TIME FOR CRIME
This workshop will include a discussion of the conventions and demands of various genres (classic mysteries, detective fiction, as well as true crime and thriller writing), including techniques and methods of writing plot and character, planting clues and red herrings, and creating suspects as well as a viable protagonist. Examples will be drawn from crime writers both present and past. There will also be a question and answer period to address specific concerns and issues of participants working on their own crime fiction or nonfiction.
Carole Bugge has eight published novels, six novellas and a dozen short stories and poems. Her work has received glowing reviews from such publications as Kirkus, The Library Journal, Publisher’s Weekly, Booklist, The Boston Herald, Ellery Queen, and others.
Winner of both the Euphoria Poetry Competition and the Eve of St. Agnes Poetry Award, she is also the First Prize winner of the Maxim Mazumdar Playwriting Competition, the Chronogram Literary Fiction Prize, Jerry Jazz Musician Short Fiction Award, and the Jean Paiva Memorial Fiction award, which included an NEA grant to read her fiction and poetry at Lincoln Center. She has received grants from Poets and Writers, as well as the New York State Arts Council. Her story “A Day in the Life of Comrade Lenin” received an Honorable Mention in St. Martin’s Best Fantasy and Horror Stories, and she was a winner in the Writer’s Digest Competition in both the playwriting and essay categories.
Under the pen name C. E. Lawrence she is the author of the Lee Campbell thriller series for Kensington Publishing. The first three, Silent Screams and Silent Victim, and Silent Kills, have also been sold to Audible Books and Piper Verlag in Germany. Silent Slaughter, the third book in the series, is due out later this year.
“Fans of Keith Ablow will enjoy this dark, intriguing thriller.” – Publisher’s Weekly, December 2009
“There’s a dead woman in the very first sentence, naked and draped over a church altar with part of the Lord’s Prayer carved onto her body. Also on the scene: a sensitive criminal profiler, a cigar-chomping detective, and a querulous priest. Lawrence’s fresh take on the twisted-serial-killer genre is a high-octane, compulsively-readable thriller that gets New York right.” – The Chronogram, January 2010
The Star of India
“Sherlockians are in for another treat. Bugge’s addition to the Baker Street canon opens with Watson now twice widowed and Holmes ill-suited as always to a life of relative calm and inactivity. Soon they are caught up in a plot involving a clandestine love affair and the disappearance, with international repercussions, of a priceless sapphire.” – Booklist, February 1998
“First novelist Bugge captures the essence of Holmes as well as the spirit of the time. For all Sherlock fans.” — Library Journal, March 1998
The Haunting of Torre Abbey
“Lovers of the Holmes canon will feel they’ve unearthed a treasure, so successfully is Doyle’s style and atmosphere reproduced in this constantly absorbing story. First-class work.” — Starred Kirkus Review, February 2000
“Bugge does a compelling and realistic job of bringing Holmes and Watson back to life. She offers a complicated plot, the appealing atmosphere of the Victorian resort, and much fascinating information on ghosts, séances, and medieval English history. Her brisk plot and concise prose are a welcome relief from many Holmes re-creations, which too often collapse under the weight of excessive period detail and unwieldy language. – Booklist, March 2000
“[STRINGS is] the most absorbing play in New York today. Though daunting aspects of cosmology and advanced physics figure into it, so do universal human problems: loss, grief, adultery, betrayal, jealousy and rivalry…[These] are characters you will recognize as disturbingly part of your own scientific world.
“Even if you don’t understand all the science, you’ll surely get your own big bang from attending Strings.” – John Simon, Bloomberg News, December 2006
“Admirable, intelligent…Ms. Buggé’s frequently clever script makes the audience feel smart…” – Anita Gates, The New York Times, December 2006