Thursday, August 20, 2026

NGAIO MARSH AWARD LONGLIST FOR BEST NOVEL 2026


The 2026 Ngaio Marsh Award Longlist for Best Novel.  The Ngaio Marsh Awards celebrate the best New Zealand crime, mystery, thriller, and suspense writing. Congratulations to all:
LUCKY THING by Tom Baragwanath (Text Publishing)

CARVED IN BLOOD by Michael Bennett (Simon & Schuster)

SOFTLY CALL THE DEVIL by Chris Blake (Bonnier Echo)

THE BIRDS BEGAN TO SING by Jeffrey Buchanan (Text Publishing)

BLACK SILK & BURIED SECRETS by Deborah Challinor (HarperCollins)

THE DEADLY DISPUTE by Amanda Hampson (Penguin)

BELLA DONNA by Jill Johnson (Black & White/Bonnier)

THE GOOD FATHER by Liam McIlvanney (Bonnier)

WHEN THE DEEP DARK BUSH SWALLOWS YOU WHOLE by Geoff Parkes (Penguin)

THE VANISHING PLACE by Zoe Rankin (Moa Press)

HOOKED UP by Fiona Sussman (Bateman Books)

A BEAUTIFUL FAMILY by Jennifer Trevelyan (Allen & Unwin)

Finalists for all the 2026 categories - Best Novel, Best First Novel, and Best Kids/YA - will be announced later in Spring (Fall in the Northern Hemisphere).  


Tuesday, August 18, 2026

Call for Articles: DEADLINE EXTENSION: Mystery Readers Journal: Cross Genre Mysteries (42:3)


Extension Deadline: August 30

Mystery Readers Journal: (42:3) Cross-Genre Mysteries

Call for Articles:  Mystery Readers Journal (42:3): Cross-Genre Mysteries (Fall 2026)


For our next issue, we are looking for articles, reviews, and author essays focusing on cross-genre crime fiction.

DEADLINE EXTENSION: August 30, 2026

Cross-Genre Mysteries:  Cross-genre fiction blends the themes, tropes, and conventions of two or more distinct literary genres. It doesn’t fit neatly into one category. A Cross-Genre Mystery is a story that retains a central investigation or puzzle at its heart, but layers in other distinct genre such as science fiction, fantasy, true crime, and Westerns. For this next issue, we are not including historical mysteries, as we have had five Historical Mystery issues of Mystery Readers Journal on that theme. 


Have a question? Send me an email at: Janet @ mystery readers.org


Send submissions to Janet @ mystery readers . org

Deadline Extended: August 30, 2026. 

Subject Line: Cross-Genre Mysteries

Author Essays:  First person, about yourself, your books, and the "Cross-Genre" connection. 500-1000 words. Treat this as if you're chatting with friends and other writers in the bar or cafe (or on zoom) about your work and the cross-genre theme in your mysteries. Be sure and cite specific titles, as well as how you use both genres in your books. Add title and 2-3 sentence bio. 

Reviews: 50-250 words. 

Articles: 500-1000 words. 

Send to: Janet Rudolph, Editor.     janet @ mystery readers.org

Please let me know if you're planning to send an article, review, or author essay--or if you have any questions! 


We had a past issue on Cross-Genre Mysteries in 1999: (Volume 15: No. 1). Available as a PDF.   Check out the Table of Contents 



BOOKSTORE SIGN OF THE DAY: Books


 

Monday, August 17, 2026

MANAGING MULTIPLE WRITING PROJECTS WITHOUT GOING BANANAS: Guest Post by Linda S. Gunther


Working on a few writing projects simultaneously has become second nature to me. When it comes to juggling projects, I love it. I seek it out. I crave it. 

What I have to be careful of is not to take on too many projects at one time. The good news for me is that I’m also a finisher. I don’t tend to start projects and leave them dangling. I seek completion and to productize results. I also edit like mad but after maybe a dozen rounds of serious editing for each chapter, I’ll call it a day, hire a reasonably priced professional proofreader at least before I make the very final edits. For short stories, I rely on myself for editing and get feedback on my work from a weekly writers’ critique group and from a small group of trusted beta readers.

Should a writer focus on one project at a time or have 2-3 of them simultaneously in process?

The answer depends on personal style, how the individual writer prefers to work. The advantage of having at least a couple of projects going at a given time is that when you’re working on a big project (like a full-length novel or memoir), you can take a break, divert your attention and craft a short story (maybe in a completely different genre) or even write a poem or a personal essay. This foray into another arena may serve to stimulate your creativity and imagination on the bigger project. It does exactly that for me.

Putting energy into the second, smaller project frees my mind, and refreshes my writing. And often, the secondary project turns out to be a well-received high-quality product. When I get back to my bigger project (the novel or memoir) I’m more inventive and considerably more focused than when I left it.

Some authors work on multiple full -blown novels at one time.  Danielle Steel sometimes had five books in progress at once. There are many other well-known authors doing the same. Kristin Harmel definitely cranks out a myriad of amazing novels each year. That would likely be overload for me because having to track so many complex plots and characters in my head at a given time may not produce my best work. Perhaps I’m under-rating myself here. In reality, I have written close to 60 short stories in the past 18 months while writing my memoir and also do a weekly blog for developing writers. So, I definitely mix it up! It’s fun and feels like my personal playground. 

Along my writer’s journey, I’ve collected some tips for managing simultaneous writing projects:

  • Manage your time and define (before the day starts) WHAT you are going to work on that day (which may include a combination of writing and marketing/social media or submitting to lit journals)
  • Be careful not to spread your creative juices too thin. If you’re writing a chapter in your novel for two hours, then maybe edit one of your short stories for the next hour and post on social media for another thirty minutes.
  • Avoid falling into the danger zone where you’re not finishing any of your projects. If you have too many open, whittle down the number of separate writing ventures. (I hear a lot of this happening from other writing colleagues.)
  • Pay attention to the ‘bleeding’ of characters. For example, having one character in one genre be too similar in traits and characteristics to another character in a different genre you’re working in at the same time. Keep your characters as unique as possible.
  • Take a break from one writing project and outline another. That way you don’t lose a brainstormed idea or concept. Instead, you capture it. And you can go back to that outline tomorrow and shape a first draft of the first chapter or write out the whole short story.

An over-riding perk to having multiple projects going at the same time is that you will undoubtedly build your writing portfolio. Because I have ventured outside my comfort zone, I now have a diverse published body of work.

Of course, there are days when I work on only one project. I give it my undivided focus often because I am at a critical stage in the work.

Many authors also have day jobs and/or young children who depend on them so they must do conscious planning and management of their available time to write. I am a Human Resources consultant and teach classes on the subject so I am balancing those work tasks with my writing.

Most important, I need to take care of myself. There’s more to my life than writing stories but I know that writing makes me happy and feeds the creative soul inside me.

***

Linda S. Gunther is the author of six suspense novels: Ten Steps from the Hotel Inglaterra, Endangered Witness, Lost in the Wake, Finding Sandy Stonemeyer, Dream Beach, and Death is a Great Disguiser. Her memoir, A Bronx Girl was released in 2024. Many of her short stories and essays have appeared in a variety of literary journals across the globe. www.lindasgunther.com

Saturday, August 15, 2026

AUTHORS & THEIR CATS: CHESTER HIMES

Happy Caturday! 

Authors & their Cats: Chester Himes




The following is from a book called Writers and Their Cats, a book about writers and their cats by Alison Nastasi.  

Chester Himes, considered the father of the black American crime novel, wrote stories that mirrored the real-life violence and racism happening in the world around him. “American violence is public life, it’s a public way of life, it became a form, a detective story form,” he once said. “So I would think that any number of black writers should go into the detective story form.”

One reprieve from the chaos of everyday life was Himes’s cats, particularly his blue-point Siamese called Griot (1st and Third photos above). “Griot is named after the magicians in the courts of West African kings,” Himes said in a 1972 interview. Griot was Himes’s constant travel companion. When the If He Hollers Let Him Go author didn’t bring Griot along during his adventures, Himes paid the price. In a 1971 interview Himes gave while in Stuttgart, Germany, he claimed he couldn’t stay away from home too long since Griot would “certainly destroy [his] studio back home and chew up all [his] books.” 

After Griot passed away, Himes kept a kitty named Deros, who the writer loved for her sweet personality.