Kellye Garrett on writing Like A Sister

 

FORMER REALITY STAR DESIREE PIERCE FOUND DEAD IN LINGERIE IN BRONX WITH COCAINE AND NO SHOES.

Like A Sister started with a headline. Similar to the one above which is how my main character Lena finds out her estranged sister has passed. The actual one was about a former reality star found dead in the Bronx in New York City with ‘no pants and cocaine.’

It was from the New York Daily News, a newspaper over here known for writing click bait headlines long before click bait was even a thing. It struck me when I first saw it. Not just because yet another amazing Black woman’s life had been cut short. It also struck me how disrespectfully the headline was worded.

I had the same thought as Lena. That the paper wouldn’t have gone the “bit much” route if this young woman had been white.

Differences like this are something I notice a lot as a writer, former journalist, and lover of all things pop culture. Even before I had the idea for Like A Sister, I knew that I wanted to see someone like myself in whatever I wrote next. A single black woman who lives in a metropolitan area and often is overwhelmed by the Strong Black Woman cape meant to protect her – that same cape that often makes her want to crumble under its weight.

This is something I personally deal with a lot – especially over the past two years as I dealt with both the world crumbling due to COVID-19 and my own world crumbling due to the death of my grandfather. Although the circumstances were different – my grandfather died of natural causes at 92 after living a life filled with love and loved ones – I felt bad when I felt bad. I didn’t allow myself to mourn because there was so much to do. Wrapping up a life, especially one as long and beautiful as my grandfather’s, is not an easy thing. And the Strong Black Woman in me didn’t ask for help. I just did it myself.

And that wasn’t the only thing I wanted to see more of in the books on my shelves. I also yearned for more stories of single women living in urban areas. Don’t get me wrong, I love an unreliable married mom living on a suburban cul de sac chock full of secrets. It’s just not my reality.

So like many writers, I wrote a story I wanted to read. Needed to read.

I’ve been a crime fiction lover since I picked up my first Joan Hess cozy as a preteen. Back then, I’d wander the shelves of my local bookstore and camp out in the mystery section like it was a national park. I’d been so excited to see so much crime fiction being written and published by black authors. Only to be so disappointed over the years as more and more of those stories disappeared. It wasn’t much better for books by other crime writers of color.

It’s one of the reasons that Walter Mosley, Gigi Pandian, and I created Crime Writers of Color in 2018. We wanted a safe place to network and share opportunities. To cheer each other on and cheer each other up. To discuss the unique challenges of being a person of color in publishing.

Today we have over 350 members – and counting. And there’s been a resurgence of crime fiction written by and about people of color.

But even today, a lot of our stories are focused on racism – a subject that’s still extremely prevalent in the States. And again don’t get me wrong. We definitely need those stories, but it’s not our only story. We should have all types of books, just like our white counterparts.

That’s why Like A Sister isn’t a story about racism. A story that isn’t focused on dealing with racism but more on the things we all can relate to – just from a decidedly Black perspective. Anyone with a sibling can understand the tricky politics that go into the relationships. As I say in my dedication, I love my sisters even when I hate them – and I know the feeling’s mutual. Lena having to navigate strained familial relationships including the guilt of being estranged from her sister and the anger at her absentee dad are just as important part of the book as the twists. 

Honestly, I still can’t believe this book will be on shelves for everyone to read – especially other black girls and women who are as obsessed with crime fiction as I was and still am. I hope everyone who decides to pick it up understands – and enjoys – what I was trying to do. It wasn’t to try to break down any barriers. It wasn’t to make any statements. It wasn’t to focus on our trauma.

I simply dreamed of writing a fun, twisty beach read. And I hope I succeeded.

Like a Sister by Kellye Garrett (Simon and Schuster) Out Now

She found out her sister was back in New York from Instagram. She found out about her death from the New York Daily News. But she's the only one convinced it wasn't an accident . . . Desiree Pierce, a Black reality TV star, is found dead on a playground in the Bronx. Her death is quickly declared an overdose by the police and the media - tragic, but not a crime. Lena Scott, Desiree's sister, knows that can't be true. Torn apart by Desiree's partying and by their father, a wealthy and influential hip-hop mogul, the sisters haven't spoken in years. But some things about Desiree couldn't have changed, even with time. Nobody is listening to her, but Lena is determined not to let anyone brush off her sister's death. She will find justice, even if it means uncovering the family's darkest secrets - or putting her own life at risk. Because there are two sides to every story - the one being told, and the one nobody wants you to know . . .

More information about Kellye Garrett can be found on her website.

You can also find her on FaceBook, follow her on Twitter and Instagram @kellyekell. She is also the co-founder of Writers of Color. Writers of Color can be found on Twitter @CrimeWoC, On Instagram @crimewoc and on FaceBook.

Hunt for the Margery Allingham Short Mystery Prize Winner 2022

 

The hunt for the best unpublished short mystery story is on.

Entrants have until 6pm GMT on Monday 28 February to enter the international Crime Writers’ Association (CWA) Margery Allingham Short Mystery competition, 2022. 

The Margery Allingham Society, set up to honour and promote the writings of the great Golden Age author whose well-known hero is Albert Campion, works with the CWA to operate and fund the writing competition. Each year the competition attracts many entries from the UK and overseas.

Entrants are asked to focus on specific elements to match Margery Allingham’s definition of a mystery, which is: “The Mystery remains box-shaped, at once a prison and a refuge. Its four walls are, roughly, a Crime, a Mystery, an Enquiry and a Conclusion with an Element of Satisfaction in it.” 

The judging criteria rewards traditional mysteries that match this definition, as well as other criteria such as plot originality and characterisation.

Dea Parkin, Secretary of the CWA and competitions co-ordinator, said: “It’s very much in a writer’s interests to study that definition and ensure their story follows that chronology. There are recent winning and shortlisted entries on the website which give a flavour of the kind of mystery the judges are looking for.”

Entries are invited from all writers, published or unpublished, writing in English. Diamond Dagger winner and acclaimed crime writer and editor Martin Edwards won the Margery Allingham Prize in its inaugural year, in 2014, and his tips for writing a winning story are on the website.  Shortlisted authors for the prize have also found wider success, such as Christine Poulson, whose short story ‘Accounting for Murder’ featured in the 2017 CWA anthology, Mystery Tour, and went on to be shortlisted for the CWA Short Story Dagger.

Dea added: “Last year saw the highest number of entries for some time. The pandemic and lockdown undoubtedly had an effect, and mystery stories are currently a strong trend with Richard Osman’s record-breaking debut, The Thursday Murder Club, a key touchstone for publishers. This short story competition is a fantastic way of building a writer’s craft, and profile, in this genre.”

Traditional whodunnits have been dubbed as a ‘pandemic-era balm’. Readers embraced Osman’s Agatha-Christie-style novels, and traditional whodunnits by authors such as Robert Thorogood, Elly Griffiths and Vaseem Khan have been popular. Thorogood created the TV hit show, Death in Paradise, whereas Elly Griffiths’ The Postscript Murders was shortlisted for the Gold Dagger last year and Vaseem Khan’s Midnight at Malabar House won the Historical.

Dea added: “These stories provide familiarity and comfort in an uncertain world as they offer clues, great characters and locations, with the mystery solved in the end and justice served.”

The longlist for the prize will be revealed online and at the CWA conference on 23 April, followed by the shortlist online in May, and the winner will be announced at this year’s international crime writing convention, CrimeFest, on Friday 13 May.

The winner receives £500 and two passes for CrimeFest in 2023. Submissions have a limit of 3,500 words and it costs £12 to enter.

For the full rules and to submit an entry, go to Short Story Competition on the CWA website or contact secretary@thecwa.co.uk.

THEAKSTON OLD PECULIER CRIME WRITING FESTIVAL RETURNS FOR 2021

 

The world-renowned Theakston Old Peculier Crime Writing Festival has announced that it will go ahead later this year, after the Government unveiled its roadmap out of lockdown.

 Taking place in Harrogate, from 22-25 July – well after expected lifting of restrictions on 21 June - the Festival will celebrate a return to live events after a difficult and uncertain year for Harrogate International Festivals. Forced to cancel the Theakston Old Peculier Crime Writing Festival, alongside their wider summer season in 2020, the arts charity moved online, welcoming new audiences and taking the experience of ‘Harrogate’ to the world.

The return to a live event, announced on social media yesterday, was well received by audiences, with over 80% of early ticket bookers for the 2020 Festival having already transferred their tickets to 2021.

 After the lockdown saw a soar in popularity of the genre in the bestseller charts, as more and more readers turned their fiction interests to crime, the 2021 Theakston Old Peculier Crime Writing Festival, supported by T & R Theakston, will celebrate crime fiction in all its kinds, with a programme curated by Programming Chair Ian Rankin alongside the acclaimed Festival Committee and the  RankinHarrogate International Festivals team.

 Chief Executive of Harrogate International Festivals, Sharon Canavar, said: ‘‘Whilst the ongoing COVID-19 pandemic has proven to be extremely dynamic with rules and regulations changing constantly, the Government Roadmap suggested a return to normal by this Summer. We are adapting and evolving our plans to be able to deliver a safe and agile Festival in line with the government regulations at the time, with additional safety measures where necessary, whilst also ensuring the Theakston Old Peculier Crime Writing Festival retains the iconic feel that has ensured its place as the most successful crime writing festival in the world.

 We remain optimistic about the year ahead and like people across the UK, we are very much looking forward to the return of live events.”

Festival fans can expect a range of live author talks, panels and special guests, as well as some hybrid events to ensure that audiences who are unable to travel can access the Festival, bringing the power of literature to all in 2021.

The full author line-up, and ticket on sale dates for the Festival will be announced in the coming months. More information can be found at harrogateinternationalfestivals.com which will be updated regularly.

CFP for Special Issue of Studies In Crime Writing:

The True Crime Renaissance

Guest Editors:

Jean Murley, Associate Professor of English, Queensborough Community College. Author of The Rise of True Crime: 20th Century Murder and American Popular Culture(Praeger/ABC-Clio, 2008). JMurley@qcc.cuny.edu

David Schmid, Associate Professor of English, University at Buffalo. Author of Natural Born Celebrities: Serial Killers in American Culture (Chicago, 2005) and editor of Violence in American Popular Culture (2 vol.s, Praeger, 2015). schmid@buffalo.edu. 

True crime sits at the fascinating intersection of law, morality, and psychology, and at its best interrogates our notions of truth, narrative form, and experience. The genre of true crime is experiencing a renaissance at the moment and has been given a boost from emerging and new media forms: from such podcasts as Serial and My Favourite Murder to streaming series like Making a Murderer, The Jinx, and OJ: Made in America, the current popularity of true crime is immense and unprecedented. This issue is devoted to scholarly explorations of the reasons for this popularity and a deep analysis of the genre in its present and multiple forms. While scholars have done extensive work on the history, historiography, and evolution of true crime, our aim is to understand as much as possible about true crime in its present iterations, including why it is so appealing to audiences now, what cultural work it does, new areas of inquiry posed by the genre, and what ongoing questions it raises about the relationship between crime and culture.

We welcome submissions on any aspect of this phenomenon. Possible topics may include, but are not limited to, the following:

True crime fandom

TC and gender (consumers and producers)

Transnational/international TC

Historical TC

Emerging topics/subjects of TC (including but not limited to race, wrongful conviction, and sociological/political subjects)

Terrorism and TC

Intersections of TC and crime fiction

TC and race

TC and new media—podcasts and streaming series 

TC and the criminal justice system

Changing focus of narratives—memoir and victim-centered perspectives

TC and victimology

TC and the High/Low divide

TC and forensic science/psychology

TC and feminism/misogyny/masculinity

TC and film (fiction, non-fiction, documentary, docu-drama)

Please send 300-word abstracts and a 1-page cv to the co-editors by June 30, 2019. First drafts of accepted essays will be due by September 30, 2019, and final drafts by January 31, 2020 for a 2020 publication date.

50th Year in Crime Writing - Peter Lovesey Update

As far back as 1969 I was announced as the winner of a first crime novel prize and I’m pleased to let you know that my fiftieth year of crime writing is marked with three new books.

The Crime of Miss Oyster Brown, from Crippen & Landru, is the first US publication of my 1994 short story collection, with a new introduction. Published February 28. See www.crippenlandru.com for details.

Bertie: The Complete Prince of Wales Mysteries is an omnibus edition from Soho Press of the three novels Bertie and the Tinman, Bertie and the Seven Bodies and Bertie and the Crime of Passion, published March 10, also with a new introduction from me. See https://sohopress for details.

The third book is the new novel in the Peter Diamond series.  Killing with Confetti will be published in July this year by my usual publishers, Sphere, in the UK and Soho Press, in the US. More information will follow at my website www.peterlovesey.com 

And finally, I’m to be honoured with a Lifetime Achievement Award at the world mystery convention, Bouchercon, in Dallas, Texas, in October/November, which also reaches its 50th year in the crime field.

The International Crime Fiction Association Book Prize 2018

The ICFA is delighted to announce a prestigious new annual book prize. The prize will recognise ingenuity, innovation, and scholarship in the academic study of crime fiction and crime writing in its widest sense. 

Monographs and edited collections can be nominated by publishers, members of the association, and authors.

There will be one winner who will receive £100 plus a write up from the independent judges which can be used for publicity purposes. 

Shortlisted books will also receive comments from the judges which can be used for publicity purposes.

The winner and the shortlisted authors will be announced at our 2019 conference.

The competition is open to any monograph or edited collection, published in 2018, on the academic study of crime fiction and crime writing in its broadest sense.

For more information, or to nominate a book please contact j.parsons1@bathspa.ac.uk.

More information on the Harvill Secker/ Telegraph Crime Writing Competition

Harvill Secker partner with The Telegraph

to launch the most exciting new competition

in crime fiction  

LEADING CRIME FICTION PUBLISHER TO OFFER

BOOK DEAL AND £5000 ADVANCE

Harvill Secker and the Telegraph today (13.07.2013) launch a new competition to find an unpublished crime writing star.   This is an unprecedented opportunity to be published at one of the country’s leading literary imprints, home to bestselling crime authors including
Jo Nesbo, Henning Mankell, Fred Vargas, Stuart Neville, Karin Fossum and Arne Dahl, and receive a £5,000 advance for his or her novel.

Alison Hennessey, Senior Crime editor at Harvill Secker says:  ‘Crime fiction has always been a very important part of what we publish at Harvill Secker and as an editor, I’m always on the lookout for exciting new names.  I’m delighted that, through our partnership with the Telegraph, we’ll be able to offer a brilliant new crime writer this opportunity.’

The competition launches in the Telegraph in print and online today at www.telegraph.co.uk/crimecomp.  To help aspiring writers with their crime novel, the Telegraph will publish a number of masterclasses, written by a host of crime writers, on its website over the coming weeks and months. These will be accompanied by video interviews. The first comes from bestselling Norwegian crime writer Jo Nesbo, and it is available to view now.

You can read a new masterclass at telegraph.co.uk/crimecomp every Saturday: Oliver Harris will be advising on brilliant beginnings; Jason Webster on settings and atmosphere; Susan Hill on characterisation; Alice LaPlante on suspense; and Stuart Neville on thickening the plot.

There will also be videos from leading Harvill Secker crime authors including Henning Mankell, Arne Dahl, Henry Sutton, Jan Costin Wagner, Koethi Zan and MD Villiers, all of whom will be offering helpful tips to ensure that aspiring writers are given the best chance of winning the most exciting new prize in crime fiction.

 THE COMPETITION

Would-be crime writers must submit the first 5,000 words of their crime novel, along with a detailed, two-page double-spaced synopsis of how the rest of the book unfolds, including the ending. The book does not have to be finished to be entered, but must be submitted with a detailed plan.

In keeping with the international nature of Harvill Secker’s profile, the crime book must contain an international element of some sort.  It’s up to writers how they interpret this: it could be as a minor as a weapon that’s come from abroad, a character with a connection to another country, or the whole book could be set outside the UK. A significant international component does not, however, mean that a book will have a greater chance of winning.

THE PRIZE

Harvill Secker, an imprint of The Random House Group Limited, which is a Penguin Random House company and Publisher of the Year 2013, will be offering the winner a publishing deal – either physical and digital, or digital only – and a non-returnable advance of £5,000 for world rights in the book. An extract from the winning entry will also be printed in the Telegraph next year.
 
THE JUDGES

The entries will be assessed by a panel of four judges: Alison Hennessey, senior editor at Harvill Secker; Sam Copeland, literary agent at RCW; Richard Reynolds, crime buyer at Heffers; and Jon Stock, Telegraph books desk and author of the Daniel Marchant spy thriller trilogy

HOW TO ENTER

Entries open on 13^th July 2013 and the closing date is 30^th November 2013.  Each entrant should submit, via the Telegraph website, the first 5,000 words of a crime novel, thriller or mystery written in English, and a detailed two page synopsis of how the rest of the book unfolds, including the ending. They should include their name, contact details, date of birth and a 100 word biography.

Entry is easy and online only, via www.telegraph.co.uk/crimecomp. There is a small £5 admin charge, payable to the Telegraph, and taken when writers upload their 5,000 words, synopsis and contact details to the site. Payment can be made by all major credit and debit cards using WorldPay

ELIGIBILITY

The prize is only open to authors who have not had a novel published before and are not already signed with a literary agent. Entry is not restricted to people living in the UK, but entries must be made in the English language.  All applicants must be over 18.

For terms and conditions please visit www.telegraph.co.uk/crimecomp

For further information please contact:

Bethan Jones
Publicity Director, Harvill Secker
020 7840 8543 / bjones@randomhouse.co.uk