I've written four books, and have not published any of them.
That's about to change.
First, I wrote a suspense novel about a businessman who will do anything---anything!---to protect his business, his reputation and his family. I consciously set out to imitate the novels of Patricia Highsmith and the films of Alfred Hitchcock. After rewriting it several times with the help of fellow writers, I concluded I had a lot to learn and set it aside.
Next, I wrote a murder mystery about an art history professor whose research on a mural at the college where she teaches turns out to be like picking up a snake by the tail. It's like Dick Francis's novels, except it's about art history rather than horse racing. While rewriting it several times, I wrote . . .
. . . the next novel about that same art history professor. This time she curates an exhibition of paintings by a contemporary artist without fully understanding their symbolism. Someone does understand the symbolism and is not amused. People die. While rewriting it several times, I wrote . . .
. . . a third novel about that same art history professor. This time she sets out to advise a wealthy donor who has purchased a rather peculiar painting by Picasso. There's a lot of money on the table. People die.
While writing this third novel, I wrote to some agents about the first art-history-professor novel. A couple liked the idea, but passed. One asked to see the manuscript and passed.
I also researched independent publishing (putting it on Amazon). This used to be considered a poor substitute for "real" publishing. That's no longer true. When you break it down, there are only minor differences between the two paths.
So my series about an art-history professor will be coming soon to a Brazilian rainforest near you.
Two weeks ago I re-read that suspense novel after not looking at it for two years. I'm surprised at how well it reads. I'll keep you posted about it.
That's about to change.
First, I wrote a suspense novel about a businessman who will do anything---anything!---to protect his business, his reputation and his family. I consciously set out to imitate the novels of Patricia Highsmith and the films of Alfred Hitchcock. After rewriting it several times with the help of fellow writers, I concluded I had a lot to learn and set it aside.
Next, I wrote a murder mystery about an art history professor whose research on a mural at the college where she teaches turns out to be like picking up a snake by the tail. It's like Dick Francis's novels, except it's about art history rather than horse racing. While rewriting it several times, I wrote . . .
. . . the next novel about that same art history professor. This time she curates an exhibition of paintings by a contemporary artist without fully understanding their symbolism. Someone does understand the symbolism and is not amused. People die. While rewriting it several times, I wrote . . .
. . . a third novel about that same art history professor. This time she sets out to advise a wealthy donor who has purchased a rather peculiar painting by Picasso. There's a lot of money on the table. People die.
While writing this third novel, I wrote to some agents about the first art-history-professor novel. A couple liked the idea, but passed. One asked to see the manuscript and passed.
I also researched independent publishing (putting it on Amazon). This used to be considered a poor substitute for "real" publishing. That's no longer true. When you break it down, there are only minor differences between the two paths.
So my series about an art-history professor will be coming soon to a Brazilian rainforest near you.
Two weeks ago I re-read that suspense novel after not looking at it for two years. I'm surprised at how well it reads. I'll keep you posted about it.
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