Jeanne Burrows-Johnson

The multiculturalism of my Hawaiian mystery series is encompassed in its title...for Hawaiʻi is said to be second only to California in diversity. And while a book’s genre may seem the likely source for an author’s storytelling, I made no decision to write classic mysteries. But while I served as the Volunteer Talent Coordinator for the Training Division of the Honolulu Police Department, I was introduced to the many elements of homicide and other crimes. I have always been fascinated by history and archeology, whether in books, television programing, and films. When I left academia, I kept much of my research. Except for freelance writing assignments, my frequent decision to include historical references has never been a question. This was my norm even before earning a Bachelor of Arts degree in history at the University of Hawaiʻi and studying Asian history while working as a graduate teaching assistant in their World Civilizations program.

The development of my style of writing was complex and had little to do with Hawai‘i. I loved to read library books in my elementary school classrooms, especially poetry and Nancy Drew mysteries. At age ten, I began studying acting and performing at the Portland Civic Theatre (in Portland, Oregon). My serious writing started in high school with advanced English and social studies classes, where I read everything from history books to the plays of William Shakespeare and the works of Agatha Christie. My creative writing wandered as I shared the comfort of a heating pad during illness and the mysteries of a dark and empty stage. As to the actual style of my writing, I have always been wooed by musical rhythms and poetic lyrics, such as the comedic operettas of Gilbert and Sullivan. Until I developed the plot and characters of Prospect for Murder, there was no specificity in the topics I addressed. As a few readers have commented, my stories of Natalie and her friends sometimes offer an almost musical blend of history and mystery.

When I consider these activities, I realize the link between them is found in one word, communication. In public education and the performing arts, I followed the earnest instructions of teachers and directors. Later, in guiding marketing and design projects, I realized I had to consider how my words would be received. That deepened my appreciation of my mentors, and cautioned me about what I was saying and writing. Likewise, in storytelling, I understood the importance of focusing on my audience, which brings us to the matter of genre. Young children expect stories vibrant in word and image, while teens seek resolution of issues they face in daily life. Men, I find, prefer rapid action to placid plots and relationships. And women? I can only speak for myself...I write what I read: complex plots with characters of varied culture and age, featuring history, mystery, and touches of the supernatural.

My research methods are the same regardless of the type of writing I am doing. Development of my research skills began in high school with careful note taking. That was expanded in college by the output from copy machines, as I completed a Bachelor of Arts Degree in History with distinction from the University of Hawai`i. Further study in Asian history, and a teaching assistantship in their world civilizations program required continued perusal of libraries and archives, as well as conducting oral history interviews. To that work, I have added viewing films and broadcast programing, during which I write notes to refine my sojourn through the mysteries and other writings that may occur to me for my website/blog.

Regardless of the source of a script, I have always tried to envision characters in my mind and heart. What is the essence of their appearance, movement, and even their thinking? When preparing to record the audio edition of Prospect for Murder, I almost heard each character’s voice...sometimes inspired by the people I have known, actors in film and television, or the plays in which I have performed. Once I moved on to subsequent books in the Hawaiian mysteries, I have had each character in my mind’s eyes and ears and on my lips. Although they might evolve, I have known how to write a character’s dialogue, place them in scenes, and appropriately shape their new or continuing relationships with one another, hopefully with a touch of humor added to the investigation at hand.

In addition to glancing through my old files and visiting with people whose lives connect with Hawaiʻi, I analyze period publications. Sometimes their tables of contents and even advertisements yield surprising information. But despite research, facts I relate are subject to error, which is why my website features a “Mea Culpa” page. Two of the most delicate issues in speaking of cultural heritage are religion and language. This is especially true of Hawaiʻi, where discussions of the histories and customs of the various islands are not always in sinc. These issues merge in the earliest writing of the Hawaiian language, as introduced by ministers of Protestant Christianity and by Catholic priests arriving in the early Nineteenth Century. I have been embarrassed by my mistakes in Hawaiian vocabulary and its diacritical marks, as well as a couple of historical figures. Another serious element in Island history is the take over of the Kingdom of Hawaiʻi by the United States. In some situations, an author can simply say, “there is debate about...” Personally, I avoid the topics of religion and politics.

In marketing, I have worked with profit and non-profit leaders more than creative professionals. I have found that creatives tend to value themselves and their products more than members of the business world. Even when seeking the interest of agents and publishers, they seldom realize that it is imperative to communicate an interest in those they are contacting at the opening of their outreach. I think the most awkward situations deal with culture. An author once presented a story with a native Alaskan police officer challenged by alcohol consumption. That story did not resolve the issue, nor even address it directly. When I gently commented that such a premise would be offensive to native Alaskans, there was no response. When I recognize that my cautionary advice is not being understood, I tend to fall silent and turn to something like the editing the client may have requested. Sometimes, in demonstrating rather than voicing my point(s) I have seen a shift in the client’s thinking.

Except for marketing pieces, most of my published writing has necessitated research, even when a piece does not require insertion of historical facts. In my experience, background research has often altered the very vocabulary I utilize in a composition. While living in Newport Rhode Island for a couple of years, I started freelance work as a marketing consultant and writing human interest articles for Newport This Week. In preparing for one article, my exploration of a non-profit’s founding led to a shift in the perspective I brought to the assignment. Fortunately, where fiction is concerned, the insertion of history is entirely my choice, and I will always opt to include it when appropriate.

I think the Hawaiian Islands present appealing sensory images to most of my readers because they have either been to Hawaiʻi or desire to do so. If I describe a tourist receiving an orchid lei upon arrival on an ocean liner, or talk about protagonist Natalie Seachrist placing bowls of floating plumeria blossoms throughout her home, the reader may inhale deeply, almost sensing the sweet fragrance of the flowers. From college students preparing to attend the University of Hawaiʻi, to military personnel transferring in and out of the Islands, and Hawaiian professionals returning home, my presentation of the sights, sounds, and scents of Hawaiʻi are warmly received.

The six co-authors of Under Sonoran Skies, Prose and Poetry from the high Desert were congenial professionals who participated in a weekly literary salon. After a year, we decided to produce an anthology. After having selected pieces of our fiction and non-fiction, we contemplated the book’s sequencing and arrived at a unique topical table of contents, opening with “Visioning the Craft” and closing with “Crafting the Vision.” Recognizing that an index would enhance the reader’s experience, I volunteered to act as indexer because of my work with the varied indexing of historical books. Unfortunately, I could not complete my task until each piece of writing and artwork was in place. During the editing and recording of the audio edition, I created an index of genres and one of topics. I’m glad to say we were not in conflict, but with our differing experiences in composition and publishing, there was considerable editing of the index even before the page numbers could be inserted.

Balancing history and other educational elements with entertainment is difficult in any novel. This is especially so with Murders of Conveyance. In this book, I shifted among discussions of my protagonist Natalie and her private investigator (and boyfriend) Keʻoni Hewitt participating in a whimsical scavenger hunt across the island of Oʻahu, investigating two murders separated by sixty years, and the search for a hidden statuette of Kuan Yin. On the entertainment side of the ledger, there are also several elements: There are the antics of Miss Una, Natalie’s fleet-footed feline companion; bantering meals with Keʻoni’s former partner, detective John Dias of the Honolulu Police Department; and interaction with the group of women living next door to the couple. By the time I turned the book over to my publisher, I had changed the placement of several particulars to keep the rhythm of the book flowing.

Aspects of an author’s personal and educational life can clearly lead them toward a particular genre, which may open the door for inclusion of cultural history in their writing. And if an author actively pursues study of history, philosophy, or a particular culture, it will probably emerge in their writing. If young and artistic, children’s books may be a perfect fit for an author, where insertion of cultural music and dance can enliven the tale. Addressing the story of an immigrant family arriving in the Americas will necessitate research of both the country of origin and period and place to which they move. If the author writes about a region of the world where multiple cultures have clashed, there will many issues to be dealt with, delicately. I believe the hardest decision an author of fiction faces when including cultural history is how precise they will be in the details they relate about the historical period. I feel it is better to skimp on that element, than to risk a multitude or errors. Overall, while I am not suggesting that an author can only write about what they know, it is good to have a personal interest in the topic one pursues. And if she or he is fortunate to be bilingual, a doubling of the initial publication can be achieved!

To be honest, I have little time for recreational reading at the moment. In the past I would have named William Shakespeare for his plays and poetry; Charles Dickens who was noted for Nineteenth Century novels about the plight of the poor...but not always for his journalism and artistry. Although I have seldom been able to draw upon it, my design inspiration comes from creative works in Art Nouveau and Art Déco, clothing designs by Vera Wang and Tori Richard, as well as concepts from Chinese Feng Shui and Indian Vastu Shastra. As a promotional consultant, I delighted in business advisor Steven Covey, especially for his “Time Management Matrix.” The sources for my meditational thoughts have come from ancient philosophers across the world to poets of today. For both education and entertainment, I watch mysteries on Public Broadcasting Service (PBS) and general television programming. And then there are the wonderful historical pieces, especially those from documentarian Ken Burns and the science and technology of Albert Lin who explores fascinating archeological sites.

At this point, I have several plots outlined for the mysteries, including a wedding and trip to the U.S. mainland. Also, for over thirty years, I have been working on an oral history project about an Hawaiian Auntie and some of the women in her family. Because of my relationship with Auntie Carol (and the seven interviews I conducted with her), this project is a blend of oral history and memoir. I look forward to its publication when I find a publisher. I have also written a children’s book about the wallabies in the hills of Oʻahu, in both English and Spanish. But after being away from the work, I would need to update the story and complete having my translation edited. And as a couple of my mystery readers would like the delightful Miss Una (the kitty) to have her own book, I’ve thought of having her get lost among the wallabies...

I don’t recall how I was introduced to AllAuthor, but I believe it was after both the company and Prospect for Murder were launched in 2016! I don’t know if I became associated with AllAuthor directly after the publication of PFM, but I know that’s when I started researching online businesses serving the promotional needs of authors. I have appreciated the warmth of my interactions on various topics (including the time I forgot my password), and AllAuthor always strives to answer my questions in a courteous and timely fashion. Unlike other websites seeking to attract varied authors, the coloration and clarity are superb in the many types of images they feature...from text to authors and their books! I was delighted to learn that the company is owned by two brothers who truly work to bring the world to the doors of a strong readership, as well as new and established authors progressing in today’s complex world of literature! Have I benefitted from our relationship? Yes, I am constantly being introduced to visitors interested in my information!