• Skip to main content
  • Skip to footer

Andrea J. Johnson - Craft Killer Fiction - ajthenovelist

Killer Courthouse Cozies Guaranteed to Renew Your Faith in Justice

  • HOME
  • Andrea J. Johnson
  • Books
  • Blog
  • Sign Up
  • Contact

Writing

Winter Media Roundup

The second book in the Victoria Justice Mysteries is officially heading down the long pipeline to publication, so I am happy this winter brought more opportunities to share new information about my main character and how I see her developing over the course of the series.

Remember, if you’d like first crack at all of the latest dish about me and my books, follow me on Instagram or Twitter, leave a review on Goodreads, check out what I’m reading and writing on Pinterest, sign-up for my newsletter, and order my latest release via Bookshop or Amazon.

In early December, I had a wonderful opportunity to give an extensive interview to Zeringue Marshal of Campaign for the American Reader, a blog dedicated to helping patrons read more books. The Q&A covers the hidden meaning behind my books’ titles, my connection to the main character, the inspiration behind my cozy thriller series, and so much more. You can read the entire interview HERE. Let us know what you think!

Zeringue also asked me to participate in the “The Page 69 Test,” where I analyze the scene from that particular page to see if readers can successfully gather the book’s essence and main conflict (i.e. assess whether the story is good based on a single moment). Canadian philosopher Marshall McLuhan believed that any reader who turns to the sixty-ninth page and loves what they find will be happy with the book as a whole. I certainly hope that’s true with you. You’ll find the excerpt from my book and the analysis HERE.

That’s all for now, lovers of literature. Visit me next quarter when I’ll have more information about my adventures and publications.

Until then, grab a night light and keep reading!

Poetic Justice Excerpt

A misprint in the initial run of Poetic Justice has come to my attention. There is missing dialogue starting at the end of page 207, which you will immediately notice since the last sentence is cut off in the middle. I apologize for this inconvenience, and I hope that the printer who mocked up the book for my publisher will rectify this in future versions. In the meantime, please enjoy the following excerpt which encompasses the seven pages missing from the hardback version. Thanks in advance for your understanding in this matter, and I hope you continue to support the novel regardless of this inconvenience.

“I’ve got to get to court. Come out, or I’ll have you arrested for trespassing and disturbing the peace. I’ve had enough games for one day,” said Beau Harriston.

With my head held high, I stepped into the cold and onto the busy sidewalk. Harriston locked the door without acknowledging my presence and rounded The Quad toward the courthouse. As I watched his back moving through the crowd, a fire welled in my stomach. He couldn’t get away with ignoring the issue. I raced after him.

“I know you’re up to something, Harriston,” I panted when I’d reached his side. “I don’t believe the Wannamakers would harass you if you weren’t harassing them first. Whatever you’re into needs to stop. Innocent people are getting hurt. Did you know Chance—another one of your unsavory clients—attacked me yesterday? He and Phyllis Dodd threw me into a dumpster. Don’t you think it’s a little odd that his wife weasels her way out of a drug conviction and now he’s running around with the state chemist who was supposed to testify in her case?”

At that point, Harriston stopped and turned on me so quickly the trio of parking enforcement officers walking behind him had to stop short. One of them even muttered a few curses at Harriston’s expense. The old attorney, constantly aware of his public image, smiled at the women and inclined his head in polite regret. Once they’d passed, he glared at me and cut a hand through the air in a sharp hacking motion that signaled for me to shut up and get lost.

I ignored him. Emboldened by the safety of having witnesses to any possible malice, my words bubbled over.

“If you or your clients had something to do with that drug switch or the judge’s murder, I am going to find out about it. Corporal North already told me Chance has been dealing drugs for years. And despite that pious sob story you’re pedaling, I know you think you have a chance to replace Ms. Freddie now that she’s gone. Just don’t be surprised if whatever you and your clients are hiding blows up in your face.”

“Listen to me, young lady.” He pointed a fat finger at my nose. “I understand you’ve now had—shall we say—challenging encounters with two of my clients, and I sympathize with your predicament. However, I rebuke your attempts to put them on trial through innuendo and conjecture. Your allegations about drug tampering and distribution are scurrilous. Have you ever seen Chance or Langley sell drugs? Talk about drugs? Do drugs? You’d do best to check your sources.”

He took a step to depart but stopped and leaned down to whisper a cryptic message in my ear. “Everyone is innocent until proven guilty, including me. Don’t be so quick to suggest I’m part of some grand conspiracy just because I do not care for your Judge Wannamaker. No matter what you think of me. I’m not the only person with skeletons in their closet. Maybe you should look a little closer at some of your so-called friends.”

With that, he swaggered toward the courthouse and left me adrift in a sea of suspicion.

Three scones, two laps around The Quad, and one cell phone purchase later, I walked into the sterile marble lobby of the industrial complex where The Bugle and several other news outlets lived. The goal was to gain access to The Bugle’s sole investigative reporter, Mike Slocum, and share my concerns about Ms. Freddie’s and Mr. Stevenson’s deaths.

I’d Googled Mike the moment I got my replacement phone and found he was an even-handed journalist who seemed ahead of the curve when it came to the dirty dealings in Bickerton. More importantly, he had no personal ties to the deceased and no obvious motive that would keep him from hearing me out. After the one-sided conversation with Harriston earlier that morning, a civil exchange of facts was what I craved.

I approached the information kiosk in the center of the lobby and found the same amber-haired receptionist I’d encountered on my visit with Ashton. The hour was too early for lunch, but she gazed at her computer with the same steely concentration she’d given her cheese curls throughout my last visit.

I leaned across the counter to get her attention. She didn’t look up.

“Excuse me, miss.” I said to the crown of her head. “My name is Victoria Justice. I’m here to see Mike Slocum. I have some information I’d like to share.”

“Tip line’s over there.” She raised a hefty arm to point at a white phone on the wall by the restrooms. “If you want to talk to Mr. Slocum, dial star eight two five five.” Her voice was so flat, I wondered if she was animatronic. “If he likes your story, he’ll come down.”

I followed her instructions and found myself on the phone with the reporter.

“Hello. Mr. Slocum? My name is Victoria Justice, and I’d like to talk to you about—”

“Why does that name sound familiar?”

“Well, we met the other day when I dropped off the Langley Mulligan trial transcript, and my mother just got elected mayor so you might have seen me at—”

“No, no. Well, yes and yes, but you’re the one…aw, man, I could kick myself for not recognizing your name when you came by before.” His voice pitched upward in excitement. “You’re the one from Tuesday morning—from when we were trying to set up interviews outside the courthouse. You’re the woman the crowd wrangler told us about. You discovered the murdered judge, right?”

“That’s correct.” The words tasted bitter on my tongue, and I hated him asking the question as if it were a celebrated mark of distinction—though I hoped the recognition garnered me a receptive audience.

“Tell the receptionist I’m letting you up. Take the elevator to the third floor. I’ll be there when you arrive.”

I did what I was told.

“What’s on your mind, Ms. Justice?” Mike said as the elevator slid open to reveal his gangly form.

“I’d like to share some information about the deaths of Judge Wannamaker and DAG Stevenson. The festival may have been a setup—”

“Ha. That’s the word of the day. Everybody in town’s been calling and claiming they saw strange things during the festival.”

“What kind of strange things?”

“Not so fast. You’re on my time. I get to ask the questions.” He stayed polite, but his raspy voice was firm. “Now, I love a good tall tale, but why come to me? Why not go to the police?”

“I’ve already talked to the police. I told them I think the deaths are related and Stevenson was murdered too, but the detective in charge won’t listen.”

He breathed heavily for several heartbeats. When I’d almost given up on a reply, he cleared his throat. “What makes you think Stevenson was murdered?”

I stepped away from the elevator, deeper into the cramped waiting room of The Bugle, but he placed a sinewy arm in my path as if to suggest I couldn’t go farther until I’d earned the right.

“Stevenson’s suicide letter confesses to the judge’s murder,” I stammered, “but I think it’s all a cover-up for the real killer—well, I guess I should start by saying, there is a suicide letter, and I read it. I don’t know if the police have released that information yet but—”

“Yeah, yeah. We already know about the note and the confession.” He stood firm but used his hands to wave away my words. “Some city councilman is running his mouth all over town about finding it. He even managed to snap a picture on his cell. WSYS will beat us to press on that with their noon broadcast, but we got the scoop. The info is already up on our website. What else you got?”

I told him my theory about Stevenson’s signature, showed him the PDF of the receipt from Cake & Kettle, and explained the real killer may very well be one of the people in court at the time of Langley Mulligan’s trial.

With that, Mike led me to his cubicle.

“Sorry to break it you,” he said over his shoulder as he rounded the grungy tabletop that was his desk. “The Wannamaker investigation is basically closed.”

“What? Seriously? If that’s true, why did you put me through all—”

“I wanted to hear your story. Helps to verify my other sources. Don’t take it personally. Sit down.”

I plopped into the canvas chair wedged between his desk and the padded wall of his miniscule workspace. Ringing telephones and the voices of other reporters clamored from all directions.

“Wannamaker’s official cause of death,” he sorted through the papers on his desk, “murder via traumatic asphyxia caused by aggressive thoracic compression. The cops are following through with the idea that Stevenson killed the judge and hung himself. The way I hear it, he’s the only solid lead they had.”

“If the details of the suicide letter are hitting the street, everyone in town is going to know about the confession. They’re going to think it’s real.”

“Maybe it is. The bathroom where they found Judge Wannamaker held no fingerprints. All they found was some suspicious talc, which could have come from latex gloves used by the killer. And word is, surveillance footage puts Stevenson near the murder.” Mike opened his laptop. “But then again, maybe the note is a hoax. Without any witnesses to the murder itself, the killer could be anyone.”

“That’s exactly my point,” I said. “Especially since, as far as the cops know, Beau Harriston was the last person seen with the murder weapon and at least three other people were near the crime scene. Shouldn’t that be enough to keep the investigation open?”

“Maybe. But when a government official is murdered, a quick confession trumps all that.” Mike’s boyishly round face crumpled into a series of distressed grooves. “Of course, the cops can’t make the official declaration about Stevenson’s suicide or his role as the killer until they receive a complete autopsy to rule out foul play.”

Mike stopped to type a few commands on his keyboard. “My source at the ME’s office says results are still pending, but initial findings indicate Stevenson’s neck as the sole point of trauma. No scratches. No defensive or offensive marks. It could be just a matter of days before the cops close both cases.”

“In other words, I just wasted ten minutes of your time?” My voice was so small I surprised myself.

“Nah. I wouldn’t have let you up here if I didn’t agree with you on a gut level. With the suicide note in circulation, I think your side of the story might be worth exploring. I mean, a confession that gets the judge’s murder solved in the most public way possible—before an investigation can really even begin? All of it comes off as a little too convenient, if you know what I mean.” He leaned back. “Talk to me about what else you think you know, and I’ll decide what’s worth following up on.”

“I’m happy to share.” I clasped my hands. “But the signature and a brief conversation with Stevenson before his death are all I have, and I don’t—” I thought about my run-ins with Langley and Chance. “I don’t want to be accused of making stuff up. I’ve already had enough trouble this week.”

“Don’t worry. You’re an anonymous source. We’ll stick with the facts. With a little more investigation, I’ll ask my editor if he’d consider this for print with the slant that maybe….” He narrowed his dark eyes and the ebony skin around them crinkled, “…the state police are rushing through both investigations because of the political ties and the public display.”

That sounded reasonable to me. Definitely the conclusion I’d come to thus far.

“I’m curious though,” he grinned wide like a hungry cartoon shark, “just between you and me, if Stevenson isn’t the killer, then who? Talk me through the players. What’s the angle?”

I considered the events of the last three days: the missing drugs, Ms. Freddie’s body on the bathroom floor, Maggie’s cynicism about the murder, Ashton’s obsession with Chance, Phyllis’s questionable alliances, the Mulligans’ duplicity, Harriston’s evasiveness, and the hours I’d spent the night before pouring through audio. A long, exasperated breath escaped my lips.  

“That depends. How much time have you got?”

CHAPTER 26 begins on the next page.

Free Workshop: Three Steps to a Killer Cozy

Want to learn more about how to write a killer cozy? Join me for a FREE weekend intensive starting Friday, September 11, 2020, as part of the 9th Annual Savvy Authors Online Writers Conference. This session will help you use three simple questions to kick start a killer cozy community crawling with crimes, kooky characters, comedy, and a crafty cliffhanger that will leave your readers dying for more. Since we also want audiences to care about the crime, understand the motivation of our detective, and remain stumped until the final page, we’ll also cover the basics of mystery plotting, pacing, clue placement, and characterization—then top it all off with a hands-on exercise where the participants create a mystery plot from scratch!

Remember, cozies are traditional mysteries that contain no explicit sex, excessive gore, or gratuitous violence, and take place in a communal setting containing characters who know one another. This subgenre of mystery has become wildly popular today because they include an amateur sleuth whose profession aids in the solution of the crime, thereby giving the audience a level of plot accessibility not available with a technique-driven detective at the helm—such as Arthur Conan Doyle’s Sherlock Holmes or Agatha Christie’s Hercule Poirot. This open communication between author, reader, and gumshoe gives the cozy audience an opportunity to solve the caper alongside the investigator, making this a smart subgenre to learn if you’d like to attract a wide audience.

To learn more about how to take my FREE class, “Three Steps to a Killer Cozy,” go to SavvyAuthors and signup today! Don’t worry if you don’t have the whole weekend free. Participants can work at their own pace.

Easy Online Research Tips

Web research is an integral part of our due diligence as writers. Whether you write nonfiction or fiction, the accuracy of your data can make or break a story. Unfortunately, search engines like Google don’t always understand questions formatted in standard English. Therefore, our internet research success depends on how well the program is able to translate our phrases into relevant results. Maximize Google’s research potential by using search operators between keywords to define the inquiry and narrow the search. The most common search operators are “OR” “site:” and “link:” Web surfers who use these operators gain results faster than the average user, so streamline your research by becoming familiar with how each operator works.

1) “OR”

Use OR to separate your keywords, and you’ll find pages that contain one or all of your search criteria.

For example: cat OR kitty OR kitten

2) site:

Use your keywordsplus site: followed by a domain name to search for information within a single website.

For example: airport interviews site: tmz.com

This is a search for airport interviews on the tmz.com site.

3) link:

Use link: to find pages that link to other pages.

For example: link: fundsforwriters.com

This search finds pages linked to fundsforwriters.com.

Google also lets you use punctuation to narrow a search. Here are the most common uses of punctuation in search queries.

1) Double Quotation Marks

Surround a phrase with quotation marks (e.g. “Birdbox Challenge”), and Google will search for your keywords in the order they appear within the phrase.

2) Exclude a Word

To exclude a certain word, place a minus symbol in front of the word you wish to exclude.

For example: Aladdin –Smith

This will bring up results about the story, film, play, or cartoon that don’t include Will Smith. Remember, your search query must go first then the minus sign followed by the word or words to omit. Make sure there are no spaces between the minus symbol and the word or phrase you’d like to exclude.

3) Replace a Letter

Use the asterisk to replace one or more letters in a word. For example, placing drag rac* into the search engine returns results that include the words drag race and drag racing.

If the search operators prove too challenging, use Google’s Advanced Search. The advanced search provides specific options to narrow your query. Most people make the mistake of starting their web research with broad keywords. As a result, they end up with pages upon pages of material to sort through. To avoid this, start by identifying the most specific words for your subject and select one of Google’s advance search options to refine your results. Here’s how some of them work:

“all these words” = The results will contain all the words you type in an input box, but not always in the order that you type them.

“this exact word or phrase” =The results will contain the exact phrase or wording that you type into an input box.

“any of these” = The results will contain at least one of the words that you type into an input box.

“none of these” = The results will exclude the words that you type into an input box.

You can narrow your results further by specifying language, region, or the last update. Users can also search for specific file types such as .pdf or .xls.

Since one erroneous statement can destroy a writer’s credibility, authors must develop fast and accurate ways to research information online. If you’re looking for additional internet research techniques, consider reading Mastering Online Research by Maura D. Shaw or How to Find out Anything by Don MacLeod.

Find this helpful? Let me hear what you have to say below.

Six Writing Tips In Infographics

writing, infographics

Writing about writing is a ton of fun, but not everyone learns through lectures. Some of us are visual learners. So I thought I’d share some of the infographics I have created over the years. Please enjoy and share, but give credit to the site. Also, leave a comment if you find any of these tips helpful or if you have questions. I’d love to further the conversation on these subjects.

For more information on how to capture violence in a scene, try my “Five Cutthroat Tips for Writing Killer Action” or consider how description can play a role in whether the audience gains pain or pleasure from your scene.

Description or setting is the first aspect of making a scene memorable for the reader, but here’s some advice to help move past the first step and into a cycle that will make your scene sing.

What’s the key ingredient missing in the infographic above? That’s right DIALOGUE. But don’t worry, I’ve got you covered with eight steps that will put yours in the stratosphere. Hear more about what I have to say on this subject on the Cozy Ink Podcast (coming soon)!

Now that we’ve broken down D.I.A.L.O.G.U.E, here’s another acronym for all you lovers of literature out there.

Romance readers aren’t the only people who appreciate a powerhouse scene. Punch up any scenario by taking it to the third dimension.

Like what you see? Leave a comment below!

The Fiction Book Proposal

Q&A With AJ: Should fiction writers create a book proposal to attract agents?

The conventional answer is “no” since book proposals are an exercise typically undertaken by nonfiction writers. However, when we consider that the entire point of a book proposal is to explain why your book will sell (above all others), why wouldn’t you want to create one to promote your fiction book? This is not to say that the finished manuscript shouldn’t be your priority when it comes to selling yourself as a professional writer. For heaven’s sake if you’re a novelist, finish your masterpiece before querying an agent or editor.

But with that in mind, the one way to impress those industry professionals during a live pitch or at the end an introductory letter is to offer a Fiction Book Proposal. Why? Because with such information in hand, you are signaling to the agent or editor that you clearly understand your book’s target audience, the benefit readers gain from your work, and the novel’s place in today’s market—all of which translates to an easier sales for both you and the publisher. Win! Win!

The first step in putting together a fiction proposal is to understand what current books act as your competition or comparison works better known as “comp titles.” Examine those books and take notes on the sales records, publishers, publication date, genre appeal, price, length, format, et cetera. Learn how the books are marketed and how visible each are within the current marketplace. Then work to develop a strong idea of where you book fits within a specific niche…but also look for a way to set yourself apart so that you’re not mistaken having written more of the same ho-hum material. Being able to articulate this information is crucial because it lays the foundation for how you’ll direct your marketing to reach readers.

On the other hand, if you’re having trouble finding comp titles, be aware that you may not have solidified a specific genre for your work. Genre is key in commercial fiction because it’s how most writers find their audience. While popular fiction writers are free to straddle genres, there’s always one that prevails over the others to shape the novel so that readers have a satisfactory ending—and for the sake of this proposal, reader satisfaction is the goal since the next step is to identify your audience.

To find your audience, look for organizations, publications, or websites who may be devoted to the type of work you’re writing. A connection by subject is ideal but a linkage through locale, profession, or ideology may work just as well. Your aim is to understand how you can fulfill the audience’s need and to determine how to claim those readers as your target market…or at the very least, how that audience could convey word-of-mouth praise for your work.

Remember, the modern writer cannot afford to claim that her book is a universal text destined to be adored by all because there are too many books released each year (1.68 million self-published books in 2018 alone) for anyone to succeed with such a tactic.

Other logistical components for the Fiction Book Proposal include:

Overview – This is the hook that defines how your book is unique—whether it is subverting typical genre tropes or the use of a unique profession. Be sure to highlight why your book is needed now and how readers will be enticed to buy it. Show that there is a hole in the marketplace that your work will fill.

Author Bio – Do your best to tailor the bio to the book you’re proposing, especially if you write in several genres. Present yourself in a manner that speaks to future success. Include any credentials that place you as the best person to write such a book or find a legitimate way to connect yourself to corresponding experts or authorities. This includes work, education, awards, previous publications, or personal experiences. If you’re a member of an organization that would support your work then highlight that information in the biography to make an explicit correlation between you and that entity.

Target Audience – We’ve already covered this, but now that you’ve made a specific determination this is the place where it should fall in the ordering of your proposal. Do not pitch a book expecting the publisher to supply an audience. In today’s industry, it’s your job to find and cultivate an appropriate readership. Once again, things to think about here: Who and what defines this audience? How large is this group? Consider socioeconomic status, age range, congruent interests, and purchase habits as they may influence how you approach this audience. Researching your audience and having a plan to connect with them maximizes your potential for success.

Comp Titles – This is another area previously covered, but it is essential to list three to five titles in this proposal along with the correlations to your work as you see it. While I would also recommend listing one or two of these titles in your query letter to spark interest, this is where you will provide the reasoning behind your choices. Include title, author, publisher, date released (stay within four years), price, page count, and a compare/contrast paragraph.

Marketing Potential – Be specific and honest about the promotional efforts you are willing to undertake. Attach numbers where possible. For example, instead of saying, “I have a large social media following,” make statements that speak to your genre and/or salability. Prove the power of your platform. In other words, a better response would be, “I have 6,000 followers on Goodreads, which is twelve times more than fellow knitting-focused cozy mystery writer Maggie Sefton.” This shows publishers that you have a built-in market for your work. Even if you don’t have that kind of support behind your writing just yet, there are several areas to explore.

For example, what is your access to traditional media like local radio or television? Do you have a website or blog? Are you active on other social media platforms such as Twitter, Facebook, and Instagram? Do you have a mailing list? Do you teach and, if so, can you translate that into potential speaking engagements? Are there any professional organizations or groups who may be interested in your work? Answer all of these questions to the best of your ability and include links, numbers, and names where possible.

Statistics – These include genre, length (in words), possibility for celebrity introduction or endorsement (cover blurbs), and potential sequel titles with short summary and/or hook. All things that you should have briefly included in the cover letter that precedes such a proposal, but it is essential to include them here as well and to go into more depth if possible.

Synopsis – A compelling novel synopsis should encompass all the major beats of the story from beginning to end. And yes, you must reveal the conclusion. Format the information in the present tense with a complete narrative arc. Name and define your major characters, but keep this section brief. This should be no more than two to five pages for the purposes of this proposal since the overall document will be double-spaced. Although if asked to submit a synopsis separate from the proposal, the format is always single-spaced and should take up no more than two pages unless specified otherwise.

Sample Chapters – Depending upon the agent or editor’s request, you may need to submit this information in a separate document. However, this should always be consecutive chapters, and be sure to proofread the work.

Now much of this may feel like a marketing proposal—and in many ways it is—so if it makes you feel more comfortable to think of it that way, that’s fine. But unlike a marketing proposal, this format is designed to be presented to others, so it is important that you are as specific as possible with the responses to each category.

Put it all together in a double-spaced document topped with a coversheet that includes the title of your manuscript, your name, and contact information centered on the page. The second page should be a table of contents listing each section: Overview (i.e. Hook), Author Bio, Target Audience, Comp Titles, Marketing Potential, Statistics, Synopsis, and Sample Chapters.

Be advised, that each proposal you write will vary in content, length, and approach, but these are the main elements that will pique an agent or editor’s interest because they answer the questions a professional would ask upon reading the manuscript. While I think a book proposal is an excellent idea for fiction writers, I should caution you about sending the proposal in lieu of a query letter or manuscript. Please follow submission guidelines outlined by an agent or editor. Be professional and send a letter first asking if they would be interested in learning more about your work through sample chapters (and the book proposal) and be sure to have a complete manuscript ready in case they’d like more from you. Remember, a “complete” manuscript means one that is revised and edited.

Having a plan in hand will set you apart from the competition. And in today’s market, that may make the difference between publication and oblivion.

Have questions about how to create a book proposal?

Still not convinced it’s worth the time? Leave a comment below.

  • « Go to Previous Page
  • Page 1
  • Page 2
  • Page 3
  • Go to Next Page »

Footer

LATEST FROM MY BLOG

Surrey International Writers' Conference 2026

Upcoming Speaking Event – Fall 2026

iScream Mystery Event

iScream for Mysteries – Mechanicsburg Bookshop

How to Leave an Amazon Book Review Even If You Didn't Buy Your Book There!

How to Leave an Amazon Book Review–Even if You Didn’t Buy Your Book There!

Everything You Need to Know About Editors

Everything You Need to Know About Editors

CONNECT WITH ME ON SOCIAL MEDIA

  • Instagram
  • Pinterest
  • Twitter

HERE’S WHAT I’M READING

Copyright Andrea J. Johnson © 2026