Killing in Different Ways

Recently, Agatha Award-winning short-story author Toni L.P. Kelner asked if she could run a guest post here on SleuthSayers, highlighting this year's Agatha Award finalists. Toni will be moderating our short story panel next week at Malice Domestic. I happily agreed.

— Barb Goffman

Killing in Different Ways
by Toni L.P. Kelner

Television performer Stephen Colbert says, “I used to write things for friends. There was this girl I had a crush on, and she had a teacher she didn’t like at school. I had a real crush on her, so almost every day I would write her a little short story where she would kill him in a different way.”

Since not all of us had crushes on people who hated their teachers, we’ve had to look elsewhere for our inspiration. In my case, I’ve written a story inspired by Scooby-Doo (“Pirate Dave’s Haunted Amusement Park”), another set in the restaurant where my grandfather ate breakfast every single workday for decades (“Kids Today”), and one after reading a book about life as a carney (“Sleeping With the Plush”). And I’m always inspired by the stories nominated for the Agatha Awards.

In preparation for moderating the panel “Make It Snappy: the Agatha Short Story Nominees” at Malice Domestic, I asked this year’s nominees about their inspirations. Every answer was different and pretty darned inspiring.

Shelley Costa

Author of “The Knife Sharpener”

My inspiration to write short stories came in waves. When I was five, I took my pencil and paper, set down some words, and was amazed that I could make thing up. Things that had nothing to do with lullabies before bed, or struggling to learn to tie my shoes, or dealing with offending vegetables on my dinner plate. It was a kind of magic, or maybe a kind of power. In my high school creative writing class, the teacher was inspiring because she gave me a lot of latitude to write tortured love poetry and tortured love stories that even had a bit of suspense. I loaded all the poetic forms and devices she taught us into a speedy little vehicle for my imagination. And this teacher spent time exposing us to great stories, which was followed up with assignments to write “in the manner of” Salinger, Hemingway, Faulkner.

"The Knife Sharpener" appeared
in the July/August 2023 issue of
Alfred Hitchcock's Mystery Magazine

I believe it was during my junior year at Rutgers when something changed in me about writing stories. I felt it became more than a pastime. I had a glimmer of a life’s work. I declared an English major and got serious. One prof in particular, David Burrows (a ringer for D.H. Lawrence) was an inspiration to me just then. I took his Hemingway, Fitzgerald, and Faulkner course, bedrock American fiction masters, and asked the prof if, instead of essays, I could write short stories inspired by their work. I got the go-ahead. We’ve all had profs that come at just the right time for us. In the Tao Te Ching, one of the teachings says, “When the student is ready, the teacher will appear.” Because Prof. Burrows could tell he had someone on his hands who needed to show understanding of the subject in a different way from what was on the syllabus, I wrote a story inspired by the lives of Scott and Zelda Fitzgerald, set in Paris of the 1920s...and that story, “Cup of Kindness, Cup of Cheer” was my first story sale. I was 22 when I sold it to the start-up Oui Magazine, a subsidiary of Playboy, and felt a professional writing career was unfurling right before my eyes. Could it be that kind of easy? No, it couldn’t. When the magazine underwent a big editorial change, my Scott and Zelda tale fell to the wayside, and the story has never been published. But that, too, became part of the professional writing career.

Although we can find inspiration in stargazing or surfgazing or a Beatles lyric, it really all comes down to the people along the way. It doesn’t take many. Just a few. The ones who hand you the pencil and paper at five, accept your earnest excesses at fifteen, nod at your bushwhacking your way into real storytelling at twenty-one – the ones who, all along, look at you and know. I’d like to think that inspiration goes both ways.

Barb Goffman

Author of “Real Courage”

When Toni asked us to write about someone or something that inspired us to write short stories, I’m sure she was expecting positive, heartfelt responses. Essays that would uplift the readers of this blog. Perhaps she’ll get that from the other finalists. But I’ve always liked to take the road less traveled, to quote a famous poet who truly knew about writing short. 

"Real Courage" appeared in issue
14 of Black Cat Mystery Magazine

So, my inspiration? It was, simply, revenge. I took off an expensive ring while washing my hands in a public restroom at Sleuthfest in 2004 and stupidly forgot it on the sink. In the ten minutes it took me to realize my blunder, it was found by someone who never turned it in to the hotel or convention organizers, despite my pleas in every session. I took that bad incident and turned it into something good, my first professionally published short story, “Murder at Sleuthfest,” in which I killed off the person who found my ring. I received my first Agatha nomination for that story, and it inspired many more involving revenge. These days, I don’t write a lot of revenge stories, but every now and then I do because payback can be fun. (For the recipients, it might be a bitch, but who cares about them? Wink.) 

Now that you’re hopefully smiling—I do love writing humor, even though “Real Courage” isn’t one of my funny stories—I’ll quickly mention a couple of people who believed in me long before I started writing crime fiction: First, Frank Scoblete, who was my high school newspaper advisor. He told me that there was always room at the top, and that’s where I belonged. Perhaps he said that to a lot of students, but he still buoyed my confidence. Second, one of the editors at the Cincinnati Enquirer, whose name I can't remember, but whose words I do. I was an intern, and when he asked about my plans for after grad school, I mentioned that I’d loved living in DC, but I couldn’t expect to find a reporting job there. It was the big league. He looked at me with a confused expression and said, “Why can’t you be in the big league?” These two men believed in my writing talent, and their faith in me gave me confidence when I decided to try writing fiction. Gentlemen, if you’re reading this, I thank you.

Richie Narvaez

Author of “Shamu, World’s Greatest Detective”

One day my brother brought home a book he had been reading for a class on crime fiction: The Great American Detective (New American Library, 1978), edited by William Kittredge and Steven M. Krauzer. The class was done, and since he was more concerned with car payments than collecting books, he said I could have it. The book changed my life. Oh, I had read some mystery and murder fiction—mostly comics. And I had seen my fair share of Cannon, Columbo, Baretta, Kojak, The Rockford Files, Streets of San Francisco, Barney Miller, etc., etc. Hell, even every episode of The Snoop Sisters. But this book was a revelation. I dove into crime fiction and never surfaced.

"Shamu, World's Greatest Detective"
appeared in Killin' Time in San Diego

The subtitle on the cover reads “15 Stories Starring America’s Most Celebrated Private Eyes.” I had to look that up because my well-worn copy no longer has a cover. And, while they’re not all strictly PIs, the short story collection does feature some of the most famous detectives who ever existed on the page, from before the Golden Age and up to the ’70s: Nick Carter, Race Williams, Sam Spade, the Shadow, Hildegarde Withers, Philip Marlowe, Ellery Queen, Lew Archer, even Mack Bolan (think Jack Reacher, but shorter). But one particular sleuth stands out, in light of my story getting nominated for an Agatha.

“Bullet for One,” by Rex Stout, was no doubt my very first exposure to Nero Wolfe. In it, Wolfe and Archie Goodwin investigate the murder of an industrial designer. It’s long, it’s talky, but Wolfe fiercely leaps off the page. Which is about as much moving as he ever does, but it’s immensely impressive. It was Wolfe who inspired my story, “Shamu, World’s Greatest Detective” (published in Killin’ Time in San Diego, Down & Out Books, edited by Holly West). “Shamu” features what you might call a Nero Wolfe from the multiverse—a killer whale who, through the use of cybernetics, is not an armchair detective but a poolside detective, and whose tough-talking assistant, Angie Gomez, does all the (literal and figurative) legwork. If not for encountering Wolfe, et al., in The Great American Detective, I might never have become as obsessed with the hard-boiled and clue-laden flummery of crime fiction as I am today.

Kristopher Zgorski

Co-author of “Ticket to Ride”

As a former English major, I have read hundreds of short stories. So many of them impart lessons about the craft of writing—as well as about life, in general. There are probably about fifty of them that attached themselves to my soul and to which I continue to return to over and over again.

"Ticket to Ride" appeared in
Happiness is a Warm Gun

“Everyday Use” by Alice Walker (of The Color Purple fame) is one such story. This story first appeared in Harper’s Magazine in 1973. I am touched by its subtlety. In just a very honest exchange between family members, readers learn so much about Black culture and the nature of family dynamics. In the story, Mrs. Johnson is waiting on her lawn for a visit from her older daughter, while her younger daughter, Maggie—who is disfigured by burn scars and has never left home—waits by her side. College educated Dee is coming over to collect some “artifacts” from her Mom to display in her new home. Once she arrives, Dee informs her family that she has changed her name to a more “traditionally” African name (Wangero) and introduces her new Muslim husband. Eventually, a conflict arises over some heirloom quilts that Dee (Wangero) wants to take to hang on the wall. But Mrs. Johnson says she promised those to Maggie. Wangero’s argument is that this is crazy, since Maggie would just put them on the bed and use them—which the mother points out is the true “purpose” of a quilt. 

What is fascinating about this story is that while it is told from Mrs. Johnson’s point of view, readers who spend the time imagining themselves in each character’s place will see that they all have valid arguments and reasons for their beliefs. It is with that realization that the story elevates from a domestic squabble into a cultural study. In just a few short pages, Alice Walker weaves in the legacy of slavery, loyalty to family, generational trauma, and above all Love (with a capital L). It’s a beautiful short story that is not easily forgotten.

Dru Ann Love

Co-author of “Ticket to Ride”

I never had a desire to write, but when given the opportunity, I had to take it. My inspiration for writing the short story was my collaborator, Kristopher Zgorski. I knew he had the writing bug and if I could help him get a short story out to the world, I was going to help him achieve this goal.

"A Good Judge of Character"
appeared in Mystery Most Traditional

Tina deBellegarde

Author of “A Good Judge of Character”

Unfortunately, Tina was unable to participate in this blog. If you read her work, you can tell she’s got plenty of inspiration, but what she’s short on right now is time. As I write this, she’s preparing a wedding reception for her son and new daughter-in-law. But don’t worry. After the festivities, she’ll be attending Malice Domestic.

If you’re coming to Malice Domestic 2024 and want to hear more from these inspired—and inspiring—authors, come by Ballroom B/C at 2 PM on Friday, April 26.

And Malice Domestic attendees, don’t forget to read these authors’ stories before the Agatha Award voting deadline (1 PM, Saturday, April 27). To read each one, click on the story titles below.

"The Knife Sharpener" by Shelley Costa

"A Good Judge of Character" by Tina deBellegarde

"Real Courage" by Barb Goffman

"Ticket to Ride" by Dru Ann Love and Kristopher Zgorski

"Shamu, World's Greatest Detective" by Richie Narvaez

Sister to Sister

In Casablanca at Sid's (Rick's) just short decades ago,  I met this mysterious lady who has more names than I can usually remember, but the one which finally showed up in my '90s bookstore more often was Toni L.P. Kelner. I actually fell in love Sid, her skeleton character. Humphrey Bogart could have carried the part off masterfully.

This wonderful interview with my friend, by Hank Phillippi Ryan, has been reprinted here with permission from Toni L.P. Kelner and the New England chapter of Sisters in Crime. 

-Jan Grape

If you want to find Toni L. P. Kelner, go where the laughter is! For so many years, she’s been such a stalwart to Sisters in Crime in every way. Full of fun and jokes and a marvelous sense of humor, sure. But behind all that is the hardest-working woman in showbiz – – with a pedigree of bestselling mysteries and short stories, an Agatha win, an RT Lifetime Achievement Award, an acclaimed partnership with Charlene Harris, and a glorious and talented and loving family. (Including her wonderful husband Steve, another pillar of the SinC community.)

 She’s never afraid to take a writing risk, including one super successful series (written as Leigh Perry) starring…a skeleton. Yes, that’s the brave and brilliant brain of Toni Kelner.

HANK PHILLIPPI RYAN: Do you remember the very first time you thought: I’m going to write a book, and I can do it. What was that moment?

TONI KELNER: I first started trying to write when I was in junior high school, and wrote short stories and even a novella along the way, but the first time I really felt pretty confident that I was going to finish a novel would have been late 1988 or early 1989. That’s when I really got going on my first book-length manuscript, and I was sure I’d finish. I didn’t know if it would sell, but it would be an actual manuscript gosh darn it!

HANK: Wow, that’s thirty-two years ago! That’s astonishing. Did that first book sell?

TONI KELNER: Eventually. I wrote it, shopped it around for a year or so while writing another manuscript, then got some great feedback and rewrote the first one. Once I’d finished the rewrite, it only took a few months to get an agent and then a publisher. (I’ve never rewritten or sold that second manuscript, but I will someday.)

HANK: I have no doubt!  And that’s so inspirational. How many of your books have been published since then? What do you think about that?

TONI KELNER: Seventeen novels, seven co-edited anthologies, and one collection of my short stories. So I guess that’s 25.

 I’m astonished and pleased, but not ready to stop yet!

HANK: Well, of course not!  Gotta know, got to ask. Do you outline? Has your method changed over the years?

TONI KELNER: Only if I have to. I do write outlines when editors require it, but find it constraining. Plotting that works in outline just comes off as contrived in the actual writing. When an outline is required, I write it and get it approved, but then stick it in a drawer and ignore it while I write the book.

HANK:  That’s wise advice. But I wonder if it gets your brain going, you know? Gets the muse listening? Even if the final book is totally different. Getting that core idea is the hardest for me—how about you?  What's the hardest part of the book for you?

TONI KELNER: Getting my tail end writing to get up to speed. Once I’m going, I’m quite fast, but it’s hard to get going. 

Once I’m writing, I try not to repeat myself in terms of plot lines and bits of business. That gets harder each book.

HANK:  Well, yeah, since you’ve been wring for 32 years! (No pressure.) Is your first draft always terrible? Has it always been?

TONI KELNER: My first drafts are much better than they used to be. With the first few, I started too early. I had to cut out a whole first chapter with my first book, then half a chapter with  my second, a few pages with my third… Now I start pretty much where I should start.

HANK:  I love that you learn from yourself.  Very reassuring.  How often in your process do you have doubts about what you’re doing?

TONI KELNER: Almost the entire time except for when I’m rolling down the hill toward the very end.

HANK:  What do you tell yourself during those moments of writing fear?

TONI KELNER: I whine to my husband Steve, who reassures me as best he can.

 I did recently see something inspirational on Facebook. Another writer—and I can’t remember who—quoted something a friend told her. “You’ve written X number of books and stories. Trust yourself to be able to do it again.”

This came at just the right time, because I’ve got a short story due and have been having a hard time writing during Plague Times.

HANK:  Oh, I hear you. If ever there was a time to tune out reality while in the manuscript, this is it. But it’s always safe inside your pages, right?  Do you have a writing quirk you have to watch out for?

TONI KELNER: My characters used to grin all the time, but I’ve gotten better at that one. Now I develop a new one per book that I have to catch while editing. Thank goodness for beta readers.

HANK: True. And so funny. Mine shrug and grin. And it’s hilarious--no one in real life does that, right? What’s one writing thing you always do—write every day? Never stop at the end of a chapter? Write first thing in the morning?

TONI KELNER: I write in the wee hours of the morning. I don’t want to—I’d rather get my work done earlier in the day—but for some reason, I usually can’t settle into work until the world quiets down.

HANK:  Well, you understand your brain, and let it lead you.  How do you know when your book is finished?

TONI KELNER:  If I’m editing and change “said” to “asked,” then in the next pass change “asked” back to “said,” I know it’s time to let it go.

HANK:  Perfect. Has there been one person who has helped you in your career? (I know, it must be difficult to choose just one, but...)

TONI KELNER: So many, but I’m going to say Charlaine Harris. We had been beta reading each other for a while when she invited me to co-edit anthologies with her. That led to a new very visible stage of my career, a new agent, introduction to an editor and publisher, and so many other opportunities. Thank you, Charlaine!

HANK: Well, she’s a total rock star. And so many sisters have her to thank!  Do you think anyone can be taught to be a better writer?  

TONI KELNER: I do. I’ve always liked this philosophy from Gideon in All That Jazz:

"Listen, I can't make you a great dancer. I don't even know if I can make you a good dancer. But, if you keep trying and don't quit, I know I can make you a better dancer.”

I think if a writer keeps trying and doesn’t quit, they’re going to get better. Maybe not great or even good or publishable, but better.

HANK:  Bird by bird, right?  How do you feel about…stuff? Writing swag handouts giveaways that kind of thing. Do you think it matters? Do you have it?

TONI KELNER: I really like creating it but I’m not convinced it works, so I try to restrain myself. I hand out bookmarks, and I’ve got a bunch of microfiber wipes that have original artwork and my book cover on them. Neither are expensive, and both can be mailed with regular postage, so I can still use them during the Plague Times. 

Since lots of conventions and charities ask for auction donations, I also buy skeleton-based items on sale to have on hand so I’m ready to do a gift basket at short notice.

HANK:  You’ve seen so much change in the publishing industry, what do you think new writers need to know about that?

TONI KELNER: Expect change! Keep an ear out to try to predict what that change will be, but don’t assume the experts are going to be right.

Years back, I was at a Berkley Prime Crime dinner when everybody was buzzing about those new-fangled electronic books, and the editor-in-chief told us that we had nothing to worry about. Ebooks were going to settle down and just be a small part of the field, like audio books. Not only was she wrong about ebooks, but she didn’t expect audio books to become a huge market because of downloading services. 

That’s the scary part. On the good side, every change can lead to opportunities. I’ve got books that were long out of print in physical editions, but which are available as ebooks and audio downloads.

HANK:  Yeah, you never know.  You've been so successful, why do you think that is? What secret of yours can we bottle up and rely on?

TONI KELNER: I don’t think of myself as overly successful, just moderately so, but thank you. 

My only secret is being ornery. I just won’t leave. When a series dies, I start a new one. If one story doesn’t sell, I write another one. If I have a dry spell—and I’ve had them—I stick around until it ends. Winning awards, big sales, high-profile deals—those are all great, but staying in the game is the real way to win.

HANK: Yes, yes, yes! We should all print out your advice. (And yes, you are successful!)  What are you working on right now?

TONI KELNER: I’m writing my first Family Skeleton short story for an anthology of mysteries inspired by the Marx Brothers, edited by Josh Pachter. 

HANK: Oh, Josh is great. He has such perfect ideas! Eager to read that!  What book are you are reading right now? 

TONI KELNER: The Art of the Con by R. Paul Wilson, which is research for a new series I’m playing with.

HANK:  Oh, cannot wait to read that, too! You’ll have to keep us posted. Until then, give us one piece of writing advice!

TONI KELNER: Especially in these times, when sales are sparse because of the world at large, write what you’ve always wanted to write. Even if you don’t sell well, you’ll have a great time.

HANK: Aw, that advice is perfect. Thank you! And sisters, how are you doing? My writing went off the tracks a bit at the beginning of the plague times, as Toni so wisely calls this. Did yours? How did you regroup?   

Leigh Perry/Toni L.P. Kelner is two authors in one. As Leigh, she writes the Family Skeleton mysteries, featuring adjunct English professor Georgia Thackery and her skeletal pal Sid. The sixth, THE SKELETON STUFFS A STOCKING, was published in 2019. As Toni, she’s written eleven mystery novels and co-edited seven urban fantasy anthologies with Charlaine Harris. She’s won the Agatha Award and an RT BookClub Lifetime Achievement Award. Her most recent publications were short stories in Ellery Queen Mystery Magazine and in the Nasty Woman Press anthology SHATTERING GLASS, and forthcoming is a contribution to an anthology inspired by the Marx Brothers.   

HANK PHILLIPPI RYAN is the USA Today bestselling author of 12 thrillers, winning five Agathas and the Mary Higgins Clark Award, and 37 EMMYs for TV investigative reporting. THE MURDER LIST (2019) won the Anthony Award for Best Novel, and is an Agatha, Macavity and Mary Higgins Clark Award nominee. Her newest psychological standalone is THE FIRST TO LIE. The Publishers Weekly starred review says "Stellar. Ryan could win her sixth Agatha with this one."

Lights, Camera, Action! My Experience in Making a Book Trailer

I can't remember when I first met Leigh Perry. Was it at Malice Domestic or at Bouchercon? Was she promoting one of her great mystery series (yes, plural!) or one of her award-winning short stories? That I don't remember either. What I do remember is how over the nearly two decades I've known her, Leigh has proven herself to be one of the kindest, friendliest people I've met in the mystery community. She's someone who stands up for what's right, who isn't afraid of taking a risk, and who encourages others to believe in themselves. I'm proud to call her my friend, and I'm so pleased that she's guest blogging for us today on SleuthSayers. Oh, and if you're thinking the name Leigh Perry is familiar, but isn't it a pen name? Why, yes it is. You may know this wonderful author by her real name, Toni L.P. Kelner, under which she's published books and stories, too. You should check them out. And with that, I will let her take it from here.  

--- Barb Goffman

Lights, Camera, Action! My Experience in Making a Book Trailer

by Leigh Perry

You know how in the movies, Mickey Rooney would suddenly announce, “Hey, my father has a barn! Let’s put on a show!” That’s about the same logic I used when deciding to produce a book trailer for The Skeleton Makes a Friend, my forthcoming Family Skeleton book. Only it wasn’t a barn that was available—it was an animator. My daughter Maggie has been creating artwork for book promotion for years, and she just happens to have a degree in animation. She’s mostly doing freelance work right now, so I knew I could sweet-talk her into animating a trailer for me. (I paid for her tuition to art school, and am not ashamed to take advantage of that.)

Otherwise, I probably wouldn’t have done one. I’d never done one before, and I wasn’t sure how effective they are when it comes to selling books. In fact, one author I spoke to said she didn’t think hers affected sales at all—she only did them because her fans seemed to enjoy them so. Then again, I don’t think anybody knows how effective anything is when it comes to selling books, and I like trying different things. And Maggie was willing.

The first step was for me to write a script. I decided that it should be fairly light-hearted to reflect the tone of the books. You see, I write about a walking, talking skeleton named Sid. There’s a limit to how dark-n-gritty I can get. And it needed to be short. I polled authors and publicists, and while some trailers go as long as two or three minutes, the sweet spot is 30 to 40 seconds. For the format, Maggie pointed toward the script for the animated feature The Iron Giant, and I used that as my model.

So I wrote my first script since fifth grade (when I wrote, directed, and starred in “A Visit From Mrs. Santa Claus”).

MEET SID PRODUCTION NOTE: I’m thinking using words instead of sound. Music in the background. Bad to the Bone? A 30-second video, 45/60 seconds top. It can be mostly black and white, I think, with some pops of color. Simple backgrounds like the art you’ve done for Sid in the past. Can even do some Ken Burns style fades and such, but would like some actual movement. TEXT Meet Sid. Sid appears and does something… Opens a door from the attic and comes down or comes out of the armoire or looks up from a computer. And smiles. Perhaps waves TEXT Sid is not your typical skeleton. He walks, he talks, he tells bad bone jokes. Sid walks, talks (via a word balloon), and tells a joke in a word balloon (A skeleton walked into a bar and said, “Give me a beer and a mop.”) TEXT He lives with the his best friend Georgia and her family. Georgia walks in, with maybe a family picture of the rest of the characters: Madison, Georgia’s parents, Georgia’s sister Deborah. TEXT And the dog. Byron runs in and steals Sid’s leg. Georgia grabs it from him, and returns it to Sid. TEXT Together, Georgia and Sid solve crimes. Sid pulls out the book covers from the first four books, and puts them where they can be seen. Ken Burns approach maybe? TEXT When one of Sid’s online gaming buddies disappears, he and Georgia take the case… Sid and Georgia walking down a hall in an old office admin building, looking stealthy. TEXT And find murder! Sid and Georgia open a door labeled HUMAN RESOURCES, and looked shocked and/or scared. Maybe even appalled, with a word balloon: Coccyx! TEXT That’s when things get dangerous. A burning building, with Sid and Georgia running toward it. TEXT Make Friends with Sid! November 6, 2018 Maybe zoom in on the book cover. And fade out…

I sent the script to Maggie and after we tweaked it, she got to work on character design. Maggie had drawn Sid lots of times, but he lives with Georgia Thackery and her family, and we wanted them to look right, too. Maggie sent me a storyboard of the family:

It wasn’t quite right, so Maggie and I went back and forth a few times. The end result was this:

Then came discussions over the look of the family dog and other details. Once the design was set, Maggie created a kind of sketch cartoon called an animatic.

Maggie started actually animating scenes, and produced a number of drafts before I showed it to my agent, editor, and publicist to see what they thought. Though they liked the concept, they agreed that it went too fast—nobody could read the words as quickly as they appeared on screen.

Our choices were to either spend more time on each scene, which would make the trailer too long, or to trim the script. I decided to combine a couple of short scenes, and to delete the one with the burning building. That gave us more time per scene and kept it at 40 seconds total.

After a few more drafts, we had a full version we were happy with, but it was still silent. Maggie told me there were royalty-free music sites to go through to find music, and recommended https://incompetech.com/music/royalty-free/. My first reaction was panic because there were so many choices, but it turned out to be easier than I’d feared. I only listened to about six before finding the perfect one. I played “Improbable” in one window while I played the latest version of the trailer in another, and not only was the style a great fit, but the crescendo matched the “MURDER!” scene. We had a winner! Maggie added it to the trailer, and we were ready to go!

But where were we going? How and when was I going to distribute the trailer? I did another informal poll of publicists and authors, and decided to wait until October 1, which was just over a month until the release date. Then I hit social media: Facebook, Goodreads, Twitter, Instagram, YouTube. On Facebook, I made sure to post it in a bunch of different mystery-related groups, and I asked everybody to repost and retweet. I also paid for a Facebook ad to reach more people.

The reaction was gratifyingly enthusiastic. Not only did my existing readers say they enjoyed it, I got quite a few responses from people who hadn’t read the series before. My Amazon numbers improved for the week, too. Overall, I’m satisfied with the attempt.

Knowing what I know now, would I do it for another book? Honestly, I’m not sure. It was fun to work on a creative project with my daughter—Maggie said I was an excellent client. It didn’t cost much because Maggie didn’t charge me, so my only outlay was $30 to license the music and $60 for the Facebook ad. Plus Maggie has another piece for her portfolio, which helps as she seeks full-time work. (Which reminds me... Maggie is currently taking commissions for designs, logos, and other projects. You can contact her via www.dappercap.net.)

Of course, the real litmus test will be the sales figures when The Skeleton Makes a Friend comes out next week, and of course my finger-bones are crossed for that. In the meantime, let me present the finished book trailer. I hope watching it convinces you to make friends with Sid.