really tall and hard to steer. One of the few times I sat on a horse's back, as a teenager, I ended up flapping my arms and legs fruitlessly, causing the thing to turn its head and glare at me. I ended up getting off, leading it where I wanted to go, climbing back on, and riding back-and since we were then headed to the barn, we moved at something alarmingly near a trot.

That's the extent of my horse life.

So it cracks me up when someone writes, as happened recently on the Virtual Book Club discussion of my novel "The Moor": Russell's experience on Red is so realistic, I am sure that either LRK rides or she was given very good input from a rider. Like Russell I have ridden a horse who shied in a distinct side jump leaving me suspended in the air with the horse no longer beneath me, so that I quickly plummeted to the ground.

It so happens that Laura and I were talking about this very passage over our recent lunch. Now, Laura is well aware that I don't know from horses, but either she's even more polite than I had realized, or she actually does think I write about them believably. Which would amaze me except that I also write about cops and I'm not a cop, and I write male rotagonists although I'm never been a boy and lesbian protagonists although I'm not, and I've written about Vietnam from a soldier's point of view and about a woman who has blinding headaches and about the life of an artist and- And every one of those has brought in a remark about how the reader assumed I was a lesbian or I must be someone who has been plagued by headaches or know cops really well or.

Well, you get the idea.

Either I lie very well, or I have a rich imagination. It must be the latter, since (as with most writers) scrambling for a story under pressure leaves me red-faced and stammering, although, boy, afterwards I sure am clever. But how to tell a story about a matter with which you have no
personal experience?

Well, research helps. If I had to write about an injured horse or what to feed a horse, I'd ask Laura about it. But surely a lifetime of reading Walter Farley followed by Dick Francis, while not exactly qualifying you for riding a black stallion in a steeplechase, does at least leave a niche in the mind labeled "Horse Personalities"?

Because what I'm writing about in the books is not a horse with teeth and hooves and hair that needs brushing, but a personality. In the case of "The Moor," Red the shying horse is also misogynistic, saving his worst behavior for when there's a woman in charge. A minor quirk, of no great importance to the plot (although it underscores the attitudes of the various human males in Mary Russell's life at the time,) but adding color and dimension to her ride across Dartmoor. I suppose if Laura had protested that it was unrealistic, that no horse would do that, I might have taken it out, but she didn't, and I didn't. Because whether it's horses, cops, homeless people, or Vietnam vets, when you know them well enough, it's the quirks that define the character. And it's the quirks that build the character on the page, even when the writer is making it all up.

Thank God for that. Otherwise, I'd have to learn to ride.

Why Ever Did You Go Into That Dark Barn Alone?

My advice to anyone about to write a mystery series: don’t (!) Just kidding. But do think twice before you choose an amateur sleuth as a protagonist. As the author of ten mysteries featuring equine veterinarian Gail McCarthy, I’ve become all too aware of the perils of such a choice. Its not a problem when it comes to the first book. No, its quite believable that a poor innocent vet might stumble upon a murder victim. These things happen, you know. Its not even stretching the bounds of credibility too much to think that she might get involved in another such situation in her lifetime. But lets see, how many horse vets do you know that discover a body a year? And would you want such a person to come out on a call to your place?

You see my dilemma. I’m now writing book number eleven in my mystery series, and I’m wracking my brain to come up with yet another way poor Gail can get involved in a murder investigation. Believe me, I’ve tried em all. Stumbling on a body in the course of a vet call, family member caught up in a problem, neighbor murdered, best friend a suspect in a murder investigation, another friend the object of a stalker, horseshoer murdered in Gail’s own barn…etc. Unfortunately, in the end it becomes rather ludicrous, if you take a step back and survey her life. Sort of like the Angela Lansbury character in “Murder She Wrote”. Would you want to invite that lady over for dinner?

Poor Gail. She hasn’t exactly had a quiet life. Besides finding all those bodies and being drawn into all those investigations to help friends and family, she’s been shot at numerous times, warned off by bad guys more often than I can count, tied up, bashed over the head, had to escape on horseback at least once in almost every book, and captured a few nasty villains single-handed. Is this believable, I ask you?

Well, no, its not. However, we who write amateur sleuth mysteries are taking advantage of the conventional suspension of disbelief that is routinely practiced by those who like such stories. Ever since Agatha Christie’s Miss Marple, we are allowed to pen these tales of the amateur who becomes involved, over and over again, in murder and mayhem, and incidentally, escapes virtually unscathed every time.

I do think that most writers who begin writing a manuscript about a character (just as I selected Gail, the horse vet, as my protagonist roughly fifteen years ago) don’t give a lot of thought as to how that character will work out over the course of many books. I know I didn’t. I somewhat envy my friend, author Laurie R King, whose two series protagonists are a cop and the wife and partner of the famous Sherlock Holmes. Of course these two women will be involved in numerous murder investigations. Its their business, for heaven’s sake.

But in my own case I must keep stretching the bounds of what’s credible. Not only must my poor horse vet keep finding bodies and enduring a lot of rough and tumble, she also must do things like poking around the dark barn where the murderer is sure to be lurking in the middle of the night, all by herself. Over and over again my editor, or someone who was reading one of my manuscripts, would point out to me that Gail wouldn’t do this, not if she had half a brain. I, of course, would reply that Gail had to do this, in order to get to the thrilling horseback chase scene finale, and after all, she was an amateur sleuth and what’s believable about that, anyway?

The truth is that I work like a dog to come up with reasonably believable reasons why Gail might go down into that dark barn. Since she’s a vet, I frequently give her a call she has to make there. (Though this begs the question of why she wouldn’t take someone with her if she’s a bit suspicious of the owner of said barn.) In my latest book, Chasing Cans, just out this spring, Gail once again traipses into yet another dark barn, innocently unprepared for an ambush, despite the fact that she knows that two women have been victims of suspicious horseback wrecks there recently. I mean, I ask you (!) Yet, in the context of the story, it comes off quite believably (or so I’ve been told). I’ll certainly welcome any input from those of you who have read this book, or any of my other books.

Yes, the perils of writing an amateur sleuth mystery series are a bit greater than they appear as one blithely begins the first manuscript. Do give serious consideration to a private investigator, cop, or any such person who has a reason to be involved in the regular melodramas of life. Medical professionals, arson and insurance investigators…the possibilities are endless (and have all been used before, I know). Anybody have any new ideas? Perhaps I can start another series.

As for the book I’m working on, though, I must once again concoct some believable way for my horse vet to get involved in a drama (and I’ve thought of one, too—I just can’t give it away. After all, I wouldn’t want to spoil the book for anyone.) And since horses are integral to this series, I also need to create some thrilling horseback scenes and quirky equine characters. These characters are the easy part—the horses in my life give me plenty of material. Since I’ve owned and trained horses for over thirty years, and currently own eleven of the critters, you can see that this isn’t a challenge. As for the horseback scenes, well, once again poor Gail doesn’t lead an easy life. The number of times she’s had to gallop flat out to escape a villain on horseback, often bareback, sometimes by the full moon, occasionally through rough country, oh, and did I mention jump a few gates and fences along the way? (Though as a western rider, she doesn’t know anything about jumping.) Well, it boggles the imagination.

At times, it boggles mine, as when I think I can’t come up with even one more thrilling horseback finale. But I always do. And the reason is standing in my corrals, a stone’s throw from the house where I’m typing this blog. I can always bring to mind some exciting moment aboard one of my own horses that I can use as a springboard for yet another wild ride. After all, its not as if I haven’t had a few gallops over the years (not quite as wild as Gail’s adventures, perhaps). In the end, what gives my amateur sleuth some degree of believability (I hope) is that the books are based on real life. Real adventures I’ve had with my own horses are the underpinnings for Gail’s life. It’s the horses that bring my books to life (or so I feel), even as its my real horses that bring magic into my own life.

Here’s horses and the joy they bring us.

Cheers,
Laura Crum

PS—NY Times bestselling author Laurie R King will be posting a guest blog here on equestrianink this Friday, May 2nd, on the subject of quirky equine personalities in her fiction. Don’t miss it!