Inspiration for My Short Stories

Sometimes, as an author I am asked where I get ideas for my short stories. I get my inspiration from books and articles I read, places I visit, and events in the world around me. The six new short stories in Arson Vibes and Other Tales, which came out recently, can all be traced to these sources.

ArsonVibesAZBThe story Victorian Vibes features my characters Lea and Kamika finding a gory, sealed room inside of a house under renovation. This story, which opens the collection, was inspired by a driving tour of Victoria, Texas, an old Spanish colonial town south of San Antonio. Victoria is home to more than 114 historic properties all listed on the National Register of Historic Places. These buildings are mostly restored architectural gems. A driving tour through town will take visitors past 80 of them. Creating a similar house with a haunted past and ‘bad vibes’ for my characters to explore wasn’t a difficult task.

Feline Vibes, the second story in the collection, features Lea and Patrick trying to solve a murder in which the police have made no progress. The story was inspired by the many scattered properties I’ve driven past in the Texas Hill Country on the way to Fredericksburg and Enchanted Rock State Park. The natural beauty of the area draws hikers and campers and people looking to escape the fast-paced life of city living. But the isolating hills, cactus, and long distances between neighbors also make a wonderful backdrop for murder.

abstract-2726482_1280Texas Frontier Vibes was partially inspired by reading the book Empire of the Summer Moon: Quanah Parker and the Rise and Fall of the Comanches, the Most Powerful Indian Tribe in American History by S. C. Gwynne. The long and bloody battle between the Comanches and every wave of settlers that tried to take their land is fertile ground for ghost stories. In the story, a collection of arrow heads is bound to the ghost of the person who died being shot with the arrows. While the injuries sustained by the character in the story are drawn directly from history, the idea that the arrow heads could be haunted was inspired by my father’s inheritance of a collection of points, axes, scrapers, and other stone tools from his deceased brother who had been a lifelong collector of these items.

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Monument to Columbia, by Pixabay

Space Shuttle Vibes owes its existence to my memory of the disaster involving the Space Shuttle Columbia when it came apart catastrophically over Texas in 2003. That accident led to the largest search and recovery effort ever carried out in the United States and is well-detailed and explained in a book that I read entitled Bringing Columbia Home by Michael Leinbach and Jonathan Ward. Sixty percent of Columbia remains lost in the swamps and thickets of East Texas. This fact inspired my tale of a man who dedicates his retirement and apparently part of his afterlife to finding and returning the pieces.

Museum Vibes, the story of a haunted living history pioneer farm, was inspired partially by my interest in all things historical, from gold-rushes and frontier life to the tuberculosis epidemic that plagued the world in the 19th and early 20th centuries. It’s also based on my many visits to pioneer farms with living history exhibits in the Dallas area and in the Austin area. What ghosts wouldn’t want to stay in a place that looked and felt like the time period in which they lived?

The final story in the collection, Arson Vibes, was inspired by a terrible fire that engulfed a lovely wood-frame church in a small community in Texas a few years ago. Texas has a number of famous, painted churches built by European immigrants in the late 1800 and early 1900s. The Painted Churches Tour in Texas is a great way to see a handful of them. While the fire in the real church was accidental, the one in my story is, of course, an act of arson which needs my investigative crew to solve it.  And old churches, with their adjacent graveyards, should come with a ghost or two, shouldn’t they?

These new stories in the collection Arson Vibes and Other Tales are on sale this week, May 4 to 11, 2020. At the moment the stories are only available on Amazon, later in the summer they will be available from other retailers. I would have the stories available everywhere, but the coronavirus and its attendant issues have put a crimp in my schedule at the moment.

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N. M. Cedeño is a short story writer and novelist living in Texas. She is currently working on a series called Bad Vibes Removal Services. The second novel in the series, entitled Degrees of Deceit, came out in August 2019.  Ms. Cedeño is active in Sisters in Crime- Heart of Texas Chapter.

Writing an Academic Mystery

 

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My books by Dorothy Sayers. Picture by N. M. Cedeño

Academic mysteries are a timeless subgenre in crime fiction. Found on almost every list of the best mysteries ever written, Dorothy Sayer’s Gaudy Night is the epitome of British academic mysteries and is one of my favorite books. Several British mystery series that have been adapted for television are set in the university towns of Oxford or Cambridge with students and professors as witnesses and suspects. Academic mysteries fill a popular niche in the world of crime fiction.

While I enjoy academic mysteries, I never planned to write one. Instead, I fell into it. When I was creating my Bad Vibes Removal Services paranormal mystery series and fleshing out my characters, I blithely imagined my main character Lea to be a graduate student in history who happened to have the ability to see ghosts and the ability to sense the emotional history of a location. Since I made her a grad student, I assigned Lea to my own alma mater, the University of Texas at Austin.

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Cover designed by Brandon Swann

After writing several short stories in the series, I decided to write a novel. That first novel, The Walls Can Talk, was set in an Irish castle that had been moved to central Texas, bringing its resident ghost with it. In that book, I developed a subplot involving Lea’s graduate work. When I sat down to write the second book in the series, Degrees of Deceit, I realized that I wanted to extend Lea’s story line and that the natural setting would be the campus at U.T. Austin. Suddenly, I was writing an academic mystery.

Three quarters of the way into the first draft, a question popped into my head. I realized that most of the books set at real universities were British. I wondered, why don’t American authors set books at real academic institutions? I consulted Google, looking for an answer. And, I discovered that authors in the United States don’t set mysteries at known universities for fear of being sued for “disparaging” the universities.

Which led me to think, British authors do it all the time. Don’t British authors fear being sued?

Back to Google. And, yes, British authors fear being sued too. But British authors have a simple solution to avoid legal action because British universities are organized differently than American universities. Oxford, for example, currently has 39 colleges that are separate entities within the larger university. British authors avoid getting sued by creating fictional colleges. This allows British authors to use the well-known buildings, landscapes, and towns around the real universities while centering the plot in a fake college. Dorothy Sayers even placed a hefty author’s note at the beginning of Gaudy Night explaining how she did this.

Lacking this option, many American authors resort to creating thinly veiled, fictional versions of the university that they want to use as a setting. Consequently, American readers almost never get to read crime novels set among the famous buildings of extant American universities.

Having previously written paranormal and science fiction mysteries, I knew nothing of the complicated legal machinations used by other authors in writing academic mysteries. When I started writing my academic mystery, I jumped into the writing completely blind to the fraught legal matters associated with the genre.

Then, of course, when I discovered the possible legal ramifications, I panicked and stopped writing, afraid that I would have to rewrite my entire manuscript with a different setting. Then, I panicked again, realizing that I couldn’t move the setting to a nonexistent, fictional university because I’d already identified the university Lea attended in the previous, already-published books and stories. I couldn’t keep the story line without the setting.

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Image by Pixabay

In a state of dread, I called the U. T. Austin legal department, where a nice lady told me that I had the legal right to set a story at U. T. Austin as long as I avoided using the names of any actual university employees, past or present. I researched my characters names to see if they resembled any known employees. None did. Relieved, I finished writing the novel.

Still, a nagging worry grew in the back of my brain. I had nightmares that the answer the legal department woman gave me was too simple. If the answer was so easy, why did other authors avoid setting novels at universities? I asked a few lawyer friends their opinion on the matter. They told me I was right to be worried. The answer I was given was too simple. I could still get sued.

With a complete manuscript hanging in the balance, I set out to try to minimize any legal issues because I really had no intention of disparaging anyone. Most of the novel revolved around a single dorm on the U. T. campus, one that I had lived in as a student. I decided setting the story in a real dorm might be too risky. Someone might think I was writing about actual students in the actual dorm. I couldn’t create a fake college, but I could create a fake dorm. I decided to rename the dorm and set the story in a thinly veiled, fictional dorm instead of in a real one.

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Cover designed by Brandon Swann

After renaming the dorm and changing some details associated with it, I sent the completed manuscript off to the editor for review. The editor liked my story and now my academic mystery is finally ready for publication. Following Dorothy Sayer’s lead, I’ve included a hefty author’s note explaining that the dorm and the story are entirely fictional. Degrees of Deceit comes out later this month.

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Find more about my books at nmcedeno.com or at amazon.com/author/nmcedeno

Death Investigations in the United States

Nationally renowned and award-winning mystery author Jan Burke came to speak to the Sisters in Crime Heart of Texas Chapter recently about two subjects dear to her heart: missing and unidentified people and the lack of uniform standards and training in the medico/legal death investigation system in the United States. She reminded the crime fiction authors in the crowd that they have a platform to bring attention to subjects such as these.

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Jan Burke

In the United States, 600,000 adults and children go missing every year. The vast majority are found relatively quickly. However, over ten thousand people remain missing for more than a year. And sadly, around 4,400 unidentified bodies are recovered every year. In an attempt to match the missing with the unknown dead, the Department of Justice and the National Institute for Justice created an online database called NamUs, the National Missing and Unidentified Persons System.

However, only three states require reporting of unidentified remains to the NamUs database. In most states, individual counties make the rules regarding handling of unidentified remains. Consequently, a person who vanishes in one county may turn up dead, lacking identification, four counties away, and their family may never be notified. This creates what NamUs calls the Nation’s Silent Mass Disaster: a huge volume of unsolved cases regarding missing persons and unidentified dead bodies.

One example of this problem is the case of Lupita Cantu. Lupita disappeared from San Antonio, Texas, in Bexar County, in April 1990. That same year her body was found near Pearsall, Texas, and buried as a Jane Doe, because authorities couldn’t identify her. She wasn’t identified until 2011, when DNA analysis finally matched her with her family. Pearsall is only about 55 miles from San Antonio, in Frio County. Had the counties been required to report unidentified remains and missing persons to a central clearinghouse, Lupita might have been identified much sooner. This problem is even more extreme in places where it’s easy to cross state lines. Someone who disappeared from one state might never be linked to remains found two states away.

NamUs creates a central clearinghouse for missing persons and unidentified remains, allowing both families of the missing and law enforcement agencies to enter information into the database in hopes of matching the missing with the dead. NamUs also can provide law enforcement agencies in rural, low-population, or underfunded counties the forensic resources needed to identify the dead, including forensic odontology, fingerprint examination, forensic anthropology, and DNA analyses. Families of the missing can receive DNA collection kits so that their data may be compared with the DNA from unidentified remains.

The NamUs clearinghouse is necessary because of the lack of uniformity in the handling of deaths by the medico/legal system in the United States. Each state has different standards and rules that apply to the person whose job it is to declare whether a death is natural, accidental, or homicide. Some states have medical examiners. Some states have coroners. Some of these people are elected. Some are appointed. Some are required to have medical training. Some are required to be forensic pathologists. And some aren’t required to have any special training whatsoever. Within each state, whether a county uses a coroner or a medical examiner may vary by county and by population.

This patchwork quilt of laws means that there are over 2,300 different systems for dealing with death for the more than 3,100 counties (or parishes, or whatever the state has labeled the entities) in the United States. Multiple scientific studies have reviewed these systems, and all have consistently returned the same recommendations. The population would be better served by a more consistent set of rules and regulations across the United States. The current system creates great disparities in the administration of justice.

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Jan Burke, photo by Helen C. Foster

For instance, in a county where a justice of the peace (J. P.) decides the nature of death, where the county has no medical examiner and must send bodies several counties away for autopsy, the county’s budget may determine if a death by unknown causes is ever reviewed. Consider this scenario. Suppose a fifty-year-old man is found dead in his bed at home. The house was locked and police can see no visible evidence of foul play. The police may ask the J. P. to find the death is suspicious, to have the body sent for autopsy in a neighboring county. However, the J. P. has the power to deny that request. The J. P. may say that since nothing looks suspicious, the police should assume it’s a natural death, close the case, and save the county the money they would have paid for the autopsy.

Crime fiction writers use death to build plots in novels all the time. Ms. Burke suggested that by mentioning NamUs as part of a fictional family’s search to find a missing loved one, authors can raise awareness in the general public about this resource available to real families who are missing a relative. She also requested that writers be accurate in their depiction of death investigations. Many people are under the misapprehension that all death is investigated like it is depicted on C. S. I. and other similar dramas on television. Those shows don’t remotely reflect the reality of death investigations in many parts of the country. As writers, we can do better. We can reflect reality.

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N. M. Cedeño writes short stories and novels that are typically set in Texas. Her stories vary from traditional mystery, to science fiction, to paranormal mystery in genre. Most recently, she has been writing the Bad Vibes Removal Services Series which includes short stories and the novel The Walls Can Talk (2017). Find her at nmcedeno.com or amazon.com/author/nmcedeno or on Facebook.