THE AUGUSTA MCKEE MYSTERIES AREN'T EXACTLY COZY

 The literary genre cozy mystery is defined in this way:

The cozy mystery usually takes place in a small town or village. The small size of the setting makes it believable that all the suspects know each other. The amateur sleuth is usually a very likeable person—most often a female of “a certain age”—who is able to get the community members to talk freely (i.e. gossip) about each other. There may be law enforcement involved, but it’s the amateur sleuth who solves the mystery. Also, there are no gory descriptions of violence or explicit sex scenes. And if the mysteries appear as a series, it’s important to have engaging and interesting characters that the reader cares about and wants to know more about the lives of these people.

 From the beginning, I’ve been breaking some of these rules, since Augusta is a somewhat prominent resident of the city of Cincinnati. And while Augusta has some sleuthing skills, which she expands over the course of the series, the mystery is actually solved by Cincinnati Homicide Detective Malcolm Mitchell—though with Augusta’s assistance in various ways. Not the least of which is the romantic interest which appears quickly after a somewhat confrontational first meeting.

 Instead of community gossip, Augusta’s musical community is often involved in one way or another, since many of the victims (and sometimes the perpetrator) are also musicians. Unique to this series, I believe, is the inclusion of music in every book.

 Other elements we find in Augusta’s mysteries include social issues; for instance, organized crime is important to the plot in three of the books. International espionage pops up in one. My current w.i.p. (The Case of the Casanova Cantor) begins during the “long, hot summer” of 1967. The plot includes Augusta championing racial diversity in casting opera productions at the fictional school, The Conservatory. The KKK comes into the picture.

While Augusta and Malcolm are wild about each other, I close the door and turn off the lights when things begin to get heated. And I’ve managed to sidestep gory details about the murder victims, other than some clinical observations by the coroner—who also happens to be a musician. A friend of Augusta’s, he plays the organ sometimes at a church where she sometimes is a guest soloist.

 From comments I’ve received, I believe the people who most enjoy the series have become good friends with my protagonists. For me, that is one of the most enjoyable experiences in writing these books. To learn new things about my characters and share them with the readers.

 The first book takes place in the spring of 1963, and about six months pass between the events in each subsequent book, and the same length of time between publication. There has been a bit of a hiatus in the series following book eight, The Case of the Bogus Beatle, set in the late summer of 1966. 1967 was a turbulent year in this country, and I hesitated to move into that time period. But since these books are more mystery than cozy, I decided to forge ahead, and the result will be in readers’ hands sometime this coming spring.

 Here's the Prologue:

 The “long, hot summer” of racial unrest in the United States during the summer of 1967 exploded in Cincinnati’s Avondale neighborhood on the evening of June 12. Tension had been building in the city over several years. and it came to a head after the arrest and conviction of a Black man, Posteal Laskey, for several brutal murders. Many felt Laskey had been railroaded, and following a tense but peaceful protest meeting a rock was thrown, smashing through a window.

Chaos quickly ensued. Avondale was a changing neighborhood, where for many years a majority of its residents had been members of the Jewish community. At the majestic Rockdale Temple, a showcase of Reform Judaism in the city, confirmation rehearsal had been completed. The young people had just begun to exit the building and found themselves caught up in the disturbance.

Eugene Geller, Cantor for the Temple, along with several other adults—and with no little difficulty—managed to get the young people to safety. Once assured his charges were out of harm’s way, Gene attempted to return to the Temple to pick up his car.

By then, violent street fighting ensued. Noise, objects, and smoke filled the air as members of the Cincinnati Police Department squared off against the rioters.

Gene did his best to avoid being caught up in the fray. In the confusion of the melee, he kept in the shadows, dashing toward a corner, rounding a building…and disappearing without a trace.

Rockdale Temple, c. 1967

All of the "Augusta McKee Mysteries" can be found on Amazon

https://www.amazon.com/gp/product/B07KBCWS24?ref_=dbs_p_mng_rwt_ser_shvlr&storeType=ebooks

Tell Me Again Why I'm Doing This?

"Give someone a book, they'll read for a day. Teach someone how to write a book, they'll experience a lifetime of paralyzing self doubt."—Lauren DiStefano, author of Burning Kingdoms

Book number eleven, novel number ten, “Augusta McKee Mystery” number four, is waiting for me to hit that magical “Publish My Book” button on Kindle Direct Publishing. Yikes. 

 Every time I get to this point, I have this moment. What in the world am I doing? Despite all the edits, proofreads, read-throughs by beta readers, this book has to have mistakes in it. Beginning with the entire concept of the story. I should just sneak away and forget about releasing it – despite the fact I’ve already announced that it will be available October 1. Two days from today. 

 What would happen if I reneged, other than my having a large amount of egg on my face? The sun’ll come up tomorrow. (I know you sang that, I just did.) Grass will grow, flowers will bloom, the rivers will continue to run.

This is my child, my precious child, I’m about to push out into the cold, cruel world. Will it get a cold shoulder or a welcoming reception? Will anybody read it? Will the people who read it like it? Maybe I should let it stay home today. Or for a month. Or forever. I’ll read it.

My author friends assure me all of us go through this period of self-doubt. That’s really kind of a mild way of putting it. It’s more like a sense of “whatever possessed me to sit down at my computer and start putting words together when I have no idea what I’m doing and I have absolutely no business doing this.”

And if you think it will get better with time, I fervently hope you are correct, because at this point it’s gotten worse with every book. While I’m writing it, I have the greatest time imaginable. I completely lose myself in the book. My characters take over my life. I dream about them. I tell them to please go sit in the corner so I can go to the bank and avoid wrecking my car in the process. I’m sure I walk right past friends in the supermarket and don’t even see them because Augusta or Malcolm is talking to me about a plot point. And before those two, it was Andrew and Jake Cameron. They had my attention for over two years. 

Oh, I will follow through and click on that box, and watch The Case of the Purloined Professor go live on Amazon, and I’ll spread the word via social media that it’s available. And wait anxiously for the first reviews (and wish more people would kindly consider writing even a couple of lines for a review … we just never get enough, unless our name is Stephanie Meyer or John Grisham or Stephen King. Or the ex-billionaire, J. K. Rowling).

I truly am enjoying writing this mystery series. I like Augusta McKee and Malcolm Mitchell and their friends and family. It’s a thrill to feel that Augusta has a following, and I hope it continues to grow. I love that I’m learning so much about police work, its demands and intricacies (with many, many thanks to Stephen Kramer and the Greater Cincinnati Police Historical Society and Museum), and the limitations policing had in the mid-1960s—despite which they did remarkable work. Our law enforcement officers are dedicated, effective, and some of the bravest people on

the planet.

 There’s my answer … I do it because I love what I’m learning, and I love being able to share it with the nice people who read my books. After all, that’s what art is. A means of sharing our passion, whether it’s art, music, dance, theater, or literature. And I’m blessed with the desire and, it seems, the ability to share my passion for music through literature.

Yes, I guess I just answered my own question. Get ready, The Case of the Purloined Professor. You can do this. October first! Get out there and do your stuff!

Thank you for your support, dear reader. It means more than you know.

To learn more please see my Amazon author page:
https://www.amazon.com/Susan-Moore-Jordan/e/B00IBZ731U/ref=dp_byline_cont_ebooks_1

The Diva and the Detective

The Case of the Toxic Tenor, book three in “The Augusta McKee Mystery Series,” is now available on Amazon. The first two books, The Case of the Slain Soprano and The Case of the Disappearing Director, have some nifty reader reviews.

Readers like my protagonist:

“Professor Augusta McKee, just introduced in Susan Moore Jordan’s mystery The Case of the Slain Soprano, will take her place among the lady detectives you wish you knew in person. She’s a no-nonsense voice teacher in spike heels, tough and tender and smart as all get-out.” - Michaele

“Augusta McGee … is well-drawn for us and we are soon thoroughly intrigued by this well-dressed and extremely well-shod woman in midlife with many roles - professor of music, voice teacher, stage play director, and supportive mentor to faculty and students.” - Catherine

“McKee makes a strong protagonist and I liked her instantly as she asserts herself in defiance of the detective, who seems a bit overwhelmed by her, but later regains his composure sufficiently to woo her.” – Pocopop

About that detective, Malcolm Mitchell. I owe a lot of thanks to some remarkable people who’ve been an immense help in developing this series, first among them retired Cincinnati Police Department Detective Lieutenant Stephen Kramer, who is former president of the Greater Cincinnati Police Historical Society and former long-time director and current archivist of its Museum. When I started writing the series, set in Cincinnati in the mid-1960s, Lt. Kramer was kind of enough to respond to my request for assistance in understanding police procedural matters in that time and place. He also provided considerable insight into the mind of a homicide detective, and some of the words uttered by Malcolm are—with permission—quotes from Lt. Kramer. 

I also have to thank my intrepid editor, Ashleigh Evans, who continues to help me through tricky scenes and thorny issues as I follow this new path of writing a series, attempting to make each book fresh and new while keeping the reader engaged by my protagonists and how they deal with each new challenge. When considering the cover for the first book, Ashleigh suggested incorporating what has become the series’ brand: Augusta’s red stiletto.

It’s quite a thrill to see the talented Taylor Van Kooten’s covers as a trio. What a serendipity to find a photo of the engraving for the original design of Cincinnati’s wonderful Music Hall and learn it was in the public domain! A perfect background for a murder mystery which takes place in the building. Taylor’s artistic rendering of the gazebo in Eden Park is stunning. We’re already thinking about the cover for book number four, which is my current work in progress. 

Reader reviews are vital for an independent author, and if you’ve read and enjoyed any of my books, I’d be grateful for even a brief review on Amazon. This review for The Case of the Disappearing Director by Pocopop was definitely gratifying. With each book I attempt to hone my writing skills, and it seems I may be succeeding!

“Jordan weaves an intricate plot that slowly peels back the layers, reveals her protagonist's depth and nature, while interspersing Jordan's knowledge and obvious love of opera, classical music, and performance theater. The music and the theatrical aspects add depth to the story and characters, and Jordan uses these elements expertly to help tie up the plot and bring it to a satisfying conclusion. Although Disappearing Director is part of a series, the book stands alone, with no need to read the preceding novel in order to understand this one. I felt Jordan reached new levels as a budding novelist in this story.”

(In celebration of the release of third book in the series, Book One, The Case of the Slain Soprano, Kindle edition, is on sale for $0.99 until 8 a.m. May 4. Grab it while you can!)

You can find links to the books on my Amazon author page: 

https://www.amazon.com/Susan-Moore-Jordan/e/B00IBZ731U/ref=dp_byline_cont_ebooks_1

Or on my website: http://www.susanmoorejordan.com/

Power Couple: Augusta and Malcolm

Writing about Augusta McKee, former opera singer, professor of music, fashionista, amateur sleuth, known for her independence and her stilettos, has elicited some great responses from readers:

“Professor Augusta McKee, just introduced in Susan Moore Jordan’s mystery The Case of the Slain Soprano, will take her place among the lady detectives you wish you knew in person. She’s a no-nonsense voice teacher in spike heels, tough and tender and smart as all get-out.”

“Augusta McGee, (Jordan’s) heroine, is well-drawn for us and we are soon thoroughly intrigued by this well-dressed and extremely well-shod woman in midlife with many roles - professor of music, voice teacher, stage play director, and supportive mentor to faculty and students.”

When Augusta crosses paths with experienced Homicide Detective Malcolm Mitchell, there has to be much more to what begins as an adversarial encounter.

“Augusta, a strong force to be reckoned with, isn’t the type to take bad news lying down. Instead, she decides to do a bit of snooping on her own, especially when her red stilettos and sassy wit cross paths with the hunky, smart homicide detective, Malcolm Mitchell. Sparks sure do fly!”

“The beautiful, spiked-heel McKee encounters romance with an unlikely match (who turns out to share her love of opera, no surprise there!) in the detective assigned to the case, Malcolm Mitchell. McKee makes a strong protagonist and I liked her instantly as she asserts herself in defiance of the detective, who seems a bit overwhelmed by her, but later regains his composure sufficiently to woo her.”

While that initial encounter may at first appear to be instant dislike, it turns out to be a great deal more. Augusta’s thoughts about the detective evolve, and this scene at Linnea Murphy’s funeral could be the beginning of their romance. (Informational note: the books are set in Cincinnati in the 1960s.)

The Case of the Slain Soprano

Excerpt from Chapter 7

Arriving at the church, Augusta was somewhat taken aback to see a number of police officers on hand, including Detective Malcolm Mitchell and his partner, Jim Edmonds.

“Crowd control, Detective?” she said to Mitchell.

“Something like that,” he replied, rather curtly.

“It appears you’re looking for someone.”

He glanced at her briefly, continuing to scan the crowd as he spoke. “One of our suspects has cut and run. There’s a chance he might show up today.”

Augusta had to catch her breath and realized she was shaking slightly; the emotions she was already experiencing intensified. “I don’t suppose you’ll tell me who it is.”

“You suppose correctly, Professor McKee.” He gazed directly at her and said quietly, “You should take your seat, don’t you think?”

She nodded and walked down the aisle to the soothing strains of the prelude, Mascagni’s haunting “Intermezzo” from Cavalleria Rusticana, to sit with Sisters Norbert and Vincent. As Augusta listened to the angelic Fauré Requiem, she found herself from time to time studying the crowd which filled the church. Who are they looking for?

The sopranos began to sing the lovely “Pie Jesu” and Augusta’s mind took her back to the concert in October when Linnea had performed it flawlessly, and she let the tears flow. The mass concluded; Father Culhane spoke of Linnea with love and compassion, and there were few dry eyes in the congregation.

The casket was wheeled to the front of the church and removed, and the congregation began to exit to the gentle, ethereal strains of Theodore Dubois’ “In Paradisum.” Augusta was jostled slightly from behind, and she glanced back to apologize but the person behind her hurried forward.

Augusta almost stopped still as she stared at the woman who had brushed past her. She was wearing too heavy a coat for this late April day and had a scarf wound around her head. With a shock Augusta realized it wasn’t a woman at all; it was a man. When she reached the steps leading from the church she received a second shock: after a brief scuffle, the “woman” was being arrested by Mitchell and Edmonds. Augusta hurried down the steps and Terry Jenkins locked eyes with her.

Terry’s voice broke as he called out, “Professor McKee, you know I didn’t kill Linnea. I loved her.” Detective Edmonds pressed the fugitive into a police car, which sped away fairly quickly. While Augusta realized the police had managed to avoid too much of an uproar, there was some consternation among the mourners who had witnessed the arrest. Furious, she confronted Mitchell.

“Was that absolutely necessary?” She struggled to keep her voice under control.

“Unfortunately, it was. I’d have preferred to arrest him elsewhere, but if we hadn’t done it here, he would have been on the run again.”

“I simply can’t believe that boy killed Linnea.”

“Well, he sure didn’t help his case by taking off the way he did. Not smart to come to the funeral, either. And he compounded his problems by taking a swing at Detective Edmonds.”

Augusta’s jumbled emotions had been in high gear all morning, and she found herself weeping and unable to speak. To her surprise, Detective Mitchell reacted with sympathy.

“I’m sorry this happened, Augusta.” He handed her his handkerchief. “I know you loved Linnea and this has all been difficult for you.”

She still couldn’t speak. Malcolm Mitchell put a gentle hand on her shoulder. “The Sisters are waiting to take you to the cemetery,” he said quietly, his mouth close to her ear. “You need to be there for the conclusion of the funeral.”

Still clutching the handkerchief, Augusta allowed Sister Vincent to lead her to one of the limousines that had been hired for the day.

The car pulled away slowly as Augusta glanced through the back window at Mitchell. How caring he was with me. I didn’t expect that.

The Case of the Slain Soprano and The Case of the Disappearing Director, Books #1 and #2 in “the Augusta McKee mysteries,” are both available on Amazon, Kindle and paperback:

https://www.amazon.com/Susan-Moore-Jordan/e/B00IBZ731U/ref=dp_byline_cont_ebooks_1

Covers by Taylor Van Kooten