A Tale of Two Trailers

While querying A Season for Killing Blondes, I started another writing project, one that I hoped would distract me from the seemingly endless process of trying to find a home for my first novel.

The words flowed quickly and, in less than one year’s time, I had written, edited, and polished Between Land and Sea, the first book in the Mediterranean Trilogy. And I quickly found a home for my second novel.

After signing the contract for Between Land and Sea with Soul Mate Publishing, I started brainstorming about different marketing tools. One idea that popped in my head was a trailer. In my research, I had discovered mixed messages regarding the effectiveness of trailers. Some authors and publicists were wildly enthusiastic while others suggested that trailers did not necessarily lead to more sales.

Weighing both sets of opinions, I reached the conclusion that it wasn’t just about sales. I wanted to celebrate the launch of my debut novel with a trailer. And to make the prospect of a trailer even more exciting, I could call upon the expertise of my musically-talented brothers.

I had envisioned my brothers collaborating and composing one theme song, but that’s not how their muses worked. Each brother had his own unique interpretation of the middle-aged mermaid who was aged beyond recognition and then dumped on the fog-drenched shores of southwest England. Unable to choose between them, I decided to use both versions and hired Erin Kelly to produce the trailers.

Ernie G came up with the Yin version. Aptly titled, “It’s Your Time,” the soft, contemplative music gently skims over the heartbreak, encouraging Isabella to imagine a happier future.

Augy G delivered the Yang version in “Father Time Blinked.” Very different music with several pointed comments and questions sprinkled throughout the lyrics. Is Augy taking Isabella to task?

Two years later,  The Coming of Arabella, Book 2 in the Mediterranean Trilogy, was released.

***This week, both ebooks are on sale for $0.99***

Blurb – Between Land and Sea

After giving up her tail for an international banker, Isabella of the Mediterranean kingdom is aged, weathered, and abandoned on the fog-drenched shores of southwest England. She faces her human journey as a plain and practically destitute fifty-three-year-old woman.

With the help of a magic tablet and online mermaid support, she reinvents herself as a career counselor, motivational speaker, and writer of self-help books. Along the way, she encounters a cast of unforgettable characters, among them former mermaids, supportive and not-so-supportive women, deserving and undeserving men, and several New Agers. As Isabella evolves into Barbara Davies, she embraces her middle-aged body, heals her bruised heart, and learns to love again.

This contemporary version of The Little Mermaid offers hope and inspiration to anyone who has been dumped, deceived, or demoted. It will also appeal to mermaid enthusiasts.

Amazon (US) | Amazon (UK)

Blurb – The Coming of Arabella

On the day of her engagement party, an ex-mermaid’s life is disrupted by the unexpected arrival of another mermaid—a sister she has never known. Under normal circumstances, Barbara Davies would be overjoyed, but her special day is already wrought with tension. While Barbara is not the first mermaid from the Mediterranean kingdom to settle in small town Ontario, she has yet to reveal her origins to her fiancé. So, when Arabella, the gorgeous sister whose disturbing black eyes banished her to the island of Crete, saunters into her life, clutching the arm of Barbara’s discarded lover, a powder keg of emotion is released.

Relationships falter and careers stall as envy stirs in the hearts of the sisters. On the verge of meltdown after her fiancé leaves Canada for a teaching job in Vermont, Barbara flees to Arizona hoping for a reprieve. There, she finds solace at a retreat for ex-mermaids and a second chance at love with a charismatic preacher. As she contemplates a new life in the desert paradise of Sedona, shocking secrets emerge and tragedy strikes. A stronger and wiser Barbara rises up to face these new challenges and embrace the best parts of her mermaid heritage.

Amazon (US) | Amazon (UK)

Where to find Joanne Guidoccio…

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On Writing Romantic Suspense

Writing romantic suspense involves the skillful juggling of romantic elements and nail-biting suspense. A daunting task but so rewarding when all the essential ingredients come together in a well-crafted, character-driven novel.

Here are eight tips:

  1. Ask yourself: what is intriguing about the premise? What will attract readers to the book? In Sue Grafton’s Alphabet Series, protagonist Kinsey Millhone is a twice-divorced private investigator who is permanently stuck in the 1980s. In the Gilda Greco Mystery Series, the protagonist is a teacher turned lottery winner who moves back to her hometown and then finds herself embroiled in murder investigations.

2. Grab the reader’s attention with a hook. Bestselling author Louise Penny offers the following advice: “If you’re writing your first work of crime fiction, place the body near the beginning of the book–preferably on the first page, perhaps the first sentence. In later books, this won’t be necessary, but agents and editors like it established early, so readers know what they’re getting.” In Book 2, Too Many Women in the Room, I used a three-page prologue to introduce the crime. In Book 3, A Different Kind of Reunion, a reference to the murder is made in the first paragraph.

3. Create believable characters. It is tempting to endow protagonists with beauty, intelligence, and other positive traits and then pit them against unattractive villains. Too many or too few strengths are unrealistic. To avoid contrived tension and conflict, evenly balance the characters and have them show vulnerability. The reader must care about the characters, even the secondary characters. When a character dies, it should matter.

4. Get into the heads of your killers. When you have insight into their motivations and behaviors, even if they are twisted, they will seem more real to readers. You don’t have to be in their POV; you can understand them by their actions and dialogue. If you choose to be in the killer’s POV, be very careful you don’t reveal his/her identity.

5. Escalate the tension. After starting with a bang, build tension, offer a few resting moments, and then throw in complications. Have strategies in place to help with the murky middle, that nebulous place around page 80, where it becomes difficult to continue or sustain the tension. You may have to set the manuscript aside and take a breather, work on a shorter piece, or reread craft books. Return to the manuscript with fresh eyes and a firm resolve to successfully navigate the murky middle.

6. Drop enough clues to keep the reader engaged but be careful not to overwhelm the reader. Used effectively, red herrings will maintain reader interest until the end. Many of the plots in Agatha Christie’s novels contain red herrings. In And Then There Were None, we assume a character who goes missing is the killer. Later, when his body is washed up on shore, we realize that his absence was a red herring that misled the other characters and the readers.

7. Come up with a tantalizing title. If you’re writing a series, consider using the same basic pattern for titles. Janet Evanovich uses numbers: One for the Money, Two for the Dough, Three to Get Deadly…I have used longer titles–A Season for Killing Blondes, Too Many Women in the Room, A Different Kind of Reunion–for the Gilda Greco Mystery Series. Regardless of the method used, one fact is clear: The right title (and cover) will catch the reader’s eye in an overcrowded market.

8. End on the right note. Romance readers expect an HEA (Happily ever after) or HFN (Happily for now) ending. Mystery readers (in particular cozy mystery readers) want to experience closure: the sleuth solves the case, justice is served, and all loose ends are tied. But only for a short time…Another murder to solve is just around the corner.

Any other tips to share?

About the Gilda Greco Mystery Series

A cross between Miss Marple, Jessica Fletcher, and Cher (Moonstruck), protagonist Gilda Greco brings a unique perspective to the amateur female sleuth.

The teacher-turned-lottery winner returns to her hometown, only to find herself embroiled in a series of murder investigations. Before you start imaging thrillers with high stakes and police chases, pause and take a yoga breath. The three novels in the series—A Season for Killing Blondes, Too Many Women in the Room,  A Different Kind of Reunion—are cozy mysteries, written in the Agatha Christie tradition. All the crimes take place “off stage” with very few graphic details provided.

While the pace may be more relaxed than that of thrillers and police procedurals, there are no steaming cups of herbal teas, overstuffed chairs, or purring cats in these contemporary cozies. Prepare yourself for interfering relatives who don’t always respect boundaries, adult mean girls, deserving and undeserving men, multiple suspects, and lots of Italian food.

Where to find Joanne Guidoccio

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The Right Character Names

By Joanne Guidoccio

“How attached are you to the name Anna May?”

Sandy Isaac’s question took me and six other members of the critique group by surprise. While I appreciated most of the suggestions I had received, I wondered about Sandy’s question. Anna May Godfrey is one of the villains in A Season for Killing Blondes. Having spent several years in Anna May’s company, I wasn’t prepared to change her name.

Sandy noticed my hesitation and explained her resistance to the name. Said quickly, Anna May becomes “anime,” a style of animation often featuring themes intended for an adult audience. Two of the other members nodded while five of us merely shrugged. But Sandy’s concern raised several questions in my mind.

How would my readers respond?

Would they make the same connection as Sandy?

Would Anna May’s name suit or hinder her villain status?

A well-chosen name sets the right tone for the character and, in some cases, may even suggest certain physical, emotional, or psychological characteristics. James Bond flows well and suggests excitement and wealth while Scarlett O’Hara conjures up images of plantations and Southern belles. Short one-syllable names like Jane Eyre suggest direct and well-grounded personalities while longer, multi-syllabic names like Anna Karenina and Armand Gamache are often associated with more complex personalities.

I have a preference for certain names, in particular, the apostle names, Luke and Paul. Patricia Anderson, one of my beta readers, pointed out that I had used Paolo, Paula and Pauline for three different characters in the novel. Definitely overkill. I had no problems changing the names of these secondary characters: Paula → Belinda and Pauline → Karen.

While researching, I discovered the following tips:

  • Avoid names that end in “s.” If you give a character a name like Gladys or James, you will have an awkward time when you write the possessive form.
  • Use names to fit the period or ethnic group. I had no problems coming up with Italian names. For the older characters, I borrowed from my mother’s circle of friends. And for the younger crowd, I flipped through my yearbooks.
  • Limit the use of weird or exotic names. Many science fiction and historical romance writers spend considerable time finding unusual names that jump off the pages of their novels. When they indulge their creative freedom and create names, they run the risk of introducing names that are awkward and unpronounceable.
  • Watch the flow with first names and surnames. The first name should not end with the same sound as the last name. For example: Nelson Neufeld. But combining common first names with unusual surnames (or vice versa) can be very effective. Examples: Victor Frankenstein and Sirius Black.
  • Don’t worry too much about the meanings behind names, especially if you have become overly attached to your characters. Lesson learned: Research the names before investing too much time and energy in the manuscript.

BTW…I decided to stick with Anna May.

Hours before the opening of her career counseling practice, Gilda Greco discovers the dead body of golden girl Carrie Ann Godfrey, neatly arranged in the dumpster outside her office. Gilda’s life and budding career are stalled as Detective Carlo Fantin, her former high school crush, conducts the investigation.

When three more dead blondes turn up all brutally strangled and deposited near Gilda’s favorite haunts, she is pegged as a prime suspect for the murders. Frustrated by Carlo’s chilly detective persona and the mean girl antics of Carrie Ann’s meddling relatives, Gilda decides to launch her own investigation. She discovers a gaggle of suspects, among them a yoga instructor in need of anger management training, a lecherous photographer, and fourteen ex-boyfriends.

As the puzzle pieces fall into place, shocking revelations emerge, forcing Gilda to confront the envy and deceit she has long overlooked.

On sale for 99 cents … September 13 – September 27

On Planting Red Herrings

When I shared an early draft of A Season for Killing Blondes, a beta reader complimented me on my use of red herrings and suggested the title could also be considered a red herring.

Puzzled, I asked for clarification.

She explained, “A red herring is a literary device that leads readers toward a false conclusion. Glancing at the title, I expected to read a thriller about a serial killer who had designated a specific time period for the Rampage.” She winked. “That’s definitely not the case here.”

A bit worried, I wondered if I was misleading my readers. Would they expect a thriller and be disappointed when my novel turned out to be a cozy?

She assured me that the title was well-suited to a cozy mystery that featured a brunette lottery winner as the primary suspect and four dead blondes killed during a two-week period. And she doubted that anyone would be disappointed at the end.

After our conversation, I decided to do more research into red herrings.

Several theories exist regarding the origin of the expression. Some believe that it refers to the use of a kipper (strong-smelling smoked fish) to train hounds to follow a scent. Another theory points to escaping convicts who used red herrings to throw off hounds in pursuit.

Many of the plots in Agatha Christie’s novels contain red herrings. In And Then There Were None, we assume a character who goes missing is the killer. Later, when his body is washed up onshore, we realize that his absence was a red herring that misled the other characters and the readers.

In The Da Vinci Code, Dan Brown expertly uses the character of Bishop Aringarosa as a red herring throughout the novel. While reading, we can easily imagine him as the mastermind of the church conspiracy and are surprised when the real culprit is revealed. Intrigued by the bishop’s unusual surname, I probed further and learned that “Aringarosa” translates into English as “red herring.”

Another famous red herring example appears in The Final Problem by Sir Arthur Conan Doyle. While walking through the Swiss mountains with Sherlock Holmes, Dr. Watson receives a message that an Englishwoman at their hotel is in urgent need of health care. He rushes back to the hotel and discovers there is no Englishwoman. The message was a red herring sent by the villain Professor James Moriarty as a ruse to isolate Sherlock Holmes at the edge of a cliff.

To keep my readers guessing while reading A Season for Killing Blondes, I introduced a gaggle of suspects, among them a yoga teacher with anger management issues, a lecherous photographer, two “50something” mean girls, and fourteen ex-boyfriends.

From the reviews, I gathered that I had succeeded in maintaining the readers’ interest until the final chapters. My favorite comes from The Romance Reviews: “A well-written, character-driven murder mystery that genuinely had me scratching my head until the very end wondering who dun’ it!?”

Do you have a favorite red herring to share?

 

Where to find Joanne Guidoccio…

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How to Clearly See…

In A Different Kind of Reunion, Private Investigator Jim Nelson doesn’t mince words when he learns about the psychic’s involvement in the murder investigation:

“Let’s face some facts here. Most psychics need to make a living. I don’t doubt this lady has some intuitive ability—as many women do—but I don’t think it’s enough to catch a murderer.”

Jim is in good company.

According to a recent survey by YouGov.com, 24% of respondents believe there are actually individuals who possess the ability to see the future. There is a gender split here as well; 28% of women think this power exists, while only 19% of men think the same.

While I’m of two minds here, I do believe it is possible for each of us to have an intuitive awakening. In fact, some of us already possess signs of clairvoyance.

Not sure? Take this quick survey:

  1. Do mental images randomly flash before your eyes?
  2. Can you easily visualize people and places?
  3. Do you frequently have vivid dreams?
  4. Can you quickly complete mazes, puzzles, and other visual-spatial tasks?
  5. Can you see auras (glowing lights) around the people in your life?

Regardless of your score, you can access your inner compass and develop the skill to “clearly see” what is going on in your life. Here are some suggestions:

  • Meditate for a few minutes each day. When you get still and clear your mind, you allow the right (creative) brain to take over and the left (logical) brain to take a back seat.
  • Take note of goose bumps, shivers down your spine, and racing hearts. Your body is letting you know when things are right or off. The key is to trust those feelings and act upon them.
  • Be on the lookout for any God/Goddess nudges that suddenly appear in your life. These could take the form of notices on bulletin boards, titles of books that resonate, or opportunities that present themselves.
  • Release negative feelings. If you are angry or depressed, you cannot make sound decisions.
  • Pay attention to how you feel after talking and meeting with the people in your life. Keep those who empower you and take distance from those who drain you. If you cannot walk away from the latter group, limit your involvement with them.
  • Dream with purpose. Before you fall asleep, focus on any unresolved issues or problems. Imagine possible solutions as you fall asleep. Then, let your brain do the rest. Keep a journal on your nightstand and record those dreams as soon as you awaken.

Any other suggestions to share?

 

 

Where to find Joanne Guidoccio…

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Idea → Sticky Idea → Premise

By Joanne Guidoccio

Writers  can find inspiration almost anywhere, and they don’t have to go too far to find those ideas. Checking Twitter or Facebook feeds, reading a daily newspaper, watching a television program, visiting an art gallery, eavesdropping on conversations…

Which ideas work best?

Sticky ideas…those ideas that simply won’t go away.

Once that idea takes root, it’s like a song that you can’t get out of your head. You wake up thinking about it, dream about it, and fantasize about it. You can even imagine the A-list actors who will star in the screenplay based on your novel. You may seek validation from family and friends: “Don’t you think that would make a great novel?” Unfortunately, too many ideas remain fantasies and don’t make it to the next step: transforming an idea into a premise.

What is a premise?

A premise is an idea fleshed out with details. You should be able to state this premise in two to three sentences while answering the questions: Who, What, When, Where, Why, and How.

Here is one of my examples:

During my cancer journey, I read two to three cozy mysteries a week. I enjoyed these well-plotted novels in the tradition of Agatha Christie and Murder She Wrote. The crimes takes place “off stage” and very few graphic details are provided. That is, the novels contain little violence, sex, or coarse language. The majority of the cozies I read were based in the United States and England.

Halfway through chemotherapy, I started imagining a cozy based in Ontario. That was the original idea, and it wouldn’t leave me. But it wasn’t enough to start writing the novel. I continued reading cozies and let the idea percolate. Slowly, I added details about the protagonist and setting: A50something woman. Italian Canadian background. Mathematics teacher. Lottery winner. Based in Sudbury. Four dead blondes.

I came up with the following premise: What if a teacher wins a $19 million lottery and returns to her hometown of Sudbury, only to find herself the primary suspect in the murders of four blondes. Can she prove her innocence and solve this case before it’s too late?

Once I had the premise in place, I started writing A Season for Killing Blondes.

In June 2015, The Wild Rose Press released A Season for Killing Blondes.

Last month, the cozy was included in Murder & Mayhem,  a boxed set featuring over 1200 pages of reading pleasure from six  Wild Rose Press authors: J L Wilson, Misty Simon, Michelle Witvliet, Vicki Batman, Cindy Davis, and Joanne Guidoccio.

Buy Links

Amazon (Canada) | Amazon (US) | The Wild Rose Press

excerpt from A Season for Killing Blondes…

Carlo had removed his suit jacket and rolled up the sleeves of his light blue dress shirt. His tie lay on the desk. The rumpled look suited him to a tee. And his large black-rimmed glasses accentuated those unforgettable blue eyes. Bluer than blue. Sky blue. Cornflower blue. Robin’s egg blue. Years ago, Adele Martino and I had come up with thirty-seven descriptions of Carlo Fantin’s eyes when Mrs. Gillespie assigned one of her Monday morning English composition exercises. As I tried to recall the other thirty-three, I realized that Carlo was speaking to me.

“…he’ll be taking notes as well.”

Darn! Another officer in the room, and I had missed his name and more importantly, his title. Was he a detective or a constable? I’m sure Sofia would know. In the meantime, I better stop daydreaming and start listening. I nodded in the direction of the beefy officer. Dark hair. Dark eyes. Expertly trimmed moustache. A big bear of a man who reminded me of Magnum P.I.

Carlo cleared his throat. He was ready to get down to business. Police business. “It appears that Carrie Ann was your first client. You haven’t opened this office for business yet. How did that happen?”

My heart raced as I spoke. “After Sofia and my mother left…I’m not certain about the time…um…I…I heard a knock at the front window. I looked up and saw Carrie Ann. Hadn’t seen her in ages.” I paused and then added, “Still wearing the same pageboy hair style and that blonde color—”

Carlo waved his hand. “Stick to the facts, please.”

I felt myself reddening as those piercing blue eyes bored right through me. “Oh, sorry. Um, I let Carrie Ann in.”

“And?” Carlo said when I hesitated.

I shrugged. “We just talked for a while, then, uh…” I closed my eyes and tried to recall the conversation. But nothing concrete came to mind, only Carrie Ann’s infectious laugh and bubbly compliments about the decorating scheme. When I opened my eyes, the other officer offered me a water bottle. I thanked him and gulped down half the contents.

“You scheduled her for a session tomorrow morning,” Carlo said as he held up my appointment book. “Carrie Ann is…was considered one of the best interior designers in town. Why would she need counseling from you?” His dark brows drew together in a suspicious frown. “Were you planning to tell her to give it up?”

Where to find Joanne Guidoccio…

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What About the Men?

It’s the last week of the blog tour for Too Many Women in the Room. You can enter the giveaway for a $10 Amazon gift card here.

Since the book’s release, I have received many comments about the temperamental female characters that populate the novel.

Potential readers have also asked…

What about the men?

Three male characters play significant roles : Chief Detective Carlo Fantin, Chef David Korba, and Photographer Michael Taylor.

As Gilda’s love interest, Carlo Fantin appears throughout the Gilda Greco Mystery Series. A handsome widower with two children and five grandchildren, Carlo didn’t expect to fall in love again. All that changed when he headed up the murder investigation in A Season for Killing Blondes.  He and Gilda immediately connected, but ever conscious of his role, Carlo made it clear that nothing could happen until the investigation was over. At the start of Too Many Women in the Room, Gilda expresses concerns about the three-month break Carlo has instigated. But that doesn’t last too long…

 

David Korba could cook, and he could charm. One meal—that’s all it took to win Gilda Greco’s approval and a six-figure investment in Xenia, an innovative Greek restaurant near Sudbury, Ontario.  But there’s  much more to the charismatic chef who hails from Greece via the Danforth in Toronto.  Impressed and charmed by his looks and culinary skills, Gilda didn’t ask too many questions and later wondered why she kept her investment a secret from everyone in her circle.

 

A minor character in A Season for Killing Blondes, Michael Taylor managed to annoy almost every woman—with the exception of his wife—that he encountered. In Too Many Women in the Roman, he infuriated eight  women at a VIP dinner, he should never have attended. Often compared to Nick Nolte in his younger days, Michael’s fading looks and acerbic personality no longer endeared him to  women in his circle and beyond.  Unfortunately, he suffered the consequences of his inappropriate comments and lecherous behavior.

 

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Dealing with Dialogue Tags

Glancing back at some of my earlier work, I cringe at my use of “said bookisms” such as roared, admonished, exclaimed, queried, and hissed. I was trying to avoid overusing the word “said” and searched for suitable alternatives. I realize now that substituting those words made it sound like I enjoyed using my thesaurus. Instead, I was annoying the reader and drawing attention away from the dialogue.

From different workshop facilitators, I’ve learned that I don’t have to interpret the dialogue, or worse, tell the reader how the words are said. If the dialogue is strong enough, “he said” and “she said” will do. Like other parts of speech—the, is, and, but—that are used several times on each page, “said” is invisible and allows the reader to concentrate on the action and dialogue.

To add variety, I insert action tags and internal dialogue within blocks of dialogue.

Here’s an example from my upcoming novel, Too Many Women in the Room:

Carlo’s hand caressed my thigh. More sex. The man could be insatiable. And it had been almost two weeks since our last romp. We started to kiss and then his cell phone vibrated.

Carlo groaned as he leaned over and picked up the phone. He sat up, his back to me. “What’s happened?” he barked. Carlo’s shoulders tensed. A long sigh and then his terse words. “Clear the perimeter, stat.”

Clear the perimeter. My heart beat faster as I recalled the last time I had heard those dreaded words. It could mean only one thing. Another murder. Two murders in less than twenty-hours. What were the chances of that happening in Sudbury? At the Christmas party, the police chief had bragged about one of the lowest murder rates in Canada during the past twelve months.

I swallowed hard. “What’s wrong?”

Carlo turned and gave me a long glance. “Andrew Frattini was found dead in the alleyway behind the ReCareering office.”

The nightmare couldn’t be starting again. This time with different players but still with the same intent. To pin the murder on me. But that strategy wouldn’t work. I had an iron-clad alibi no one could refute.

Carlo dressed quickly. He picked up his phone and then turned toward me. “Stay clear of this, Gilda.”

“How can I ignore it?” I said as I felt myself tearing up. “Someone’s trying to frame me again.”

He leaned over and kissed me. “Well, they didn’t succeed, did they?”

Blurb

When Gilda Greco invites her closest friends to a VIP dinner, she plans to share David Korba’s signature dishes and launch their joint venture— Xenia, an innovative Greek restaurant near Sudbury, Ontario.

Unknown to Gilda, David has also invited Michael Taylor, a lecherous photographer who has throughout the past three decades managed to annoy all the women in the room. One woman follows Michael to a deserted field for his midnight run and stabs him in the jugular.

Gilda’s life is awash with complications as she wrestles with a certain detective’s commitment issues and growing doubts about her risky investment in Xenia. Frustrated, Gilda launches her own investigation and uncovers decades-old secrets and resentments that have festered until they explode into untimely death. Can Gilda outwit a killer bent on killing again?

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