Today's #TuesdayTip is another #ConversationsWithTheirCreations.
The premise is simple - an author conducts an interview with one of their characters. I leave it up to them how they wish to interpret that brief.
My guest author today is Jonathan Wilkins. A retired teacher, lapsed Waterstones bookseller and former basketball coach, he now takes notes for students with special needs at Leicester University.
He writes contemporary and historical crime thrillers.
Below, we meet the hero of his Poppy Knows Best series, set mostly in the 1920s, starting in 1917.

Could you introduce yourself?
It’s complicated I’m afraid. My mother always calls me Pandora, her family name. My father calls me Ophelia, which is his family name. My friends call me Poppy.
My full name is Lady Pandora Ophelia Penelope Loveday.
I live in Mountain Ash in Wales in Loveday Hall and at other times in Slough Square, London at Loveday House.
We first meet you in 1917?
Yes, I joined the VADs (that's the Voluntary Aid Detachment for our readers who aren't members of the British Empire) having lied about my age. My father or Dadda as I call him, worked at the War office and could have got me called back for being underage. He argued with mother about this a great deal. In the end it turns out he let me stay. Mother hated this and we were estranged for quite a while. It’s funny really as she was an active suffragette before the war. Even got arrested for assaulting a police officer!
Did she go to prison?
Much to her disgust, no. The policeman took her home to Dadda, he was really annoyed with her, but of course understood, he often commented on the issue in the House of Lords.
But he let you continue?
Yes, he knew it was something I had to do. Also I wanted to be closer to my brother Alfie who was fighting out there.
Did you ever see your brother?
Ironically no. We were never in the same area. It was difficult not seeing him. He is my best pal.
What did you do during the war?
I drove ambulances. Alfie had taught me to drive on tractors, so it was quite simple really and I knew how to maintain the engine so that went down well.
Was it an awful experience?
Yes and no. Taking the wounded to the Dressing Station was horrible. The screaming from the back of my ambulance, then the washing it out at the end of the day. Blood and all sorts in the back, it was quite revolting.
Was there anything good about it?
I met some lovely people. We stayed in an old barn, it was really cosy and waterproof thank goodness and I met the love of my life.
Can you tell us about him?
Well actually, I’m not sure. I fell in love with a woman. I know I oughtn’t, but it’s true.
How did this happen?
I was driving my ambulance past a bombed out dressing station and saw her in the mud. She was holding a Canadian soldier and was covered in blood and mud. I helped her out and took her to the barn.
Where she stayed?
Yes, amazingly with all the red tape we get sunk under she was allowed to stay and join our nurses. Her name is Elodie Proux. We have to keep or love secret so I’m not sure you should print this.
We can be discreet, don’t worry.
Especially as the Canadian soldier had tried to rape her and she thinks she killed him …

Jonathan Wilkins writes contemporary and historical crime thrillers.
His Poppy Knows Best series starts in 1917, with Poppy Flowers At The Front and he plans to move it through to 1968. The third in the series is Poppy Blossoms Amongst The Dead. 
He also writes a contemporary series based in Utrecht, following Detective Caes Heda and his daughter Truus. Utrecht Rain is available from Amazon, whilst Utrech Snow is available direct from his website www.jonathanwilkins.co.uk, along with all his books.
You can learn more about Jonathan and his writing by following him on Facebook, Twitter (@leicesterstorys) or Instagram (@jonwilkins55)

For this week's #TuesdayTip, I am thrilled to invite Jason Monaghan back to share his "Plot Spider" method for writing a second draft. Jason previously shared his "Filleted Fish" method for a first draft, so if you haven't done so already, I recommend having a read of that as well.

Jason is an author and archaeologist, now back working in his native Yorkshire after many travels. His career has taken unexpected twists including becoming a bank director, anti-money laundering specialist, shipwreck archaeologist and museum director. All of which creates plenty of inspiration for his thrillers, of which the latest is Blackshirt Masquerade published by the Historia imprint of Level Best books. He has also written the Jeffrey Flint archaeological thriller series available from Lume Books and is an active member of the Crime Writers Association.

Jason's Tip
My very spare ‘filleted fish’ first draft will be around 40,000 words, and when I’m convinced that I have a whole potential novel I draw what I call my ‘plot spider’. This used to be on paper, but I now employ a wipe board to mark up with characters, organisations and incidents connected with coloured lines. While this information may already be in my head it is a well- known design principle that presenting a plan graphically engages different parts of the mind, feeding creativity.
In the centre will be whatever is at the core of the novel, so in the case of Blackshirt Masquerade it is the British Union of Fascists in a big black circle. I link my hero and the other characters to the central circle and each other. More organisations are added around the edges: MI5, Special Branch, the Communist Party and so on.
Annotations will be added to the links, such as ‘girlfriend’, ‘witness’, or ‘kills’. Major incidents are drawn in red starbursts, linking to affected people. During this process, it becomes clear where gaps in the logic of the plot need to be filled. How did those people meet? Who is this character really working for? How does he unmask the villains? Key clues are also flagged, with links to who discovers them and how. In my Jeffrey Flint books the plots were constructed like an onion, with concealing layers that needed to be stripped away one by one.
After only an hour or two I have a messy piece of modern art and grubby hands. I take a snap on my phone for reference.
I often draw a second diagram as a villains-eye view. It shows the underlying plot, the one the reader doesn’t see and my heroes will only uncover piece by piece. This cross-checks the logic of the bad guys, what they hope to gain and how they respond as the heroes draw closer.
Thrillers generally have several threads to the plot which are gradually twisted together or are revealed to be red herrings. A sub-plot such as a romance or personal crisis of a lead character may need its own resolution. I use the wipe board again to make a plot list, colour coded for each strand, making sure each has its genesis and resolution – or is deliberately left hanging for the sequel. This points up plot lines that are undernourished and where more clues or twists are needed. Each thread is written onto a calendar so they can ultimately converge in a logical manner, and in a historical thriller also march in step with actual events.
Finally I’m ready to write Draft 2, aiming for 70,000 words or so in which the plot, sub-plots, clues and resolution are all there. It’s still not fit to show anyone, but at least I can start talking about ‘my next book’.
(c) Jason Monaghan 2022

You can learn more about Jason by visiting his website and Facebook page or following him on Twitter @Jasonthriller or Instagram @docmonaghan.

What do you think of Jason's "Plot Spider" method, or his "Filleted Fish" method?
As always, feel free to comment here or on social media.

​Until next time, best wishes,
Paul
Are you a writer with a tip to share? If so, please feel free to contact me here, or via email/social media. 👇

For this week's #TuesdayTip, I am thrilled to invite Jason Monaghan to share his "Filleted Fish" method for writing a first draft.  Stay tuned for a later tip, when he will be sharing his "Plot Spider" method for writing a second draft.

Jason is an author and archaeologist, now back working in his native Yorkshire after many travels. His career has taken unexpected twists including becoming a bank director, anti-money laundering specialist, shipwreck archaeologist and museum director. All of which creates plenty of inspiration for his thrillers, of which the latest is Blackshirt Masquerade published by the Historia imprint of Level Best books. He has also written the Jeffrey Flint archaeological thriller series available from Lume Books and is an active member of the Crime Writers Association.

Jason's Tip
Writers’ approaches to creating their first draft are classically discussed as ‘pantsers’ who write beginning to end and ‘plotters’ who map it all out before they begin. My approach is something in between, with the first draft resembling one of those filleted fish that a cartoon cat finds in a bin. It has a head, a tail, a backbone and a few ribs.
A plot comes to me as if I’m remembering a movie that I saw many years ago. There’s a shooting, but a man is running towards it; why? Who was the target and why did the shooter miss? It’s something to do with Blackshirt fascists and spies. Ideas start to build as I daydream in the shower or doing the washing up, and pretty soon I begin to write. In parallel I’ll commence background research for the historical period, geographic locations and technical detail. Facts will be dropped in as I find them, correcting the text if necessary.
I write the opening chapters pantser-style, knowing that the first pages will probably be replaced or heavily reworked as it is critical that the opening grabs both publisher and readers. This is the ‘head’, and the developing plot becomes the backbone. I’ll write the key action scenes, major character moments and big twists that become the ribs of the story. The first draft comes out as a stream of consciousness, jumping from one scene to another, not necessarily in sequence. It’s deliberately spare, with dialogue just using ‘he said/she said’ and omitting most of the animation, the setting down of teacups or anxiously glancing out of the window. That will come in later drafts once I’m certain I need that scene and it is worthwhile proceeding to polish it.
This methodology works for me, but it’s not the most efficient way to write. It came about due to time pressures of fitting writing around a day job, family commitments and academic research. Also, my thrillers don’t follow the linear sequence of crime to clue to suspect to resolution as employed in a classic police procedural. Several plot threads wind in and out before becoming tied together in the climax, and a fair amount of re-arranging of the ‘ribs’ will be needed in later drafts.
The filleted fish needs a tail, so I’ll write the ending fairly early as I need to know where the story is going. Loose ends need to be tied up, villains identified, and seeds planted for a sequel. I aim to have about 40,000 words in the first draft if the final target is 90-100k. The lead characters are all there, as is the main plot, and it has a beginning, middle and end. It’s not something I’d want anyone else to read, but I have a story. 
(c) Jason Monaghan 2022

You can learn more about Jason by visiting his website and Facebook page or following him on Twitter @Jasonthriller or Instagram @docmonaghan.

What do you think of Jason's "Filleted Fish" method?
As always, feel free to comment here or on social media.
Stay tuned for Jason's second post in a few weeks time and stop by next week, when I celebrate 100 Tuesday Tips by launching a new feature ...

Are you a writer with a tip to share? If so, please feel free to contact me here, or via email/social media. 👇

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.