This week I am delighted to welcome Fiona Veitch Smith. Fiona is the author of the Poppy Denby Investigates novels, Golden Age-style murder mysteries set in the 1920s. The Jazz Files was shortlisted for the CWA Historical Dagger (2016), while subsequent books were shortlisted for the Foreword Review Mystery Novel of the Year and the People’s Book Prize. She worked as a journalist on Cape Town newspapers in the 1990s before returning to the UK to work on regional magazines in NE England. Thereafter, she spent a decade lecturing creative writing at Northumbria University and journalism at Newcastle University. She is now the Assistant Secretary of the Crime Writers’ Association. She lives in Newcastle upon Tyne with her husband and teenage daughter.
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Fiona's #TuesdayTip.
Find your OWN writing rhythm. You will hear writing gurus (many of them famous authors) telling you that you must write every day to be a ‘real’ writer. That you must set yourself a word count. That you must carry on writing and not go back over what you’ve written before you reach the end of your novel. Well, I do none of those things. Due to caring duties and other work commitments, I only write three days a week, for only a few hours at a time. I rarely set myself a word count. I always go back over what I have written before I move on. And yet I have managed to write a novel a year for the last 10 years as well as a couple of dozen children’s picture books and hundreds of magazine and blog articles. If the ‘write every day, never go back over what you have written, and set yourself a word count’ style works for you then stick to it, but if it doesn’t, don’t be scared to work to your own rhythm. The important thing is that you write. Your way and in your time. And that it brings you, and hopefully others, some joy. Happy writing.
​(c) 2021 Fiona Veitch Smith

The Poppy Denby Investigates novels are Golden Age murder mysteries set in the 1920s dealing with issues of social justice while sizzling with jazz-age style. Poppy, dubbed the 1920’s most stylish sleuth, works on a London tabloid and solves murders on the side.
The first in the series is The Jazz Files and is available on Amazon.
The latest, The Crystal Crypt​ has just been released and is available here:
To find out more about Fiona and Poppy Denby, you can visit her website www.poppydenby.com and Facebook page or follow her on Twitter @FionaVeitchSmit and Instagram @fionaveitchsmith_author.

The first in an occasional series of #TuesdayTips looking at ways to beat writer's block.
Ugh! We've all been there. The term writer's block is such a dramatic term, conjuring up images of tortured writers moping around like the world is about to end.
It's not usually quite that bad - and try explaining it to your non-writer friends who all have 'real' jobs, and see how much sympathy you get!
Sometimes it can be little more than the desire to do anything other than write. Other times it can be staring at a blank screen awaiting inspiration, whilst knowing that it isn't going to come. At its worst it's the paralysis caused by an upcoming deadline.
(Side note about punctuation here. All writers suffer this, but it feels incredibly personal and even isolating, so I have decided to go with the singular possessive writer's block, rather than th plural writers' block).
Either way, we need to bust that block (credit to my partner for the cringeworthy blog title).
Today's Tip.
Write something different.
It sounds trite and easy, and it is one of those rare occasions where writing out of sequence, like I do, is a bonus, not just a colossal headache of rearrangement at the end of the book! But I think it is something that even those who plot their books to the nth degree can do.
Sometimes the words just won't come. The scene that you are trying to write just will not flow. It's not necessarily that you don't know what you need to write - for some reason, today you just can't.
For me, switching to a different scene often solves the problem. I had this issue recently with my current work in progress. I had been writing a scene where my team were investigating a particular incident. I knew what needed to happen, the actions that the team would be taking, and who would be involved. I even had some snatches of dialogue that I wanted to use. I could bullet point the scene if needs be. But for whatever reason, I just couldn't  get into the groove.
So instead, I started working on a different part of the book. It was almost like starting a fresh story, and before I knew it, I'd banged out a thousand-odd words.
That's one less scene to write. My writing day had turned from what could have been a bit of a write-off (no pun intended) to a pretty productive one. A couple of days later, I returned to that original scene. Nothing had changed, but I finished writing it in a couple of hours. No drama, the words flowed as they always do, and when I went over it the next day, the prose was exactly what I wanted.
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Stay tuned for more tips, including some exercises that can kickstart your day's writing and get you into the groove.
Do you have any tips on how to overcome writer's block?
Feel free to comment here or on social media.
Happy writing,
Paul.

For this week's gues blog post, I am very excited to introduce Candy Denman. Candy is not only a novelist, but has also written TV scripts and therefore has a special insight into characterisation.
Candy writes a series of crime novels about forensic physician and part-time GP, Dr Callie Hughes. The first in the series is Dead Pretty​ and can be bought from Amazon. 
It is not unusual for Callie to see a dead body, but this time, the young woman’s corpse rings alarm bells. Her medical knowledge gives her unique insight into the killer, but convincing the police is a challenge. 

Candy's Writing Tip
When writing both scripts and novels, getting the ‘voice’ of a character is critical. Just as the reader/viewer has to believe in the story, it is just as important that they believe in the characters and what they are saying or how they are acting. Once the reader loses that suspension of disbelief, they lose interest in the story.
So how can a writer make sure they get the voice right and that they make the different characters sound sufficiently different? This isn’t about just giving them different accents, it’s more about making them distinct from each other.
When I write the back story and character traits for each character, I find it helpful to do it in the first person, so that each character describes themselves to me and give me their own potted history.
It might sound bonkers, but it works.
I’m a young lad, not bad, but I don’t take any shit, know what I mean? I didn’t mean to do it, it just sort of happened.
I’m not complaining, not really. I haven’t had an easy life, but nothing is as hard as this being on your own.  Sometimes I might not see anyone for weeks in a row and I find myself talking to my cat, what was her name? Tiddles. That’s right.  My long gone, dead cat Tiddles.
I do about half a page on each, depending on how big a character they are in the story and save them for reference. This is particularly important if you are writing a series, to make sure you get them right each time. A character can develop and change in time, depending on what has happened to them, but their overall voice will remain the same.
(c) 2021 Candy Denman

Candy trained as a nurse, and worked in the NHS almost all her life, until managing recently to disengage herself in order to become a full-time crime writer. She has also written a large number of scripts for such highly-acclaimed TV series as The Bill and Heartbeat which gave her the idea to write a crime series that also includes medical stories.
You can learn more about Candy by visiting her website www.candydenman.co.uk​ or Facebook Page and by following her on Twitter @CrimeCandy or Instagram @CandyDenman.

Three weeks ago, I finally bit the bullet, took the plunge, threw caution to the wind (insert cliché of choice) and installed Scrivener.
For those unfamiliar with this piece of specialist software, Scrivener is a writing package sold by Literature and Latte that is raved about by writers, both professional and amateur. In addition to being a word processor, Scrivener has a number of really useful features that make organising the writing process easier. For example it acts as a binder for all the notes and research etc used in your project, and has a virtual corkboard that allows you to easily reorder scenes within your book.
Despite the glowing testimonies of friends, I held off installing it for a couple of years for purely pragmatic reasons. First, I have already been writing my DCI Warren Jones series for several years. I have  cobbled together a somewhat clunky, but effective, system using MS Word, MS OneNote (for my research and ideas) and MS Excel (for my timelines etc). Whilst I was keen to improve my method (for example, Word is a pain if you write out of sequence), the system worked, and I didn't think switching mid-project would be sensible.
The second is that version 3 for Windows was repeatedly delayed. Scrivener was originally written for MacOS. Version 2 for the Mac was ported to Windows (and confusingly called V1). Version 3 for Mac was released a couple of years ago. There are big improvements in V3, and so I didn't fancy installing the available Windows version, and then having to upgrade and relearn everything for V3 (they decided to skip the label V2 for Windows). But more importantly, I'm a proud Windows user and I'm buggered if I'm playing second-fiddle to Mac users. 🤣. The software is also available for iOS (I know writers who use it exclusively on an iPad), although it doesn't look as though it will be coming to Android anytime soon, which is a shame.
Installation and Setup:
Installing the software is a doddle and a cheap, single licence (which will last for the lifetime of the product) can be used on multiple machines (although you'll need separate Windows/MacOS/iOS licences if you want to mix and match). I was pleased to see that it works very happily on my portable "writing laptop". That has just 2Gb of RAM, a basic processor and a tiny hard drive. As long as the machine has a minimum 1024x768 screen resolution it works fine.
The software automatically creates backups and autosaves on close. I simply saved the Scrivener working folder to my Cloud account, so that it is more secure.
Important tip: You can only have a Scrivener project open on one machine at a time - which is sensible, it stops versions of the same file getting corrupted. Therefore, when closing a project on one computer, give your computer a few moments to synchronise to the cloud before switching it off. Then, when switching on a different computer, again, make sure that everything has synced before opening Scrivener to stop it clashing. From what I can tell, as soon as you open a Scrivener file on one machine, it makes a temporary lock file that blocks any other machine trying to open it. When you close, that file is deleted - hence the need to wait for your cloud account to sync.
A rather nifty function allows you to save your preferred layout for that machine or setup. I have a layout saved for when my laptop is plugged into my large screen and a different one for when I'm working on my little laptop - it saves having to resize windows etc.
Things I Like About Scrivener.
A project is simply a set of related text files. This means that whether you are writing a single document, have a separate document for each chapter, or separate documents for each section/scene, you are catered for.
Reorganising Sections Is A Doddle.
If, like me, you write out of sequence, then Scrivener allows you to easily reorder your scenes. You can do this either by dragging and dropping on a virtual corkboard (as if you have a board on the wall with each page pinned to it). This comes with a number of different ways to visualise the layout, including on a series of parallel lines, which allows you to see a visual representation of your book - for example, looking at pacing, is chapter one really busy, but chapter two very empty?
There is also a linear 'outliner' that allows you to reorganise sections by visualising the metadata or keywords etc.
Another useful feature, is the ability to group documents in  folder. I often write subplots consisting of several sections, that will then need to be threaded throughout the story. Having them all together in one folder - from which they can be easily dragged out of - makes life very easy.
You Can Add MetaData To Each Document.
Metadata is information that essentially adds tags to each document that isn't included in the final draft, and is invisible to the reader. Scrivener allows a wide-range of different types of information, ranging from keywords, links, pictures, dates and custom labels (which can be different colours). You can also define your own metadata. I have added some custom labels to mine (eg "To Write"). You can also write notes, and even a synopsis for the document. This is great for organising and searching your project, as well as sketching out what a document will contain (for example a list of things that need to be revealed in an interview or dialogue ideas). I have added characters as keywords, so I can see at a glance if there is a clash, where a character appears in two different scenes that take place simultaneously.
Word Count Function and Daily/Project Targets.
Each section you write will have its own wordcount. However, Scrivener also tracks the total number of words in the full manuscript. It also has a deadline function and you can set daily targets, or a total project target. This is really useful. I generally aim for about 120,000 words. I have set myself a rather ambitious target of completing a first draft by the end of the year. I've told Scrivener that I will write Monday to Friday. Scrivener has calculated how many words I need to write each day to hit 120K by December 31st and will update this if I have written more or less on a particular day. You can easily see how many words you've written that day, and there is something especially satisfying when the notification to tell you that you've hit today's target pops up on the screen!
Writing Tools.
Scrivener has a rather nifty name generator that is very customisable, and it will also open highlighted words in Wikipedia or Google with a single click. It also supports comment and review functionality, similar to Word.
Keep Your Research To Hand.
You can import a wide-range of research documents into your project, so that you can easily access what you need. For example, I have imported some PDF maps and reference documents; no need to go hunting around my hard drive for where I saved the damn things!
You Can Make Templates.
If you simply add a blank document, Scrivener defaults to a strange font I've never heard of. I found the best thing to do is create a series of template documents that are formatted how I want. I have a basic section with my preferred font, line spacing etc, and a number of more specialised ones, such as page or section breaks (I have three asterisks separating sections) plus New Day and Title pages. The advantage of this, is that you can give these new sections their own default labels, which makes organising them on the corkboard easy.

Limitations Of Scrivener.
No software is perfect. The word processor is a perfectly acceptable piece of software, but obviously it lacks the refinements of later versions of Word. It has a spellchecker that underlines miss-spelled words (and can be set to UK English), but I've yet to figure out how to easily upload my custom dictionary from Word. Unfortunately, it doesn't have the proprietary grammar checkers etc that Microsoft have spent millions of dollars developing. I've become somewhat reliant on these, over the years, which means that I will need to export the completed document to Word and do a big edit.
I have also had some small issues with page breaks. I think that's something I will either have to play with, or just fix in Word.
Unfortunately, it doesn't come with a thesaurus. Instead, it links out to the Thesaurus.com website. That site is US-based and it isn't as easy, or user-friendly as Shift-F7 in Word.
I have only had a brief play with exporting a completed document. Scrivener supports a wide-range of document types, including PDF, Word, RTF and open-source formats. However, there are a lot of options for when you "compile" your document. I had some very funny results when I tried. I suspect I'll need to spend some time fiddling to get what I want.
Some HotKeys are different to what you may be used to. I know many of the keyboard shortcuts in Word. However, Scrivener is very customisable, so I spent some time changing the shortcuts to what I am used to. It's my own copy, so it's not like it'll confuse anyone else.
I have also yet to find a timeline function. You can add dates and times to documents, so there are work arounds, but there's no simple way to plot out the order of events like I used to do in Excel. I may have to revert to that old method.

So, it's been three weeks or so, and thus far I'm pretty happy. The very well-written manual hints at lots of other functions that I may or may not find useful. I am a novelist, but it also caters for scriptwriters and those writing reference works.
I might write a follow-up to this in the future if I learn enough to justify a blog post.

What are your thoughts on Scrivener? Do you have any tips that you think are worth sharing?
As always comment here or on social media.
Happy writing!

Welcome to this week's #TuesdayTip. 
Today, I am delighted to welcome Laraine Stephens as a guest blogger.
I am a writer of contemporary police procedurals, so I am especially excited to feature a writer of historical crime fiction.
Laraine lives in Beaumaris, a bayside suburb of Melbourne, Australia. After a career as a teacher-librarian and Head of Library, she decided to turn her hand to the craft of crime writing. She is a member of Writers Victoria, Sisters in Crime (Australia), the Australian Crime Writers’ Association and the Crime Writers’ Association of the UK.
Laraine’s debut novel, The Death Mask Murders, is the first in the Reggie da Costa Mysteries series. It was published by Level Best Books in June 2021. Her second book, A Dose of Death, is due out in May 2022.
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Laraine's #TuesdayTip
CREATING AN HISTORICAL SETTING
If you are writing an historical novel, it is important to create an authentic and accurate depiction of the period you have chosen. A writer should evoke a sense of a particular time and place, weaving information seamlessly into the narrative and dialogue. 
In researching The Death Mask Murders, set in Melbourne in 1918, I used digitised newspapers from the time, which were available through the National Library of Australia’s archive, Trove (free). In the United Kingdom, there is, for example, the British Newspaper Archive (pay) and in the United States, the Newspaper Archive (pay). 
From these sources, you can gain a wealth of information on the social, political and economic circumstances of the time, including specific events. Another advantage of using digitised newspapers is discovering whether a word or expression was in common use at the time. For example, when was ‘meal ticket’, ‘serial killer’, ‘dodge a bullet’, ‘tuxedo’ or ‘boyfriend’ (in the romantic sense) first used? Advertisements and even the Classifieds will provide information on subjects as diverse as stage shows, entertainment, cars, prices, product brands and clothing. Without this resource, Reggie da Costa, The Argus’s senior crime reporter, in The Death Mask Murders, would never have worn his impeccably cut linen suit, high-collared cream shirt, and green striped tie from Wallace, Buck and Goodes of Queens Walk. Nor would he have driven a 1917 Dodge Roadster, a flashy, two-seater automobile with a wooden steering wheel, black paintwork, and shiny large headlamps, which was his pride and joy. 
I finish with a word of warning. When it comes to writing, historical background and detail should never overwhelm the plot. Our readers buy novels with the expectation that they will enjoy a cracking, good story, rather than drowning in a reservoir of information.
(c) Laraine Stephens 2021.
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Laraine Stephens is a writer of historical crime fiction. Her novels are set in Melbourne, Australia in the early years of the twentieth century. Her debut novel, The Death Mask Murders, is available from Amazon
You can learn more about Laraine by visiting her Website or Facebook Page.