Posts Tagged writing advice

Solve Your Own Mystery with Gareth Jones

By Jackie Peveto on May 15, 2026 / Author Interviews

Today on the Mixed-Up Files, we have the pleasure of interviewing Gareth P. Jones, author of the recently published Solve Your Own Mystery series, which is cleverly illustrated by Louise Forshaw. Gareth is a multitalented writer, musician, TV producer, and performer, and I was thrilled to be able to go behind the scenes with these twisty mysteries that have more than one solution! These books definitely offer lots of twists and turns, and I couldn’t wait for the chance to hear more about how they came together.
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Thanks so much for joining us here at the Mixed-Up Files, Gareth! These books are so creative and such fun, giving readers so many reasons to go back to the story and see how things might turn out differently. What a great idea for a mystery! The obvious question I must ask first is do these mysteries take any inspiration from the classic Choose-Your-Own-Adventure books? If so, did you have a favorite?

Yes and yes. As a young reader, I loved books like Fighting Fantasy books and Choose Your Own Adventure, but my favorite was a series called Lone Wolf. I loved the fantasy world and the stories (written by Joe Dever), but it is the illustrations by Gary Chalk that will remain firmly lodged in my mind forevermore.

Unlike the Choose-Your-Own-Adventure series, one of the best features of the Solve Your Own Mystery books is that there are no wrong answers, just more adventures and investigations to be had. Can you share with us a little of how you worked on the structure of these books, making sure the storylines overlapped and diverged at the right spots? It seems like a feat to arrange all these parts in such satisfying ways. And are you more of a plotter or a pantser when it comes to working with characters and twisty mysteries like these?

I plot as I write, which is another way of saying that I make up stories as I go along. With a series like this, it would have made more sense to work out a structure and go in with a plan, but I didn’t do any of that. I just started writing. Then, when I got to the end of each chapter, I worked out what two paths lay ahead then wrote them. I did map out what was happening as I went along so I could work out which chapters

you had to hit. I have no idea if the story is satisfying for all readers, but I tried to make sure that even if there are things you miss, you have the chance to go back and find out more. I went completely mad writing these books and I was very grateful to my editors for helping me to untangle the almighty mess I had created for myself. I loved it though. More than ever before, it felt like I had to climb inside the story, because the story had so many possibilities—rather than one linear course.

Solve Your Own Mystery: The Time Thief cover

Haventry is a fascinating place to explore, and its residents are equally fun to meet. Do you have characters that are particularly fun for you to write? (Watson always made me smile, and I especially enjoyed Bernard the time-bending lobster!)

Oh, I love Watson too. He wasn’t in the first draft of the book. I created him as a solution to a problem. In that earlier version, I realized you’d park your car one place and then might suddenly find it somewhere else. I needed a car that was more independently minded than most. That’s when I hit the idea of a car that used to be a dog. Those are always my favourite moments, when I can solve a problem with solution that makes the whole thing better. There’s another instance of this in Book 4 with Dr. Heckyll and Mr. Jibe, but you’ll have to wait to meet him/them. I loved the witches too, so they popped up in all of the books.

The second person perspective is used perfectly in these two mysteries—it’s amazing how much “you” can do without actually saying a word.

Yes, I decided that I didn’t want to put words into the reader’s mouth and then I had to stick with this. I have been working on a fresh take on this idea recently (called The Oddjob Murder Club), in which I have allowed you the reader to speak, but with Solve Your Own Mystery, I decided to have fun with the idea that you didn’t speak. So there are several moments when you’re about to speak and someone interrupts you. Also, if you read the whole series you will discover that YOU undergo changes as you make your way through this world. Just like any good main character, your journey changes you.

Louise Forshaw’s illustrations add such fabulous dimension to these tales. Did you get to collaborate on what Haventry and the characters would look like?

I love them too. And yes, we did, although in truth I’m not really a visual writer. I don’t see pictures when I write. I hear voices. Mostly, I just told Louise how much I loved her pictures. She has quite a gothic sensibility so she instantly got it.

Writing is just one of your many talents! How do you see all your various gifts and interests playing into your writing?

I don’t know. It’s all creativity, isn’t it. I spend most of my time making stuff up, but annoyingly, I do also have to ensure my creative efforts occasionally make money. This year, I’m putting more of an emphasis on performance. I’m taking my Ministry of Mini Musicals on a tour of libraries and a short run at the Edinburgh Fringe Festival, putting on one-man musicals based on my picture books, but it’s a two-way street and sometimes the shows inspire the books. One of the inspirations behind the Solve Your Own series was a show called Mystery Makers, in which the audience improvises a brand-new mystery. I love doing that show and I wondered if there was a way of writing books that felt as anarchic and interactive—and that’s what I did.

Can we expect more mysteries on the Shady Side with Klaus?

Yes, there are two more books coming your way: The Missing Magic and The Transylvanian Express. After that, who knows? I have no plans for more, but I’d drop everything and start writing another if a publisher asked me.

If you could give writers any advice, what would it be?

Don’t listen to writing advice. Don’t worry about what other people are doing. The real magic of writing is the moment of creation. After that, it’s all marketing, so enjoy creating something from nothing and try not to worry about anything else.

Thank you for your time and for these great books, Gareth.

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The Time Thief and The Monster Maker are both out now, so grab a copy and start solving!

Author Interview with Dianne Salerni, Part II

By Mike Hays on July 5, 2023 / Articles, Author Interviews

Introduction

While doing an interview with Dianne Salerni for her newest release, The Carrefore Curse, she mentioned hitting a career snag after releasing the final book in her fantastic Eighth Day trilogy. I’m a huge fan of her work and really enjoyed the Eighth Day series so my interest was immediately piqued by her doubts about the future of her writing career at that point. I thought it would be interesting to pick Dianne’s brain for a bonus interview about her writing career and how she navigates the ups and downs of this business.

Publication list to date:

The Carrefour Curse(2023)
Jadie in Five Dimensions (2021)
Eleanor, Alice, & the Roosevelt Ghosts (2020)
THE EIGHTH DAY SERIES
- The Eighth Day (2014)
- The Inquisitor’s Mark (2015)
- The Morrigan’s Curse (2016)
The Caged Graves (2013)
Very Superstitious Charity Anthology (2013)
We Hear the Dead (2010)

History

Can you tell us your writer’s origin story? Can I safely assume there weren’t any radioactive arachnids or harrowing escapes from dying planets involved?

No spiders whatsoever and no dying planet as far as I know! Just parents and grandparents who read to me all the time so I started trying to write my own books at the age of four. (Well, I drew the pictures, anyway.) I still have my first book, The Dragon and the Girl. It looks like I cut the pages from a larger sheet of paper and assembled them with Elmer’s Glue.

I continued to write stories throughout my childhood, carrying notebooks with me everywhere I went. This went on into high school, during which I submitted short stories to Isaac Asimov Magazine (rejected). Fiction writing tapered off in college, but I returned to the habit as a young teacher, often writing stories for my students that featured them as characters. I produced a couple of YA novels that my husband convinced me to submit to agents (rejected). In 2007, once again encouraged by my husband, I self-published a book about real-life spirit mediums Maggie and Kate Fox with iUniverse. (This was before the days of Amazon self-publishing.) The book, High Spirits, A Ghostly Tale of Rapping and Romance, caught the attention of Sourcebooks just as they were launching their YA imprint, Sourcebooks Fire. They offered for the book, and it was edited and reprinted in 2010 under the title We Hear the Dead.

I quickly realized I was way over my head signing contracts and navigating the world of publishing on my own. The ink on We Hear the Dead was barely dry before I started querying for agents.

The Journey

The reality of a writer’s life is no different from the ebbs and flows of life in general. What are a few of your most significant or valued career experiences with over a decade as a published writer under your belt?

The most important career experience I learned was the value of a good editor. My first experience with this comes from something that’s not usually part of my bibliography. Before the publication of We Hear the Dead, I published an adult short story with a short-lived anthology series called Visions. After reading my story, titled The Necromancer, the editor said that the ending lacked the right twist and suggested alternatives: Ending A or Ending B.

I answered that I didn’t like Ending A but thought Ending B was a fantastic idea!

His response: “Great! Now make the reader think you are going for Ending A before pulling the rug out from under them with Ending B.”

MIND. BLOWN.

Hats off to Michael Katz, the editor in question! He was the first, and every editor afterward has taught me something important about writing in general and my books specifically. In particular, I love working with my current Holiday House editor, Sally Morgridge, who always has brilliant insights into how to take my manuscripts to the next level.

If you could travel across dimensions with Jadie Martin to leave a piece of career advice to the 2010 Dianne, what would it be?

What I would tell 2010 Dianne – and anybody else embarking on the journey of publishing – is this: When an authority in the publishing world gives you devastating news that predicts the end of your writing career, don’t listen to them! I don’t mean that you should ignore the advice of editors and agents. (See the answer I gave to the last question!) I mean, if they tell you that you are a failure, they are wrong.

In 2010, a high-ranking editor at Sourcebooks told me that sales for We Hear the Dead were so bad, she didn’t think B&N would ever stock another book by me.

Also in 2010, a high-powered agent told me that the contract I’d signed for Sourcebooks contained a bottomless option clause that made it impossible for her to take me as a client. “Frankly,” she said, “I doubt any agent will take you.”

As a point of fact, B&N stocked my next 6 books. (Then they stopped stocking all midlist MG books, but that’s a different kind of problem.)

And the next agent who responded to my query offered representation. When I confessed to her about the No-Good Very Bad Option Clause, Sara Crowe – agent extraordinaire – said: “They can’t hold you to that! I can make that go away with a phone call.” And she did.

No matter how important an editor or agent is, no one has the right to imply that you should give up. Their opinion is still only an opinion.

No Writer is an Island

Who is on Team Dianne?

As you can probably tell from my answers above, my husband is very definitely on my team. Not only is he a one-man cheerleading squad and poker/prodder when I need a little push, he actually reads my manuscripts. Depending on the project, he might read chapter by chapter as I write, or I’ll send him the whole thing when I’m finished. He’s not a writer, but he has a good ear for voice and will highlight lines where “this character wouldn’t say it like that.”

For years I have relied on Marcy Hatch, author of time-traveling western West of Paradise, as a critique partner. I send her chapters while I’m drafting, and she provides feedback and cheerleading. (I do the same for her.)

There have been many people I’ve relied on as beta readers over the years – people I ask to read the entire manuscript after it has gone through a few revisions. But one person I can always count on to accurately pinpoint the problems in a manuscript is writer Maria Mainero. For example, Jadie in Five Dimensions went through many, many drafts (and died on submission twice). For years I insisted on including, in the second half of the book, chapters with adult POVs. Beta readers kept telling me, “You have to cut those because kids don’t like adult POV.” Well, that’s a dumb reason to cut them, and it’s not true. I can think of a few best-sellers with adult POV chapters.

Then Maria came along and said, “These late-appearing adult POV chapters would be better off told by the middle-grade POV characters you’ve already introduced. And here’s why.” It was the why that convinced me. Maria was the only reader who helped me see the opportunity I’d blown for my already established POV characters by introducing new ones. It had nothing to do with them being adults.

Are there any support groups or individuals you turn to for advice and/or support?

I’m a member of the KidLit Author Club, a group of PB, MG, and YA authors who live in the mid-Atlantic states. We support each other at author events – conferences and festivals – sometimes carpooling or referring each other to events we can’t attend ourselves. The membership is fluid, as people’s lives and goals change, but I’ve been with the group since 2012. When I retired from teaching in 2014, I worried about the fact that I would no longer have contact with “co-workers.” But as I started attending events in Maryland, Delaware, Pennsylvania, and New York, I realized that the KidLit Authors were my new co-workers. In addition to supporting each other at events, we also do some beta reading and book blurbing for each other.

The Horizon

We all know hindsight is, or appears to be, 20/20 so how do you prepare for what comes next using the gift of experience?

I have learned to accept that gaps in my publishing resume happen, and that’s okay. There’s a 3-year gap between my first and second book and 4 years (almost 5, really) between the last book in The Eighth Day series and Eleanor, Alice, & the Roosevelt Ghosts. Sometimes, it’s an issue of manuscripts that don’t find the right editor. Other times it’s because my productivity is down. Both of those things are okay. It doesn’t mean there won’t be a next book when the time for that next book arrives.

Do you think one book at a time or do you project several future books at a time?

I am definitely a one-book-at-a-time author. The only time I planned multiple books at once was while I was writing The Eighth Day series. Even then, I only started planning the sequels after the first book sold. I was hoping for a series, but I had no big plan ahead of time! My editor, the head of HarperCollins Children’s Books, asked me to plan for 5 books but to make sure the 3rd book had a satisfying conclusion in case they decided not to buy the last two. She assured me, though, that wouldn’t happen. Then she retired. You can guess what happened next, and I chalk that one up to another “gift of experience.”

Navigational Beacons

With the saying, “That which does not kill you makes you stronger.” in mind, how does your experience affect how you evaluate your future projects and decisions?

I have a lot of dead manuscripts on my computer. But I have come to believe in the power of resurrection. Jadie in Five Dimensions died on submission in 2015 and then again, after a round of revisions, in 2017. In the fall of 2019, my agent offered it exclusively to Sally Morgridge at Holiday House after she and I finished working on Eleanor, Alice, & the Roosevelt Ghosts. Luckily, Maria Mainero had already convinced me to rewrite those troublesome POV chapters, although I bet if she hadn’t, Sally would have given me the same advice.

My most recent book The Carrefour Curse and my next book The Tontine Caper (2025) were born out of manuscripts that I abandoned after the first draft. In both cases, the manuscripts languished in my “dead” files for 3 years before I opened them again and got back to work.

So, I guess I don’t always evaluate my projects correctly? Last fall, I closed the file on a really, really, really crappy story. But is it really trash? I don’t know. I’ll figure it out in a couple of years.

In the spirit of concerning yourself solely with controlling the things you can control, do you trust in the power of persistence + patience and in keeping to the course as a creator?

Very much so. Jadie in Five Dimensions would never have been published if I hadn’t believed in that story enough to keep revising and revising – and seeking out beta readers until an astute reader told me where I was falling down on the job. Some stories just need patience and time to slumber until I’m ready to look at them under the right lens.

Conclusion

Thank you so much for inviting me to participate in this interview, Mike! Publishing is a bumpy road, and authors are cautioned not to publicly air their woes. (I’m not supposed to tweet: 12 rejections for this manuscript! 3 editors loved the character but not the plot. 4 editors love the plot but not the character. And 5 just don’t like aliens! This was a real thing, by the way, for a manuscript that was never published. Yet.) But those rules are loosening, and I think it’s good for published authors to talk about the bumps and potholes and sinkholes so that other authors, published and pre-published, know their experiences are shared by many.

Thank you, Dianne, for being our guest once again and sharing your experiences and insights from over a decade in the publishing business. Best of luck and keep your words, especially those middle-grade words, flowing!

If interested in more information and updates from Dianne, visit her online at https://diannesalerni.com/. Thanks for reading!

How To Write A Novel Without Feeling Lost

By Samantha M Clark on May 29, 2023 / Articles, For Writers, Writing

It’s a commonly held statistic that 97% of people who set out to write a novel never finish it. 97%! I don’t know where the statistic comes from, but as someone who has finished novels (11 of them) and has struggled with every single one, I don’t doubt this statistic at all. Writing a novel isn’t for the faint of heart. Novels, even middle-grade novels, are big unwieldy things that can feel like putty running through your fingers. It’s very easy to get lost.

Take it from Lisa Simpson:

via GIPHY

Recently I taught a new class specifically to help with this problem. The class proved so popular, I ended up teaching it twice: once at the Austin SCBWI annual conference and once for the Writers League of Texas. The class was called “How To Write a Novel Without Getting Intimidated” and it got great reviews, with attendees saying they felt more like they could tackle their project. I was excited it helped. When I first started writing middle-grade, I felt VERY intimidated and got lost often. Here are some of the tips I passed on:

START SMALL

I used to read books and think, “How can I do this? This whole thing?” Well, the truth is, you don’t have to do create the whole thing, not immediately. All you need to start is an idea, even the smallest idea of an idea. When I wrote THE BOY, THE BOAT, AND THE BEAST, all I started with was a question: What if a boy woke on a deserted beach with no memory of who he was or how he had gotten there? Big trees are grown from a tiny seed, and your book will start with a small idea. You don’t have to know everything when you begin. Discovery is a big part of the fun of writing.

A LITTLE PLANNING GOES A LONG WAY

Many writers start writing as soon as they have their idea. They get excited and want to jump right in. And that’s wonderful! It’s good to be excited. But not knowing much about your story can make you get lost quickly and feel like giving up. I mean, imagine if you got the idea to make pancakes because you read about them in a book. You don’t have a picture or a recipe or anything, you just know they’re going to be great. So you go into your kitchen and… Just like in cooking, a little planning for your novel goes a long way. You don’t have to know everything about your character, your world, or your plot, but the more you do know, the less likely you’re going to get lost.

Some good things to figure out up front are:

basic info about your character (age, name, home)
basic info about your setting (rural, city, another planet)
your main character’s problem/goal (what they’ll solve over the course of the story)
and the main obstacle (another person, aliens, nature, or the character themself)

There are plenty of other things you can brainstorm before you begin, but if you have at least these ingredients, you’ll be much less likely to get lost and give up.

OUTLINE A LITTLE OR A LOT

I started out as a pantser (writing solely by the seat of my pants and following the story wherever it went), but I quickly learned there are more efficient ways. Now, I can hear some of you saying, “I don’t want to outline. It stifles my creative freedom.” But done right, outlining can help to build your creative freedom! (I wrote about my outlining journey on my blog.)

To keep me from getting lost when I’m writing, I find it useful to have a map, even if I venture away from it. An outline for a novel can be as simple as just a few story highlights or as in-depth as a plan for every scene of the book. I like to think of mine as a GPS. I know where I’m heading, and if I veer off course, I can take a different route. Outlines don’t have to stay the same as you write. Mine change constantly. But having one, even a really basic one, helps me stay the course.

KEEP YOUR FOCUS

Even if you’re not into outlining, there are still tools you can use to keep you focused as you write your whole novel. Your story is about your character trying to achieve their goal, so as you write, keep that goal handy. One way is to write a one-sentence pitch. A one-sentence pitch has your character, their problem, and what they need to do about it. So for my novel ARROW, the one-sentence pitch would be: A boy who grew up in a magically hidden rainforest must figure out how to fix the magic before outsiders from the dry, arid world exploit his home.

Write a one-sentence for your book, then keep it available as you pants through your story. When you get stuck, pull it out and see what you can do to get your character back on track. If a one-sentence pitch is too hard to write right now, this also works with jacket copy. Write the copy that will be on the back or inside flap of your book when it’s published (because it will be if you finish and revise) and use that to keep yourself motivated.

REVISION IS INEVITABLE

I used to compare my first drafts with the already published books I was reading, and I’d get frustrated because I knew mine wasn’t as good. But I was forgetting that all the books on my shelves were revised over and over and over again. First drafts are just that: Firsts. Knowing that I’m allowed as many other drafts as I need freed me up from thinking my first draft had to be perfect.

DON’T RUSH

I get it. You’ve got dreams of walking into your local bookstore and seeing your book on their shelves. You want that day to be tomorrow, even today! But publishing journeys are loooooooooooong, and the best way to get an agent or editor interested in your work is to create great work. So don’t stress. Take your time. Even if you spend five minutes on your novel every day, you will one day end up with a full novel. Then you’ll be like Kermit and beat 97% of other writers.

via GIPHY

Happy writing!

Posts Tagged writing advice

Solve Your Own Mystery with Gareth Jones

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