But Jesus Never Wept

One Of My Favorites

With my own contribution to the Magnolia Bluff Crime Chronicles, Death Wears A Crimson Hat, leading the way as the top sales getter of any book in my oeuvre since its publication in April, I thought I’d give a shoutout to my own Justinia Wright mystery series.

It is obvious readers enjoy mysteries, if sales of the Magnolia Bluff Crime Chronicles is any indicator.

So, if you have read Death Wears A Crimson Hat and/or any of the other books in the Magnolia Bluff Crime Chronicles, then I encourage you to take a trip to Minneapolis, Minnesota and spend some time with Tina and Harry Wright.

The Justinia Wright Private Investigator Mysteries are classic whodunits just like many of the Magnolia Bluff stories.

If you enjoyed the sleuthing of Harry and Ember, or Graham Huston, or Caroline McCluskey, then you will enjoy the escapades of Tina and Harry Wright.

Each Justinia Wright mystery is a standalone. But since there are overarching character arcs, you may want to start at the beginning with Festival Of Death.

Or you might start with one of my favorites: But Jesus Never Wept.

Before I tell you why I like the book, let me share with you two reviews.

From Mark Scott Piper:

Great Characters, a Complex Plot, and Plenty of Surprises

But Jesus Never Wept is the third book in CW Hawes’s Justinia Wright Investigator Mysteries series. You don’t need to have read the first two to understand the characters and their steady and unsteady relationships. This one is a good read all on its own.

The title implies the focus of the novel may be about exploring the basic tenants of Christianity, but it’s not. Yes, there is an ongoing dialogue between the characters about whether Jesus ever existed in physical form, but this issue doesn’t carry the novel. In fact, the question of faith works more as a metaphor for examining and trying to understand what’s real and what’s not with the gory crimes and relentless criminals the characters must face. Like life, there are always questions here. And not all of them are answered by the end of the book.

The plot is at once intriguing and complex, and Hawes seamlessly mixes the basic murder investigation with an unexpected profusion of other themes and references including, the basics of the Christian religion, family dynamics, love relationships, high-end online prostitution, and the wrath and violence of the Yakuza crime syndicate. Not an easy task, but Hawes pulls it off with aplomb. And by telling the tale from Harry Wright’s point of view, Hawes provides some humor, even occasional sarcasm to the narrative. A nice touch, especially given the gruesome murders and constant threats from powerful enemies.

Hawes’s characters are memorable but never “average.” Justinia, Harry, Bea, and Cal all have their quirks and unique abilities. The relationships between all four have been established before in the series, and we can assume they develop further in this one. Even the minor characters and victims prove to be much more complex than they seem. I would be remiss if I didn’t mention the bone-chilling weather in Minnesota. Dealing with the ice, snow, and painfully low temperatures colors the action and the attitude of the characters in the book.

The descriptions of the weather also help pull the reader into the novel, even those of us who’ve never been to Minnesota. That’s also true of the detailed descriptions of the many meals Justinia, Harry, and Bea share. Harry is a gourmet cook, and you’ll often feel the compelling desire to sit down with them and get a taste or two of his latest culinary delight.

Jesus Never Wept is a good read, and the skill and insights of Hawes turn the standard murder mystery plot into something more—and something better. Highly recommended.

And from Joseph A Congel:

Another GREAT, 5 STAR read! This series just keeps getting better!

This is the third book in the Justinia Wright Private Investigator series, and it is a top-notch addition to a top-notch series, written by a top-notch author. If you’ve been following the brother/sister PI team, you already know this series is rich in storyline and character development. If you are discovering the Wrights for the first time in this book, you will not be disappointed. However, treat yourself, and go back and read the first two books in this wonderful series.

In this installment, the author mixes religion, the Japanese mob, and high-end prostitution, and wraps it all up in a very engaging murder mystery. But what truly drives this story is the relationship between the main characters – Justinia, Harry, Bea, and Cal. The subplot of their lives is intertwined masterfully with the main plotline of the book, which is the mystery that needs to be solved. And although the idea of an intriguing mystery may have brought you here, the well thought-out, fun, realistic, characters is what will bring you back for more. A great murder mystery will make a great book, but a deeply developed cast of reoccurring characters is what makes a great series… and this is a great series.

I loved the first two books, and this one is no different. It’s why I bought the whole series. I look forward to seeing what the Wrights get themselves into between the pages of the next book. But don’t take my word for it, try them for yourself – just don’t be surprised if you become addicted.

Reviews like those two, really lift a writer. They are a light to illuminate the dark days that touch every storyteller.

So why do I like But Jesus Never Wept? I love the characters.

If I do not like the characters, then the book, movie, TV series, short story, or stage play are dead to me. It is as simple as that. I am there for the characters. And I love Tina and Harry. They are my children.

Characters aside, I also like the storyline in this novel. It touches on religion, something important in my life. The story also asks us what is of importance in our short lives. What’s life all about? Is love the answer? Or is it something else? Or maybe there is no answer.

As both Raymond Chandler and Erle Stanley Gardner noted, the murder mystery is the simplest of stories.

A kills B. The police think the killer is C, until the sleuth shows them the perpetrator is A.

The task of the writer is to use style to turn a very simple story into one that is not only complex, but beautifully satisfying; perhaps even elegant.

I think But Jesus Never Wept is a cut above. And I ask you to give it a try. Pick it up at Amazon.

Comments are always welcome! And until next time, happy reading!

CW Hawes is a playwright, award-winning poet, and a fictioneer, with a bestselling novel. He’s also an armchair philosopher, political theorist, social commentator, and traveler. He loves a good cup of tea and agrees that everything’s better with pizza.

If you enjoyed this post, please consider buying me a cup of tea. Thanks! PayPal.me/CWHawes

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Minneapolis: Home of Justinia Wright, PI

Later this month The Conspiracy Game, the fourth book in the Justinia Wright, PI series, will be published. And to prepare for the book’s release, I am devoting this month’s blog posts to the city of Minneapolis, where Justinia Wright works and plays.

This week we’ll cover a bit of history and some interesting facts about Minneapolis, the bigger half of the Twin Cities.

In 1819, the US army established Ft Snelling where the Minnesota River joins the Mississippi River. The US federal government wanted to make sure the United States was represented in an area claimed by the British and the French, not to mention the native American tribes actually living there.

The next three decades saw various treaties secure the area for the US and a flood of settlers from the east moved in. On the east side of the Mississippi, at St Anthony Falls, in 1849, a townsite was established and the town called St Anthony.

In 1854, on the west side of the falls, another townsite was platted. Suggested names for this town were Albion, All Saints, Lowell, Brooklyn, Addiseville, and Winona — all were rejected. The town’s first schoolmaster, Charles Hoag, is said to have come up with the name Minnehapolis, which he took from Minnehaha, mni (the Dakota word for water), and polis (the Greek word for city). Hoag noted the “h” in Minnehapolis was silent. The townsfolk voted and accepted Hoag’s name, minus the silent “h”.

The territorial legislature, in 1856, officially recognized Minneapolis as a town and in 1867 the town was incorporated as a city.

The first industry, making use of St Anthony Falls to generate power, was lumber and from 1848 to 1887, Minneapolis was the lumber capitol of the US. But it wasn’t lumber that put the city on the world’s radar, it was flour milling. From 1880 to 1930, Minneapolis was the leading mill city in the US and in 1884 passed Budapest as the world’s leading flour miller — which gave Minneapolis the nickname “Mill City”.

Today, the sawmills and flour mills are long gone and the economy has diversified. For a time, Minneapolis was a banking center and an important rail hub. Finance and rail, along with trucking, are still important parts of the city’s economic portfolio, to which have been added industry, healthcare, computers, and high tech. Five Fortune 500 companies call Minneapolis home.

The Minneapple, as the city is sometimes called, is a diverse city. Certainly not on the order of, say, the Big Apple, but diverse nonetheless. In the span of a mere 60 years the city has gone from 98 1/2% German and Scandinavian heritage to over 1/3 of the population being being comprised of a variety of ethnicities. Minneapolis has, for example, the largest Somali community in North America and has hundreds of Somali owned businesses. There are large Asian, Hispanic, and African-American communities as well. The first Muslim elected to the US Congress was African-American lawyer Keith Ellison, representing Minnesota’s 5th Congressional District.

The cultural scene in Minneapolis is alive and well with many artists calling the city home. There are numerous art museums and galleries, theaters and performing groups, orchestras, and musicians in the city. Minneapolis is ranked the third most literate city in the US.

In But Jesus Never Wept (Justinia Wright, PI #3), Tina’s brother, Harry, asks her why she moved from San Francisco to Minneapolis.

Tina put down her book. “What’s wrong with Minneapolis?”

“Too damn cold here.”

“It does get cold. It also gets hot and muggy in the summer and all the lakes are breeding grounds for a zillion mosquitoes. I didn’t come here because of the weather. Every place has its problems. I came here because it is the Midwest and we grew up in the Midwest. I came here because I liked the multi-cultural nature of what is in essence a small city. I have what I grew up with and I have something of what I liked about San Francisco. Minneapolis and St Paul have a little bit of everything. And I like that. They are conservative and liberal all at the same time.”

Minneapolis and her twin, St Paul, do indeed have a little bit of everything. And in the coming weeks we’ll explore more of what makes the City of Lakes a wonderful place to call home.

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Miss Fisher’s Murder Mysteries

Having just published the third book in my Justinia Wright, PI series and two short stories which take us back to a time before the series begins, I’ve had mysteries on my mind. And of late, I’ve been watching Miss Fisher’s Murder Mysteries.

I find the showed delightful. The characters are superbly drawn. They have history. They have issues. They are like real people. The mystery, on the other hand, is usually light and often flawed. On one episode, Miss Fisher gets an important clue by looking at a typewriter ribbon – a carbon typewriter ribbon. Oh, did I mention the era is the 1920s? Now that is what I call I gaping plot hole. But in spite of such faux pas, I thoroughly enjoy the show because the characters are so very lifelike. And the show is really about the characters.

For me the best stories are not plot-driven, but character-driven. I don’t give two hoots for the plot. In my mind, the plot is only there because the characters do something. Where’s the plot in Waiting For Godot? The story seems to get along quite nicely without one. Or how about The Remains Of The Day? The plot, such as it is, is merely the vehicle for us to listen to the ruminations of Stevens. Or what about The Moon Is A Harsh Mistress? Lots of plot there and yet the plot is merely the vehicle for Heinlein to present his picture of a libertarian utopia. In that sense, any plot could have worked. The plot in and of itself is non-essential. It’s the characters acting (giving us a plot) that is the real story.

Another example is Raw Head by Ben Willoughby. Willoughby creates two characters, has them do their thing, and the result is a strongly character driven story. Just as Ray Bradbury said it should be.

Christine by Stephen King, in my opinion, is a case of where the plot actually gets in the way of the story. And I think it was probably due to his having to write his book to a certain length for the publisher. But whatever the reason, two-thirds of the way through the book the story was told and yet King went on having the car create more and more senseless havoc, gore, and mayhem. For me, the extended and senseless plot ruined the book. Plot to my mind is highly overrated. Follow the Bradbury formula and your story will be told. After all, that is the real point of the plot. To tell a story. And your characters will do that for you.

So if the writers of Miss Fisher’s Murder Mysteries leave gaping plot holes, why bother watching? I think there are lots of reasons. Namely, the characters. Miss Fisher, a complex rich socialite with the past. Her companion, doc, who is in some ways miss fishers polar opposite. Inspector Jack Robinson, I somewhat stated police detective who gradually appreciates Mrs. Fisher’s talents. Constable Collins, who provides us with comic relief. And the list goes on.

Of course, this setting also contributes to the charm of the series: Melbourne in the 1920s. It is the perfect stage for larger than life liberated woman to walk apart.

There’s lots to like in Miss Fisher’s Murder Mysteries. Do give the show a try.

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Heinlein’s 5 Rules of Writing for Indies

The other day I was wandering around Dean Wesley Smith’s website and noticed he has an online workshop covering Robert Heinlein’s 5 Rules of Writing. It had been quite a while since I’d read them (we’re talking decades here), so I refreshed my memory. I found a discussion on Robert J Sawyer’s website.

Both Heinlein and Sawyer direct the rules to those who want to be traditionally published. For Heinlein, he had no option. For Sawyer, he is entrenched in the traditional world and has no need to change them. However, I have little desire to pursue the traditional publishing route and thought I’d adapt them for indie authors. So here they are:

Heinlein’s 5 Rules for Indie Writers

#1-You must write

This should go without saying and yet so many writers don’t ever actually write anything. They talk about writing, take courses, frequent writing forums, or dream of the writer’s life. But when it comes to putting pen to paper or fingers to the keys — they don’t do it. Or if they do, and actually finish something, they are forever rewriting it because it isn’t quite good enough.

To be a writer, YOU MUST WRITE.

#2-Finish what you start

You can’t be a writer or even learn the writing process unless you finish what you start. Weak beginning? Flabby middle? Dull ending? Unless the work is a completed whole, you can’t see what works and what doesn’t.

In my forth coming novel, But Jesus Never Wept, I knew I was having problems in the middle. I resisted the urge to stop and fix them and bulldogged to the end — and then went back and fixed the problem areas, which were fewer than I had thought.

#3-Don’t rewrite, unless your editor says so

Rewriting is not writing. Writing is writing.

When I was submitting and getting my poetry published on a regular basis, I’d watch many poets on various forums rewrite the originality right out of their work. They’d end up with a flabby, lifeless thing done to death by committee.

Resist tinkering. We can tinker endlessly. There is always something that can be improved. But at some point you must resist the urge and say, “It is good enough.” And then move on.

However, if your editor (and all indie writers need an editor, whether paid or volunteer) says something needs to be fixed — pay attention. Ultimately, you are the publisher and may decide to reject your editor’s advice. But if he or she is saying something needs to be fixed, there is a good chance it does. Only then, do you rewrite.

Remember, rewriting is not writing. It’s rewriting. And we are writers, not rewriters.

#4-Put your work up for sale

In the old days, this was submitting your work to editors and gathering rejection slips. Thank God we don’t need to go that route anymore.

Today, the indie version of Heinlein’s point is to offer your work for sale and see if the reading public likes it or not. This is the publishing part of being a writer/publisher. Get the work out there. Promote it. Let the reader decide. Not some biased editor.

And if the public is not enthralled, listen to what they’re saying. But don’t automatically kowtow to their whim. Not everything we write will appeal to everyone. Sometimes you have to go with your gut. If your gut is telling you the work is good, then go with it. Realizing your audience on that particular work may be a small one. Leave the work up for sale and move on. The worst thing you can do is to remove work from sale. Build your backlist.

Which brings us to

#5-Leave your work up for sale

Maybe your book or story isn’t selling today. Or maybe the sales have fallen off. Don’t give in to the temptation to take the work down. That’s the beauty of being a writer/publisher. You can leave your book or story available forever. There is no publisher who is going to remainder it on you. No publisher telling you it isn’t selling enough copies. No editor rejecting your current work because your past work didn’t sell enough.

We can leave our work up for sale for as long as we want. We can market on our own schedule. We are writers and publishers. Our writing career is in our own hands.

Just remember: what isn’t selling today, may very well sell tomorrow.

#6-Start your next work

This is Robert Sawyer’s addition to Heinlein’s rules. And it’s a good one.

You can’t be a writer if you aren’t writing. And rewriting doesn’t count. Because it isn’t writing. It’s rewriting. The prolific authors of the past and those of today, the one’s who are writing to make money from their writing, start a new project upon completion of the old.

Write, publish, and start writing your next work. It is what Anthony Trollope did. When he finished one book, if there was still time left in his morning writing session, he took out a new sheet of paper and started the next book.

Like a mother robin, kick those babies out of the nest to make room for the new ones.

Writer’s write. If you’re stuck on a book or story, start a new one. A writer can always write about something. Don’t let writer’s block be an excuse not to write. I always have several books in progress. If one is giving me trouble, I put it aside and work on a different project. I am always writing. No day goes by that I haven’t written something.

Your mission

Follow these six rules and you will have a steady stream of work coming off our pen and hitting the virtual bookshelves. And with a little bit of luck and marketing handiwork, you may end up earning more money writing than from your day job. That’s my goal.

Happy writing!

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Harry Wright’s Mac and Cheese to Die For

I confess right here and right now — I love to eat. The aromas and flavors of meat, cheese, vegetables, fruit, grains, spices, herbs, cakes, pies, bread are as delightful as a walk through a scented flower garden. But not only do I love to eat, I also love to cook. Consequently, food appears in some shape or form in all of my novels and many times in my stories.

Undoubtedly, one telltale sign I’m a foodie is my cookbook collection — hardbacks, paperbacks, and ebooks. I also have bookmarks on a wide variety of internet recipe sites. Another indicator is the near ecstasy that is evident when I venture into a grocery store or a cooking supply store. When I write, a cookbook is always nearby.

Harry Wright is private detective Justinia Wright’s brother. He is also her majordomo, chef, and assistant. With the alacrity of a juggler, Harry turns out fabulous gourmet dishes on a daily basis. Dishes such as Porcini Parmesan, roasted veggie with goat cheese sandwiches, caramelized onion tartlets, ratatolha niça, and Cock-a-Leekie.

At times, though, Harry will take a walk down the comfort food aisle and then we see dishes like NuNus and Hot Dogs and Mac and Cheese. Sometimes Harry leaves the dish simple and sometimes he fancies it up.

Today I thought I’d give you his Mac and Cheese to Die For recipe, which appears in the forthcoming Justinia Wright, PI novel But Jesus Never Wept. He doesn’t call it that. For him it’s simply Mac and Swiss Cheese with Bacon Crumbles.

The recipe below is a composite, he tells me, of several recipes out there on the World Wide Web. Let me know if you think it is to die for. Enjoy!

Mac and Swiss Cheese with Bacon Crumbles

Ingredients

Macaroni – 1 pound (Harry uses elbows)

Butter – 5 tablespoons

Flour – 1/4 cup

Milk – 3 cups (Harry uses whole milk)

Salt – (Harry uses about a 1/2 teaspoon)

Black Pepper – (Harry uses fresh ground and about 3/4 teaspoon)

Mustard – 1/4 teaspoon dry (Harry prefers a good English mustard, such as Coleman’s)

Swiss Cheese – 3/4 pound shredded

Monterey Jack – 3/4 pound shredded

Bacon – 6 slices, cooked crisp and crumbled (Harry’s been known to add a couple more slices)

Parsley – for garnish

Basil – for garnish

Rosemary sprig – for garnish

Directions

Cook pasta according to package directions and your liking. (Harry only cooks his pasta al dente.)
Warm milk on stove or in microwave.
Melt butter over medium high heat and whisk in the flour. Continue to whisk to make sure there are no lumps and to cook flour, about 2 or 3 minutes.
Add the warm milk and whisk the mixture until smooth. Reduce heat and gently simmer for four minutes, stirring occasionally.
When the sauce has slightly thickened, add salt, pepper, and mustard.
Add cheese and stir until sauce is smooth.
When pasta is cooked, drain, and reserve a 1/2 cup of the cooking water.
Add sauce to pasta. If sauce is too thick, add a little of the water to thin.
Top with the bacon crumbles and parsley, basil, and rosemary sprig.

Good eating!

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Justinia Wright and the Maltese Falcon

Who doesn’t enjoy working a puzzle to a satisfying ending? That written, I have to confess I’m not a big fan of puzzles. I enjoy mahjong and I play chess and that is about the extent of my puzzle solving endeavors. So why do I enjoy reading mysteries? A good question that.

I have to confess, when it comes to mysteries, I’m pretty fussy. They pretty much need to be private detective stories told in the first person by the “Watson”. Third person narrative puts me right off. I’ll accept a story told by the detective in the first person. It’s just that it bugs the life out of me when he or she says he or she knows who did it but it won’t tell us.

The other thing I’m fussy about when it comes to mysteries, is that I don’t care a fig about the mystery. We all know the detective is going to solve the crime. So big deal. No matter how puzzling, the detective will undo Gordian Knot.

What I find fascinating is the detective him or herself. If he or she isn’t an interesting person, then the author has lost me. That’s because any story I read must have interesting characters who deal with the nitty-gritty of life. Machinations of plot hold no interest for me. It’s the people. After all, isn’t it people who make life interesting? And if people make life interesting, it is also people who make fiction interesting as well.

So if I don’t particularly like puzzles, why do I write mysteries? After all mysteries are considered to be literary puzzles. I write mysteries because crime and murder are part of life. The dark side of people interacting with people. Macbeth murders the king and sets off a chain of events. We know he won’t get away with it. What interests us is how his life falls apart.

We know Sherlock Holmes will solve the problem. What’s interesting is his interaction with Watson, the suspects, and how he goes about collecting clues.

When I watch a movie directed by Yasujiro Ozu, there is barely any plot to speak of. What’s of interest is the interaction of the characters and how they go about attempting to solve whatever is the problem in the story. And the problem is usually rather mundane.

For me, writing a mystery is no different than writing any other novel. I either start out with the characters or I start out with a scene and then people it. Then, as Ray Bradbury advised, I let my characters do their thing and the result is the story.

In writing my forthcoming Justinia Wright mystery, But Jesus Never Wept, I started with a scene: Tina and Harry’s client has just been murdered by seppuku, Japanese ritual suicide. That is what I started with. Along the way my daughter told me about the Yakuza, Japanese organized crime, I liked the color it could provide, and it entered into the story. How the Yakuza fit in I wasn’t sure, but figured that’s Tina’s job. She’s the detective, after all. I was over halfway through the book and had pretty much exhausted my list of characters before I figured out who did the murder and why. I was on pins and needles wondering if I’d finish the tale without solving the murder. Not really. Because Tina gets the culprit. It’s what detectives do.

Near the end of my short story “Minneapolis’ Finest”, Tina tells Harry:

“First off, Harry, you read too many mystery novels. Every case in those books is a complex puzzle and things blow up and people are being murdered left and right. Real detective work is, for the most part, dull routine. Boring even. If mystery writers wrote what really happened, they wouldn’t sell a damn thing. Cozies are the worst. I pray to God you don’t read cozies.”

“I don’t.”

“Good. Detective work is dull routine mostly because criminals are dull and boring twits with big egos.”

And I think that is very much the case. Real crime is boring. Therefore mysteries, to be interesting, are for the most part fantasy. Fictional murders are complicated, done by a mastermind for nefarious ends. No mystery writer writes about a normal murder. If they did, who’d read it?

Because most mystery readers are looking for the puzzle aspect, I don’t specifically call my mysteries “mysteries”. Justinia Wright is a private detective. The books are subtitled “A Justinia Wright, PI Novel”. The focus is on her as a person, not the puzzle. I think of it as I’m writing character-driven private eye stories.

In some ways I see The Maltese Falcon as the model. The Maltese Falcon is full of interesting characters, none of them, including Spade, are particularly likable. I think the mystery itself is weak, overshadowed by the MacGuffin. Did Brigid really kill Spade’s partner? Or did Spade just throw her under the bus? The story is a classic not because of the plot, the puzzle, in my opinion, but due to the interesting characters. And that’s why I read mysteries. And write them, too.

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Justinia Wright, PI

I don’t know how it is for other writers. I can only speak for myself. However, I’d like to think other writers would feel the same. When I create a character the process is very human: a baby is born and he or she slowly matures to adulthood. In other instances, he or she springs forth from my head — as did Athena from the forehead of Zeus. In either case, one thing is clear: I love my children.

The child I have lived with the longest and who I confess I love dearly is Justinia Wright, private eye extraordinaire. Her origins go back to 1982 and Raleigh Bond’s short story “Meet Athalia Goode”. You can read about all that in my post “Out of Thin Air”.

Tina runs Wright Investigations in Minneapolis, Minnesota. Her older brother, Harry, is her “Watson” and majordomo. I first chronicled their exploits in 1989 in the novel Festival of Death. Being my first novel, I garnered a couple of rejections, realized it wasn’t very good, and put it back in the drawer where it quietly lay for some 25 years.

Last year I looked at the novel after completing The Rocheport Saga. A lot had changed in 25 years. Technology, society, and me. The novel was hopelessly out of date. Chapter 1 was about all I could salvage intact. So I set the book aside and wrote three novellas to get my head back into Tina and Harry’s world. Those stories form Book 2 in the series, Trio in Death-Sharp Minor. With the novellas completed, I re-wrote Festival of Death. The re-write is far and away better than the original. I published Festival last November and Trio last December.

Sad to say, sales have been poor. Then again readers have a gazillion mysteries to choose from and I’ve done very little marketing. That will come, however.

This month I’m publishing two short stories which chronologically predate Festival of Death. The first I offer free starting today for a week or so: “Minneapolis’s Finest”. Tina solves a mysterious break in for an old friend.

The second story will appear around Thanksgiving. “Sauerkraut Days” has Tina helping the local sheriff with the murder while attempting to set a world record in the sauerkraut eating contest.

Come December, writing time for Christmas, But Jesus Never Wept, number three in the series, will be published. I have the book back from my Beta reader and the cover art is ready to go. All it needs is a couple more read throughs to catch those nasty typos.

I had great fun writing But Jesus Never Wept. Tina is forced to face the demons lingering from her life before she became a private detective. We learn more, too, of Tina’s and Harry’s childhood. Philosophical, ethical, and theological questions abound. And on top of it all, true love takes a left jab and a body punch and is down for the count.

Early next year, the fourth of in the series should make its debut. And just in time for the political season. Campaign espionage and blackmail, with a dash of murder, have Tina and Harry scratching their heads.

I love the private eye novels. I suppose I have Conan Doyle to blame for that. My modest collection of Sherlockiana, Victorian sleuths, and Holmesian pastiches looks over my shoulder as I write this. Perhaps it’s what I want to hear, but I hear those sleuths saying, “Forget the sales. You love her. Tell her story.” And I suppose I shall.

Checkout where you can get the Justinia Wright books on my Novels page!

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