KDP: Kindle Direct Publishing, 2

After the KDP announcement that CreateSpace would cease to exist in October, 2018, I had two choices with the programs I had scheduled: (1) Cancel them; (2) Self-publish a book through KDP and rewrite my entire Keynote presentation, from Frame 1 through Frame 115.

I went for Option Two. Somehow, between August 28 and October 15, I would self-publish both an ebook and a softcover through KDP, take screenshots of the process, put them into my Keynote program, and create order out of chaos. 

Luckily, I had more blogs available to self-publish. I chose twenty of them and titled the book after one of the blogs: Scrape, Rattle, and Roll.

KDP offers users the ability to publish an ebook only, or a paperback book only. Or both, if one is so inclined. Which I definitely was. A user could create and publish the ebook first, or the softcover first. It makes no difference. This, of course, is different from CreateSpace, which published softcovers only.

ebook firstFor eight years I had been teaching how to self-publish a softcover first, then turn it into an ebook. Why not reverse the process? KDP puts the selection box for the ebook above the selection box for the softcover — so, I reasoned, they were hinting that people should publish the ebook first.

I liked this approach for one big reason: it is easier to format a manuscript for an ebook than it is to format a manuscript for a softcover book. (Except, I suppose, for an ebook heavily loaded with charts, tables, and illustrations.) Since the step that gave students the most grief in the past was formatting a manuscript (it terrified some, frustrated others, and downright stymied most of them — they stopped and proceeded no further), I hoped that doing the easier manuscript first and publishing it as an ebook would give them confidence to go on and format the manuscript again, as a softcover book.

Scrape ebook Title, for Blog

The ebook cover

So that is how I proceeded with my collection of blog articles: I published them as a Kindle ebook first. This process was incredibly easy, and as I took screenshots and loaded them into my Keynote program, I felt that things were going well. I published the ebook on September 1, 2018, just three days after receiving the news about all of CreateSpace being merged into KDP.

Then came the softcover book, with which I anticipated no problems — for the simple reason that I had already self-published eleven softcover books through CreateSpace and had had no problems.

KDP divides its self-publishing procedure into three categories:  Details, Content, and Pricing. I filled out the Details section quickly. In fact, most of the section filled itself in — the KDP program flowed it in from my ebook. That’s good: less work for the author-publisher.

Then came the Content section. There, too, I proceeded quickly. On my computer, I duplicated the manuscript of Scrape, Rattle, and Roll. (So that, if anything went wrong, I would have the original copy intact.) I then downloaded a 5”x8” KDP template and, after watching their 3-minute video, pasted my manuscript into their template, section by section. Easy peasy.

I saved that as a PDF and uploaded it to KDP. Their Spellcheck caught four issues, but those were examples of literary license (I invented a few words in poems), and I told Spellcheck to ignore them. I then opened Previewer and looked at my book online, page by page. It looked great! And this entire process was so much quicker than the CreateSpace process used to be. KDP has reduced the number of choices and the number of decisions, so the process works more quickly.

spelling errors

All that done (and done quite easily), I proceeded to KDP’s Cover Creator. Unlike the CreateSpace Cover Creator, which offered thirty choices, this one offers ten. If you don’t like any of these ten (each of which comes with five to seven different layout choices), you can download a cover template, design your own cover, and upload.

I, however, wanted to use KDP’s Cover Creator, because I figure that’s what most of my students would be using. So I chose a cover, looked at the colors and opted for black and hot pink. Then I looked at the layouts and chose a diagonal one that I liked.

I uploaded a photo for the front of the cover, uploaded my author photo, and pasted in the back cover copy and the “about the author” copy. And that is when everything came to an impasse.

KDP’s Cover Creator template would not approve my design. Two triangles (with exclamation marks inside) showed up, one next to the back cover copy, one next to the bar code area. The triangles told me my copy was too large to fit inside the area and urged me to click on Change Size. I did. But no matter what size of type I chose (eight point, for god’s sake!) and no matter which font I chose, the triangle told me that the copy did not fit and that I could not proceed.

So I deleted the back cover copy and I deleted the author copy. I could not delete the bar code. Two triangles still told me the [nonexistent] back cover copy did not fit.

triangle

After trying for a long time to solve this problem, I finally emailed KDP. In return, they sent me an email stating they would call me within 48 hours. This was on a Friday. They reminded me that they did not work on Saturdays and Sundays. 

When they called, they told me that the problem was not really the back cover copy, but the spine copy. Their Print-on-Demand printing machines could not print spines on books of fewer than 130 pages: the tolerance factor was such that the printer might push the spine copy onto the front cover, or the back cover. So no spine copy was allowed on books of under 130 pages.

Fine, I said. I never put the spine copy there in the first place, I informed them — the KDP template program flowed the title of my book, plus my name, onto the spine. “So let’s remove the spine copy,” I told the customer service representative. 

He then instructed me to place my cursor in the spine area, click on it, and start backspacing. I did that. The spine copy disappeared.

But so did the front cover copy — my book had no title, no subtitle, and no author. I pointed this out to him. He kept me on hold as he went back and forth to the technical department, asking them questions. After 59 minutes, he resolved that this had to be solved by others, and he would call me within 72 hours. This was Wednesday, so that meant he would call on Monday.

Which he did. “The cover you have chosen does not work with books under 130 pages,” he told me. Now, I had used my weekend hours, while the KDP team was off having fun, to check Each. and Every. One. of the Cover. Creator. Templates.

And each and every one had the exact same problem: the program flows the spine copy onto the template, and the copy cannot be removed, and the cover cannot be approved. Round and round in circles. You can read the rest of the story in Part 3, which will be published in two weeks . . . without spine copy.

_____________

Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies, is one of Barbara Gregorich’s most frequently requested books. It has no spine problems.

Guide to Writing the Mystery Novel: Part II

Guide to Writing the Mystery Novel was somewhat easy to write, probably because I had been thinking about it for three years. Some chapters took me a day to write, some two or three days. I went at it steadily, so that I would never lose touch with the purpose of the book and the tone of the book.

After I finished, I let a couple of weeks go by, and then I sat down with the manuscript and read it critically, marking it up heavily. From these marked-up pages I wrote the second draft. I showed that draft to my first two readers, listened to what they had to say, and wrote the third draft. I showed that to two more readers, and wrote the fourth (final) draft.

As I mentioned in my previous blog, my actual working title for this book was Writing the Mystery Novel, even though there were a few books with that title already out there. I knew that at some point I would change the title. When that time came, I read up on what constitutes a good nonfiction title. And subtitle. 

Many articles suggested making the title humorous and the subtitle serious. But I felt I wanted the main title to carry the message of what the book is, so that anybody searching for it could find it easily. And I wanted the subtitle to reflect what was in the book. Once I decided to title the book Guide to Writing the Mystery Novel, it took me maybe a minute to come up with the subtitle, Lots of Examples. I liked the down-to-earth feeling of the word “Lots,” which is of course colloquial. 

It’s amazing how our subconscious works parallel to and in step with our consciousness on occasions. No sooner had I deliberately, consciously chosen the colloquial Lots of Examples than, out of nowhere, my subconscious prodded, Plus Dead Bodies.

So I spent maybe three hours reading up on and thinking about nonfiction titles, about five minutes deciding on my main title, and about two minutes coming up with the subtitle. But the five minutes and two minutes would never have given me the solution had I not spent those three hours researching and thinking.

Every time I decide to self-publish a book, I ask Robin Koontz to design the cover. I’m always thrilled with her cover designs, and this one is no exception. It was Robin who came up with the idea of crime scene markers for the subtitle of the book and also for the inside chapter titles. I love it! In fact, even though I know about crime scene tape, I was unaware of crime scene markers — but I am so glad that Robin was aware of them! 

Robin also came up with the dead body (don’t ask how!), the layout, the colors, and the typefaces. An immensely appealing cover, I think. (Thank you, Robin!)

Designers put great thought into not only the front cover of books, but also the back cover. Personally, I find back covers difficult to decide on. The back cover of She’s on First contains review quotes: such testimonial blurbs are the most common back cover item. The back covers of Dirty Proof and Sound Proof contain book descriptions: sort of what the inside flap copy would be like in a hardback book.

The back cover of Research Notes Volume 1 contains extensive about-the-author information. The back cover of Volume 2 contains two long review quotes about Volume 1. The back cover of Jack and Larry contains five testimonials from sources with clout. The back cover of my poetry collection, Crossing the Skyway, contains nothing but the continuation of color from the front of the cover.

For Guide to Writing the Mystery Novel, I was seriously thinking of describing the contents of the book (as with Dirty Proof and Sound Proof), but Robin Koontz came up with a better idea. She took the topics discussed in the twenty-five chapters and created an attractive, intriguing, eye-catching collage of these topics for the back cover. This is my favorite of all the back covers of all my books.

Guide to Writing the Mystery Novel was the eighth book I self-published, but it was the first of those books to contain an index. If I were using such a book as Guide and had finished reading it, then at a later date wanted to refresh my memory about what the author said about, say, subplots, I would want an index — because I couldn’t assume that every comment about subplots would be within the chapter on subplots.

So I asked Sharon Johnson, a friend who’s a professional indexer, and who indexed Women at Play back in 1993, if she would create the index. She said she would (Thank you, Sharon!), and the book has an index. I hope that many people find this index useful.

It’s interesting how things work out. If I hadn’t written my first mystery, Dirty Proof, I wouldn’t have written a second mystery with the same detective hero. And if I hadn’t written that second mystery, Sound Proof, and used it when teaching, I would have never written Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. In fiction, one thing leads to another. Just as in life.

___________________

Barbara Gregorich’s most recent book is Charlie Chan’s Poppa: Earl Derr Biggers. 

Guide to Writing the Mystery Novel: Part I

Perhaps a third of the way through writing the first draft of Sound Proof, my second mystery novel, I realized that I wanted to write a how-to book on writing the mystery novel. Two factors contributed to my wanting to write such a guide. 

The first was that I had been reading a lot of mystery novels which, in one way or another, annoyed me.  One might have had a far too obvious villain: somebody I recognized as the murderer by the third chapter. Another might have had a far, far too obscure minor-character villain who, when revealed to be the villain, created no emotion in me: I just didn’t care that this seldom-seen character was the guilty party. Still another mystery might have had way-too-clunky planting of clues. One may have had way-too-obvious foreshadowing, while the solution to yet another might have been totally unearned.

Annoyed at what I was encountering, I thought I could give some guidelines on techniques such as foreshadowing, or give examples of how to plant clues. I would certainly read such a how-to book, and I thought others would, too.

The second factor that contributed to my writing a guide on how to write a mystery novel stemmed from the fact that with Sound Proof I was being forced to think through writing decisions very different from those I made for Dirty Proof. For example: Sound Proof contains many more characters and is set over a five-day period at a folk music festival. As I began to write, I noticed that I needed to know where each of the seven suspects was at a particular time of day Monday through Friday. So I had to make a where-are-they chart listing the days, the time of day, and the location of the suspects. The chart would help me understand time and place, and my understanding of time and place in the novel would help the reader understand it, too.

SOUNDPROOF-Cover

Design by Robin Koontz

In Dirty Proof I had a major character villain, but in Sound Proof I had a minor character villain. I was worried: how could I keep readers from forgetting the character? So I made a chart tracking the minor character’s appearance in the novel, making sure to have the character present enough times so that the reader wouldn’t forget, but also absent enough times that the reader wouldn’t suspect.

Because I intended to write a guide book after completing Sound Proof, I kept track of all my major writing decisions. I saved all my doodles and scraps of paper. After I finished and published Sound Proof (2011), I put all my files aside for a while, so that I could think about the organization and tone of the guide book. While letting my ideas for the guide book simmer,  I wrote and published Jack and Larry in 2012 and Research Notes for Women at Play, Volume II, in 2013.

When 2014 came along, I started to organize the guide book. The first thing I did was create a working title: Writing the Mystery Novel. I’m the kind of person who needs a title before I can write a book . . . even though I may change the title after I’ve finished. In this case, after I completed the book, I changed the title to Guide to Writing the Mystery Novel.

After coming up with the working title, I thought about how to organize the book.

 

BookmarkPerhaps there was a time in the history of reading when every single reader read a book from beginning to end, in the order the pages were printed. If there was such a time, it clearly no longer exists. People read books, particularly nonfiction books, in any order that pleases them. Middle to End to Beginning. Beginning, End, Middle. Who knows.

I happen to read books from beginning to end, in the order the pages/chapters are printed. But I don’t want to impose my reading preference on others, and so as I began to create Guide to Writing the Mystery Novel, I made certain that the book would logically lead a reader from beginning to end, teaching skills along the way — and that any individual chapter could be read at any time and still make sense. In that respect, Guide to Writing the Mystery Novel is “interactive” in that the reader can interact with the book in any order she pleases.

People who teach know that nothing works like examples — theory and instructions are abstract: examples are concrete. In addition to explaining foreshadowing, for example, it helps to show an example of foreshadowing. This is why Guide to Writing the Mystery Novel contains (as the subtitle promises) lots of examples.

Most of the examples are from Sound Proof, for a variety of reasons, one of which is that I own the copyright to Sound Proof and therefore don’t need permission to publish quotes from it. Equally important is that because I wrote the novel, I knew what problems I faced when writing it, and I know what my thinking was in reaching a solution. I shared these problems and my thinking and my solutions with the reader in Guide to Writing the Mystery Novel.

_____________________

Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies, is one of Barbara Gregorich’s most frequently requested books.

Mountain Passes: Panther Pass

Contrary to common perception, Europeans didn’t first occupy the land that became the United States in an east-to-west direction. The Spanish marched from south to north, establishing the town of Santa Fe in 1610, ten years before the Pilgrims landed at Plymouth Rock.

French missionaries and explorers, on the other hand, moved through the new land from north to south, using the waterways of the Great Lakes and Mississippi River to establish contact with native tribes of what are today Michigan, Wisconsin, Illinois, and Arkansas. On the lakes and rivers, of course, the French encountered no mountains and no mountain passes.

The Spanish, moving across the land by foot and on horseback, did encounter mountains. So it should come as no surprise that they encountered mountain passes. (It’s said that the first European to discover a mountain pass in what is today the US was Coronado, who in 1540 marched through the pass called La Glorieta, southeast of Santa Fe, searching for legendary cities of gold.) One of the passes traversed by the Spanish was named after the mountain lions that roamed North America. The North American mountain lion goes by various names in different parts of the continent: cougar, puma, catamount, and panther.

In southwestern Texas the puma is called a panther. In the Chisos Mountains of the Big Bend area, the panther preys mainly on deer and javelinas (wild pigs). And although these large cats prowled throughout the Chisos Mountains, the place they were most often spotted was in a particular mountain pass. Naturally this pass came to be called Panther Pass. The Chisos Mountains, incidentally, are the southernmost mountain range in the US, and are also entirely contained within the boundaries of Big Bend National Park (1,252 square miles). 

Named after the giant turn the Rio Grande makes as it flows east to the Gulf of Mexico, the Big Bend area is spectacular. This is a land of wide variety: harsh desert, rugged mountains, bountiful river. It’s populated by shrubs, cacti, trees, reptiles, birds, and mammals, many of them found nowhere else in the United States. Mainly, though, the land of the Big Bend is desert. Until modern times only Indians native to the area could survive there. They knew which roots provided food, which plants provided moisture, which caves provided shelter. 

Panther Pass

Mountain Range: Chisos Mountains.
Elevation: 5,770 feet
Grade: 15% in some places
Location: In Big Bend National Park, southwestern Texas.

Although the desert was not suitable for farming, it was rumored to contain another kind of wealth: gold. And gold was a lure to the Spanish, who forced natives to mine both silver and gold. This new-world wealth was then loaded onto ships that sailed to Spain. 

Eventually mines are mined out or abandoned for some other reason. Then legends of lost mines spring up. Possibly because so many miners kept the location of their mines secret, the legends were believed. 

One of these many legends says that the Spanish forced prisoners to work in a fabulous mine north of the Rio Grande. This mine was located on what is today called Lost Mine Peak, in the Chisos Mountains. According to legend, the prisoners marched from the Spanish stronghold, Presidio [Fort] San Vicente, which sat on a bluff above the Rio Grande, through the desert, through Panther Pass, and into the dark mine. The gold mine was so rich, legend has it, that the Spanish  blindfolded the prisoners en route so that not one of them would never know its exact location.

Big-Bend-Lost-Mine-Trail2

Lost Mine Trail, Chisos Mountains

How does a gold mine get “lost”? Legends always have an answer. In the case of the Panther Pass gold mine, legend says that the Commanche, who did not want Europeans taking their silver, their gold, or their land, raided the mine and killed everyone in it. Then they sealed the mine entrance with rocks and covered it with brush so that nobody could ever find it again. 

But legends of lost gold mines always give hope to treasure hunters, and the legend of the Panther Pass mine is no different. Supposedly if a person stands in the chapel door of Presidio San Vicente on Easter Sunday, the sun’s first rays will shine on the exact location of the Lost Mine.    

Thousands of prospectors and treasure hunters have looked for the Lost Mine, but nobody has found it. Perhaps that’s because all that remains of Presidio San Vicente are adobe ruins. Or perhaps it’s because Easter Sunday falls on a different date each year. Or maybe it’s because the Earth wobbles on its axis as it rotates, so never again will the first rays of the sun on Easter Sunday strike exactly where they struck 300-some years ago. Or, perhaps . . . the entire legend is total fabrication.

Most likely nobody has found the Lost Mine because it never existed. As they move through the world, humans leave records behind: records of births and deaths, records of ownership, and records of profit or loss. Nowhere in Spain, Mexico, or Texas is there any kind of written record (ledgers, letters, deeds) of a gold mine just beyond Panther Pass. 

But don’t let that stop you. If you’re set on treasure hunting, you can drive or bike an asphalted road through Panther Pass, cross the Lost Mine Trail, and start looking.

Panther Pass

No lost gold
mine-yours-theirs,
there’s nothing where
the puma yowls
and prowls
the arid rocks.

________________

You can read Barbara Gregorich’s earlier blog on mountain passes, The Cumberland Gap.

The Power of Story: Phil Passen’s Musical Programs

As you may recall from a previous blog, The Endless Highway, I am a roadie for my husband, Phil Passen, who is a hammered dulcimer player. As roadie, I get to sit in on his performances. This has led me to not only observe that Phil’s performances are loved by the audiences he plays for (public libraries, historical societies, high schools), but also to analyze why they are so popular.

Here are a few of Phil’s musical programs:

Music of the Civil War
Music to Commemorate the Sinking of the Titanic
Carl Sandburg’s Songbag
The Music of Thomas Hardy
Music to Commemorate the Illinois Bicentennial

There are two basic reasons for the success of these programs. The first is Phil’s playing. I won’t spend much time on this (you can hear some of his tunes, such as “Shady Grove,” on his web site), mainly because one of the reasons for a musician’s success should be his playing. Phil’s ability to play music that people enjoy is evident on his first CD, Swinging on a Gate, which has sold steadily for almost twenty years.

The other reason I won’t dwell on this is that I myself am not a musician and while I find Phil’s music very enjoyable, I simply don’t have the knowledge to analyze its component parts.

The second basic reason for Phil’s success is his ability to create and present story. As a writer, story is something I feel I do have the knowledge to analyze and talk about. On its most basic level, story is an account of people and events, meant to entertain. 

IMG_5406

One of the ways in which stories entertain is in the way they’re constructed, so that listeners can see the cause-and-effect of events and behaviors. So that listeners can see the underlying conflicts between the story’s characters. So they can sense a foreshadowing of what is going to happen. So they can feel empathy with the people who experienced these events, perhaps caused them, perhaps fought against them.

A good story touches the human heart — it helps create empathy for others and helps us see how very much we have in common with those others.

Phil weaves story into all of his programs, but particularly into the historical ones. He researches the events he sings about and constructs that information into story form. True story, not fictional story. He puts his songs and tunes in the order that they will best tell the story. Between songs, he presents information. Audiences leave Phil’s programs saying they loved the music and the stories equally well. 

Phil does this for all of his historical presentations, but I’m going to use only one of them as an example. 

When audiences settle in to hear When That Great Ship Went Down: Music to Commemorate the Sinking of the Titanic, they first hear a spirited old-time tune, “A Man Named William Morgan,” which contains the refrain, My name is Morgan, but it ain’t J.P. I see them tapping their feet, smiling . . . and looking perplexed. Surely some of them are thinking they wandered into the wrong program.

After he finishes that number, Phil tells them about the vast financial empire ruled by J.P Morgan — an empire that included steel mills, railroad lines, banks, and shipping lines. Including the White Star Line, which owned the Titanic.

From J.P Morgan (who did not perish on the Titanic because he let his luxury suite go empty while he stayed in France with a mistress), Phil goes to the first and second class passengers, who would have listened and danced to the Irving Berlin tune, “Alexander’s Ragtime Band.” When Phil plays this, I can see not only that the audience enjoys it, but that listeners are getting into the feel of the 1910s era.

From the first and second class passengers Phil goes to  “Shores of Amerikay,” a traditional Irish tune that was sung at the time and that represented the dreams of thousands of Irish who were emigrating to the US in hope of a better life. These third-class passengers were blocked from mingling with either second or (perish the thought!) first class passengers by steel gates and doors, which prevented their access to the upper decks. 

Titanic Flyer

The majority of Titanic deaths were working class people — the crew and third-class passengers. Only 706 lives were saved when the Titanic sank: 1,517 were lost. Of those 1,517, crew members totaled 685 dead and third-class passengers 556 dead.

After establishing the foundations of the story, Phil goes on to play more music performed on the ship, including “An Der Schonen Blauen Donau,” by Johann Strauss. He also sings songs about the ship, including Huddie Ledbetter’s 1912 composition “The Titanic,” which mentions the story that World Champion boxer Jack Johnson was not permitted passage on the ship because he was black. 

By the time the program is finished the audience is immersed in the story of these ill-fated people whose loss of life was totally preventable had not human vanity (the belief that the Titanic was unsinkable) interfered. The story of the Titanic is one of history’s great ironies, and the audience appreciates that. The unsinkable ship sank because of the hubris of those in charge, and lives were lost because the White Star line considered it more important to give first-class passengers a view that did not include lifeboats than it was to provide lifeboats for all aboard.

The program truly lives up to its title: it commemorates the fateful incident and the people who died and those who lived. Both the music and the story grip the hearts of those who hear them.

As one who works hard at creating story, it is a real pleasure for me to sit back and enjoy a story created by someone else’s research and construction. 

________________

For more information on Phil Passen’s programs, contact him here. For help on how to construct a mystery story (and other stories as well,) read Barbara Gregorich’s Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies.

Mountain Passes: The Cumberland Gap

When I was in third grade, my mother gave me a book whose stories told about mountain passes in history. As a result I became fascinated by mountain passes. Once I started to drive and travel across the US, I encountered mountain passes in person and became even more interested in their location and  importance.

Years ago I wrote the manuscript of a nonfiction picture book on twelve important mountain passes in US history. For each mountain pass I wrote a poem, boxed statistics, and prose. The manuscript was almost published, but ultimately wasn’t, because to produce it the way the editor envisioned it would have cost too much. I then rewrote the information as a nonfiction Middle Grades book, but there was no interest in the subject among the publishers I queried.

5543-004-252355F0All the information I collected on mountain passes is still in storage. But this is the era of the blog, and my blog is titled “Much to Write About,” and so I’m going to write briefly about mountain passes. Not all at once, but off and on.

The first important mountain pass in US history (the land wasn’t the United States yet) was the Cumberland Gap, which was formed in the Appalachian Mountains by wind erosion over hundreds of thousands of years. For tens of thousands of years the pass was traversed by animals, and for thousands of years by Indian tribes such as the Lenape, Cherokee, Miami, and Shawnee, as they crossed from one side of the mountains to the other to engage in trade and also warfare.

The pass, or rumors of it, was known to English colonists as early as the 1670s. But it wasn’t until 1750 that Thomas Walker (physician and explorer, and the man appointed guardian of young Thomas Jefferson after the death of Peter Jefferson) mapped the location of the Cumberland Gap.

Cumberland Gap
Mountain Range: Appalachian Mountains
Elevation: 1,601 feet above sea level
Grade: about 4%
Location: Near the point where the states of
Kentucky, Virginia, and Tennessee meet.

As soon as the Gap’s location was made known, a few hardy men and women began to walk westward into the land of Indian tribes, taking the barest of possessions with them:  a knife, a gun, and the clothes on their back. Everything else they needed, they found or built on the other side of the mountains, or traded for with the Indian tribes.

Cumberland_GapMost people, though, wanted to take some possessions with them. Bedding, perhaps, and cooking utensils. So in 1775 the Transylvania Land Company hired Daniel Boone to hack a road through the Cumberland Gap. Boone and his crew of thirty men cleared away brush, axed small trees, and hauled away fallen logs, blazing the steep, rough, and narrow Wilderness Road.  The cleared path allowed people to cross on horseback. Twenty years later, the Wilderness Road was widened so that wagons could pass through.

More than 300,000 people poured through the Gap (into Indian lands) and claimed the land as their own. In 1792 Kentucky became the first state west of the Appalachian Mountains.Today the Cumberland Gap and area surrounding it are part of Cumberland Gap National Historic Park, visited by more than one million people each year.

Cumberland Gap

Nature’s wall blocked
their reach,
but not for long.

Carts, cattle, people —
through the breach
and gone.

________________

To cross a mountain pass is to enter another world. To read a book is to enter another world, too. Jack and Larry, one of Barbara Gregorich’s many books, opens into the world of 1910-1920 major league baseball.

The Threads of Destiny

 

When I was sixteen years old and had just received my driver’s license, I drove my brother and myself to the Warren Public Library, where we browsed the Local Authors shelf and discovered Earl Derr Biggers, creator of Charlie Chan. Never did I think — as we stood in that dark corner and pulled old, well-worn hardback books off the shelf — that I would end up writing a book about the author whose works I held in my hand.

But destiny, if we want to call it that, is woven of many threads, and finding those books in the public library was the first thread.

Had that been the only time I encountered the novels of Earl Derr Biggers, I’m sure I wouldn’t have written a book on his life. Destiny does not dangle by a single thread.

yarns-threads-500x500But in the 1970s, when my husband and I were both letter carriers for the US Post Office, during a very cold and very snowy (90 inches) winter, we won a trip to Hawaii. Which, I assure you, we took immediately: January 3, if I recall. And there, greeting us as we stepped off our plane, was a book rack. And on that rack were paperback editions of the Charlie Chan novels. So of course I bought one and read it. After we returned home I bought the other five and read them, too. Thread number two.

Twenty years later I was searching for topics to write magazine articles on. Being from Ohio, and having read the Chan novels twice, I came up with the idea of writing about Earl Derr Biggers who, although he was a world-known author of the Golden Age of mystery, was a name most people don’t recognize today. I wrote a 4,700-word article that was published in Timeline, the magazine of the Ohio Historical Society. And then I wrote a 1,000-word article that was published in Harvard Magazine. (Biggers was a Harvard graduate.) Thread number three.

 

Around about then (1999) I began to wonder if I should write a book on Earl Derr Biggers. I decided not to, for two main reasons: (1) Because Biggers left very little behind in terms of letters, papers, and manuscripts, it would not be a very large book — and trade publishers like large books; (2) I was not keen on the thought of writing a manuscript and then marketing it to various publishers who probably wouldn’t accept it for publication, Biggers being relatively unremembered.

EarlDerrBiggersCover_GregorichBut in 2010 I began to experiment with self-publishing some of my manuscripts. I’ve been very pleased with the process and the results. There you have thread number four.

After 2010 I knew that sooner or later I would get around to writing a book on Earl Derr Biggers. When, though — that was the question.

Little did I know that the answer would bring me full circle. In 2017 the Warren-Trumbull County Public Library (the new one, not the old one I visited in my teens) invited me to speak on Earl Derr Biggers on March 3, 2018. Thread number five!

I wasn’t about to give a speech without having a book to sell after the speech. And so, at long last, I braided the threads together and published my book, which is titled Charlie Chan’s Poppa: Earl Derr Biggers. You can look inside the book by clicking here.

 

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Earl Derr Biggers deserves to be remembered, and Barbara Gregorich is glad she can contribute to people learning about him.