Shadowed by Lies




African Americans in World War II

Allen, Robert L. The Port Chicago Mutiny: The Story of the Largest Mass Mutiny Trial in U.S. Naval History. Berkeley, CA: Heyday Books, 1993.

Hamann, Jack. On American Soil: How Justice Became a Casualty of World War II. Seattle: University of Washington Press, 2005.

McGuire, Phillip. Taps for a Jim Crow Army: Letters from Black Soldiers in World War II. Lexington, KY: University Press of Kentucky, 1993.

Moore, Christopher Paul. Fighting for America: Black Soldiers—the Unsung Heroes of World War II. New York: One World, 2005.



Lemish, Michael G. War Dogs: Canines in Combat. Dulles, VA: Brassey’s Inc., 1996.

Putney, DVM, USMC (ret.), Captain William W. Always Faithful: A Memoir of the Marine Dogs of WWII. New York: The Free Press, 2001.

Rottman, Gordon L. Guam 1941 & 1944: Loss and Reconquest. Botley, Oxford, UK: Osprey Publishing Ltd., 2004.

The History Channel: Pacific: The Lost Evidence: Guam. 2004.


Italian Americans in World War II

DiStasi, Lawrence, ed. Una Storia Segreta: The Secret History of Italian American Evacuation and Internment during World War II. Berkeley, CA: Heyday Books, 2001.

Fox, Stephen. UnCivil Liberties: Italian Americans Under Siege During World War II. United States: Universal Publishers, 2000. Originally published as The Unknown Internment: An Oral History of the Relocation of Italian Americans during World War II, Twayne’s Oral History Series. Boston: Twayne Publishers, 1990.

LaGumina, Salvatore J., ed. The Italian American Experience: An Encyclopedia. In Garland Reference Library of the Humanities. New York: Routledge, 1999.

Italian Prisoners of War

Camilla Calamandrei. Prisoners in Paradise. Documentary film, 2001. www.prisonersinparadise.com.


The Bay Area, World War II

Archibald, Katherine. Wartime Shipyard: A Study in Social Disunity. Berkeley, CA: University of California Press, 1947.

Bastin, Donald. Images of America: Richmond. San Francisco: Arcadia Publishing, 2003.

Camp, William Martin. Skip to My Lou. Garden City, NY: Doubleday, Doran & Company, Inc., 1945.

Cole, Susan D. Richmond—Windows to the Past. Richmond, CA: Wildcat Canyon Books, 1980.

Fabry, Joseph. Swing Shift: Building the Liberty Ships. San Francisco: Strawberry Hill Press, 1982.

Graves, Donna. Mapping Richmond’s World War II Home Front: A Historical Report Prepared for National Park Service Rosie the Riveter/World War II Home Front National Historical Park. 2004.

Johnson, Marilyn S. The Second Gold Rush: Oakland and the East Bay in World War II. Berkeley and Los Angeles: University of California Press, 1993.

McLeod, Dean L. Images of America: Port Chicago. San Francisco: Arcadia Publishing, 2007.

Moore, Shirley Ann Wilson. To Place Our Deeds: The African American Community in Richmond, California, 1910–1963. Berkeley and Los Angeles: University of California Press, 2001.

Roselius, Donna, et al., eds. This Point in Time: An Historic View of Point Richmond. Point Richmond, CA: Point Richmond History Association, 1980.

Veronico, Nicholas A. Images of America: World War II Shipyards by the Bay. San Francisco: Arcadia Publishing Company, 2007.

Clinard, Marshall B. The Black Market: A Study of White Collar Crime. New York: Rinehart & Company, 1952.

Goodwin, Doris Kearns. No Ordinary Time: Franklin & Eleanor Roosevelt: The Home Front in World War II. New York: Simon & Schuster Paperbacks, 1994.

Lotchin, Roger W., ed. The Way We Really Were: The Golden State in the Second Great War. Urbana and Chicago: University of Illinois Press, 2000.

O’Brien, Kenneth Paul, and Lynn Hudson Parsons, eds. The Home-Front War: World War II and American Society. Westport, CT: Greenwood Press, 1995.

Starr, Kevin. Embattled Dreams: California in War and Peace, 1940–1950. New York: Oxford University Press, 2002.

Stickney, Zephorene. “Code Breakers: The Secret Service.” Wheaton Quarterly, spring 2011.


The Mystery Novel as Coffee Table Book

At the Sebastopol Gallery Book Show



Introduction: What writer hasn’t looked around her office and wondered where all those hard copies of her drafts came from. And then wondered what to do with them. Here is one solution.

What I have written exists only if it appears on paper and I am able to hold it in my hands, read it, and make notes on it. Forget the Cloud, and Dropbox, and Mozy. I still fear that Word documents will disappear into the ether and be lost forever despite my multiple backups. So I printed version after version of my novel. When it finally left my hands to be published, I looked around my office and discovered I was surrounded by teetering piles of drafts printed on different colored papers in a variety of fonts. (I had made the happy discovery that changing the font helped make errors more visible.)

I needed to do something about the reams of paper stacked on the floor, on the shelves, and on the chairs before I started the next book, one I hoped would require many fewer ‘very last final versions.’

Salvation arrived by way of a Call for Entries from my local Center for the Arts. Its upcoming juried show had to do with the book — artists’ books, hand-bound books, and altered books. I was inspired. The surrounding stacks of drafts were nothing if not an altered book, particularly if one considered my multi-colored arrows, notes, post-its and revisions.

The original title of the novel had been “Bitter Ashes,” so it seemed most appropriate to burn the drafts, put their ashes and some artfully burned pages in a clear box, and call it, of course, “Bitter Ashes.” However, the noxious odor from burning the first few pages disabused me of that idea.

Then inspiration struck. I had been collecting quotations from writers about revising one’s work.

For example, Elmore Leonard’s advice: “When you write, try to leave out all the parts readers skip.”

And Robert Cormier’s “The beautiful part of writing is that you don’t have to get it right the first time, unlike, say, a brain surgeon.”

I bundled the stacks of paper and tied them with heavy twine. Then I wrote a number of quotations about revising on tags and hung them from the knots. An artist friend knocked my precise stacks around until they looked artfully messy. (I love how artists see things.)

I heaped the stacks on a rolling cart and trundled it off to the art center. My husband warned me that the center volunteers were going to laugh at me. I said that’s okay. Laughter is a response, and in art, provoking almost any response is a good thing.

When I wheeled my masterpiece into the building, political correctness as well as common courtesy flew out the window when the folks accepting the submissions looked at my offering and burst out laughing. So far so good, I thought. I hoped the juror had a sense of humor.

Apparently she did. The piece was accepted, and to my surprise, so was the cart.

After the show closed, my artist friend was horrified that I was going to put it in the recycling bin. He rescued it and the drafts now rest proudly, but messily, on a table and the floor in his living room.

Now if I could just figure out what to do with all those backup disks.



Launch Party

Kaitlin from Copperfield’s Books in Healdsburg

It was ninety-seven degrees June 8, 2014, when we gathered at CRUX Winery to send In the Shadow of Lies: A Mystery Novel out into the world.

Friends and family mingled and sweltered. Thank goodness for Heidi’s watermelon water!


Thank you for coming. I had a wonderful time!


What I Learned About Using Lyrics While Writing “In the Shadow of Lies”

Sometimes, a song enters my mind and becomes the soundtrack for the scene I’m writing, particularly if the scene includes Oliver, who shares my love of music. Early in the book, he sits in the dark listening to Billie Holiday sing “Gloomy Sunday.” If the reader knows the song, she knows something significant about Oliver and may begin to wonder what has caused him to seek comfort in that song.


My Writing Process Blog Tour

Fellow She Writes Press author Tory McCagg invited me to join the My Writing Process Blog Tour.

First, I would like to tell you a little about her, then I will answer the four questions about my process, and then I will introduce you to the three wonderful writers who will continue the blog tour next week.



In How to Grow a Novel, Sol Stein asks the writer to give thought to what the reader is experiencing in each scene of a novel. He characterizes the attention the writer gives to the reader’s experience as courtesy. He says that you must reward your audience, the reader.