Showing posts with label Scotland. Show all posts
Showing posts with label Scotland. Show all posts

Wednesday, January 18, 2012

A New Voice: Coco Ihle

Interviewed by Sandra Parshall

My guest today is Coco Ihle, whose first novel, She Had to Know, was published in 2011. In an interview, Coco talked about her writing life and the personal story that inspired her novel.
 
Q: Would you tell us a bit about your book? 

A: She Had to Know is about long lost sisters, Arran Hart and Sheena Buchanan, who were separated in early childhood by the divorce of their parents. Arran, who was put up for adoption, discovers her adoption documents after her adoptive parents die, and sets out to find her sister.

Sheena was raised by her paternal grandparents, who were instructed by her often absent father, John Buchanan, never to mention her mother or Arran. Not wanting to rile him by asking questions, Sheena decides not to rock the boat by searching for Arran. After John and his housekeeper mysteriously die, Sheena begins looking for Arran, hoping she will understand why Sheena didn’t begin her search earlier. Later, Sheena’s life is threatened and the reunited sisters try to balance getting acquainted with a race against the menace of a murderer who also appears to be searching for an ancient treasure buried deep in the bowels of Wraithmoor castle. 

Q: What inspired you to write the book?  What—or—who inspired you to create your protagonist?

A: Two things. The idea of the two sisters searching for one another is actually my own story. I spent over fifty years searching for my sister and found her in 1994. During those years, I’d dreamed of writing a book about it, but when I found her, that cemented my desire. I “interviewed” her to see how much our experiences paralleled and what aspects were different. So, in my book, I have two protagonists who are not exactly me or my sister. They took on a life of their own as I created them, but there are characteristics of each of us in both women.

The other thing that inspired me to write this book was the discovery of my Scottish heritage. I traversed the Highlands and Lowlands of Scotland to reconnect with my past, and my son and I bought kilts and bagpipes for the St. Andrews Pipes and Drums band we had joined. Each time we went, we stayed in castles, manor homes, historical places, and collected brochures along the way. I now have shelves of books on Scotland and tons of memories, too.

Q: Aside from your personal experiences and those of your sister, what sort of research did you do for the book?

A: Funny you should ask. I did a tremendous amount of research for the Scottish part of my book, but when it came time to find someone to check the Scottish dialect, I turned to a friend. Dr. Ian Peden is from Sanquar, Scotland, which is near the setting for my story. He is also a world renowned neurosurgeon. When I told him I had written a book and asked for his help, he enthusiastically agreed,  assuming I wanted answers for medical questions. After he answered my one medical question, he got a twinkle in his eye and said, “Yer only askin’ me tae speak, aren’t ye?”
 
Q: What is the most enjoyable aspect of writing for you?

A: Research, I’d say, at least for this book. I love to read about Scotland and the whole of Britain. It was fun developing my characters, too. I dwelt in their world for long periods of time and loved it. Who wouldn’t enjoy living in a castle?!

Q: Is there a particular aspect of writing craft that you enjoy?

A: I’d say the fun of setting the mood. Years ago, I sold bottled water in Florida, before it was popular to drink bottled water. It was kind of like selling snow to a polar bear, so we sales people were instructed to use phrases that conjured pictures—piping hot or ice cold, for example. I found that training useful when trying to create mood in my book. Descriptions like “…antique escritoire, its wood gleaming from centuries of polish.” Or description of a Scottish character, “The dimples in her cheeks deepened as she exhibited tea-stained teeth.” Or, “Massive stone pillars stood like monoliths. Between them, intricate wrought iron gates shadowed black lace patterns on the lawn as the sun cast its late afternoon beams through the ancient ironwork.” I also think the use of Scottish dialect for certain characters enhanced the mood.

Q: How long have you been writing? Is this your first completed book, or do you have some unpublished novels stuck in a closet, as so many writers do?

A: I started writing fiction late in my life. In 1999, and I quickly realized I didn’t know what I was doing. After studying several books on “how to write” and taking seminars, I started She Had to Know. It wasn’t very good, but I kept writing and re-writing. My plan was, this book would be the first in a series and my subject matter had a chronology I had to follow, so I had to get the first book presentable. Many, many re-writes later…

Q: What is your writing routine? Do you fit it in around a day job and family obligations?

A: My first few drafts were written when I was married and had a full time job. I arose early in the morning to get in a couple hours of writing before work and sometimes I wrote in the evenings. Twice a month, I traveled an hour and a half to my writer’s group meetings and always was fired up on my return home, so spent late nights making corrections. This went on for several years. I was blessed to have an understanding husband who was also quite busy.

I retired when I moved to Florida so I finished up on the book and while my agent was shopping it, I wrote a short memoir called "Every Difficulty Along the Way" about my search for my family. The Florida Writers Association had a short story contest, the winners of which would have their stories in the FWA’s first anthology called From Our Family to Yours. My story was one that was selected and that book was published in 2009. So, I actually became published as a short story writer before my book, She Had to Know, came out in April 2011. I also wrote non-fiction articles as a staff writer for an international dance magazine up until recently, when I wasn’t working on the next book in the Arran Hart and Sheena Buchanan series.

Q: How has publication changed your life? Has anything about becoming a published writer surprised you—or disappointed you?

A: Well, now I have no life! (smile) When I started writing, an author went on book tours and signings and met with people and exchanged ideas with them. Now, with the onslaught of the social network boom, I’m more isolated than before. I can’t say I like that. I’m a people person and I really like to interact with readers in person. A good thing about the internet, though, is I’m able to reach a larger demographic than I could have physically.

My sister, who was not terribly fond of reading, largely because of the time element, read my book and loved it. She has now become a reader and has even tried her hand at some writing. She has so many wonderful stories to share and I get great satisfaction in encouraging her.
On a personal note, I’m proud that I persevered through all the years of trials and tribulations to accomplish my goal of writing this book. My friends and many readers have said they are proud of me, too, and that makes me immensely happy.

For more information, visit Coco's website at http://www.cocoihle.com.

Saturday, September 29, 2007

Son of a Guffin

Lillian Stewart Carl (Guest Blogger)

When I began a new mystery series several years ago, I never thought of setting it anywhere besides Scotland.
The country is less awash with rain than with blood. For a historian like myself—and like my heroine, Jean Fairbairn—historical MacGuffins line the roads like thistles. I use the word “MacGuffin” not only to mean the object that instigates the story and is relevant to its solution, but because of its Scottish “mac” prefix, meaning “son of”. “Sonofaguffin” makes a great swear word, doesn’t it?

The Jean Fairbairn/Alasdair Cameron series is one of my usual cross-genre blends, part-paranormal, part-romance, mostly mystery. I’ve subtitled it, “Scotland’s finest and America’s exile on the trail of all-too-living legends.” In other words, my Caledonian cop-cum-security chief and my expatriate history professor-cum-journalist find themselves solving murders motivated by a historical or legendary object: the MacGuffin.

In The Secret Portrait, an old man asks Jean’s help taking a gold coin of Louis XIV to the Museum of Scotland. (Her friends Michael and Rebecca Campbell-Reid, from my earlier Ashes to Ashes series, work there.) Jean suspects that the coin comes from the long-lost hoard of Bonnie Prince Charlie, a.k.a. Charles Edward Stewart, the Young Pretender, who was as feckless in real life as he is romantic in legend. The gilt (and guilt) of that legend as well as the glitter of gold leads to murder—and to the first meeting of Jean and Alasdair Cameron.

In The Murder Hole, Jean travels to Loch Ness to write about a stone carved by the cryptic ancient Picts, as well as to interview an American businessman intent on proving the existence of the Loch Ness monster. Nessie, an enigma wrapped in a mystery wrapped in the Scottish tourist industry—and the MacGuffin of more than my tale—is choice fodder for Great Scot, Jean’s history and tourism magazine. Until the question of Nessie’s existence leads to murder. Alasdair Cameron is on the case. And on Jean’s nerves again, not altogether unpleasantly.

“Do you believe Nessie exists?” Jean asks him.

“I’m after keeping my fantasy compartmented,” he replies.

But as a detective, his business hinges on fantasy just as much as Jean’s does. For it doesn’t matter whether what someone believes is true, as long as they’re willing to act on those beliefs.

In The Burning Glass, Jean and Alasdair are a couple, not a thistle and a rose but two thistles. They travel to the Scottish borders to keep an eye on a ruined chapel. I’d originally intended to use Rosslyn Chapel as the MacGuffin—yes, the Rosslyn Chapel outside Edinburgh, the one teeming with intricate stonecarvings and even more intricate legends. But before I could start my own story, Rosslyn was featured in The Da Vinci Code. (Sonofaguffin!)So with the stroke of a pixel, I created Ferniebank, built by the same hands as Rosslyn.

In The Burning Glass, tourists overflow Rosslyn and descend upon Ferniebank, the owner plans its conversion to a New Age spa, and what looks like a simple case of myth-mongering becomes a mad mouse ride through historical fantasy.

“There’s nothing wrong with myth,” Jean insists, while Alasdair retorts, “The danger comes in hiding from the fact that they are myths.”

My MacGuffins are not just objects of memory and desire—manuscripts, jewelry, bones—but legends as well. They proliferate, they mutate, and then they kill. For it doesn’t matter what drives the traffic in myths. It’s a lucrative business, and greed is a time-honored motive. Just ask the man with Prince Charlie’s Louis d’Or and a sense of honor much more finely-honed than the prince’s. Just ask the man chasing a crypto-zoological chimera like Nessie as well as his own ego. Just ask the people of the village that suffers a string of mysterious deaths because one clever author turned several time-tattered tales into a bestseller.

A scene in The Secret Portrait takes place at the Clan Cameron Museum in the Western Highlands. Alasdair, as a card-carrying member of clan Cameron, could tell you that the old Cameron war cry was a promise to feed their enemies to dogs: “Sons of the hounds, come here and get flesh!” Maybe the cry of the Jean Fairbairn/Alasdair Cameron series should be, “Sons of the guffins, come here and get story!”