It is 1914, the Emersons are in Egypt for another dig. Tensions within the family are heightened by World War I and a threatened invasion of Egypt by the Ottoman Turks. A dangerous game of spy vs. spy ensues, complete with deceit, deception, and disinformation.
Lord of the Silent
Undeterred by world war and enemy submarines, Amelia Peabody once again sets sail for Egypt – where ghosts of an ancient past and specters of a present-day evil hover silently over an inscrutable land.
The Golden One
A new year, 1917, is dawning, and the Great War that ravages the world shows no sign of abating. Answering the siren call of Egypt once more, Amelia Peabody and her family arrive at their home in Luxor to learn of a new royal tomb ransacked by thieves. Soon an even more disturbing outrage concerns the intrepid clan of archaeologists: the freshly and savagely slain corpse of a thief defiles the ancient burial site.
A Nice, Practical Career for a Woman: Some Questions for Elizabeth Peters, et al.
Editor’s note: Barbara Mertz has written nonfiction Egyptology books under her own name. As Elizabeth Peters, she is the author of many mysteries, including series starring Amelia Peabody, Vicky Bliss, and Jacqueline Kirby. As Barbara Michaels she has written gothic suspense novels. She is often addressed in correspondence and known to her in-the-know fans as "MPM" (for Michaels-Peters-Mertz). In total, MPM has published over sixty books – view the whole list here. MPM answers some frequently asked questions below.
What made you want to be a writer?
I didn’t want to be a writer. I wanted to be an archaeologist. My parents wanted me to be a teacher – a nice, practical career for a woman. When they discovered, somewhat belatedly (I had been at the Oriental Institute for six months by then), that I had changed my major, they were bewildered. But, bless them, they didn’t try to make me change my mind. I still believe, with all my heart, that young people should be allowed to follow their own aspirations and inclinations, however impractical these may seem. If they don’t try, they will never know whether or not they might have succeeded.
And who’s to say what is practical? Egyptology was an impractical career, especially for a young married woman forty years ago. Writing was, and still is, an impractical career, because so few people succeed in earning a living that way. I was one of the lucky ones; and if I hadn’t been so obsessed with ancient Egypt – as I still am – I might not have noticed that I did enjoy writing, and that some people thought I was pretty good at it. But I’ve never regretted studying Egyptology, even though I was unable to make it my career.
So how did you become a writer?
Luck, accident, or Fate! I had always been a compulsive reader. Sooner or later every compulsive reader finds herself thinking, "This isn’t a very good book. I’ll bet I could do better." So I tried. My first book, an espionage thriller, was written in collaboration with my then-husband. He provided the plot outline, I wrote the book. It was awful, partly because I was just learning how to write and partly because it wasn’t my kind of book. I wrote two more novels, solo, before I began to get a sense of what I wanted to write. Unfortunately, nobody wanted to publish that kind of book. It wasn’t until Mary Stewart and Victoria Holt hit the bestseller lists that publishers realized mysteries written by women, about women protagonists, could make money. (This despite the fact that authors like Phyllis Whitney had been doing it for years!) I finally sold my first mystery during this period. I’m not particularly proud of The Master of Blacktower [by Barbara Michaels], but I was able to sell it because it was what publishers were looking for just then. By that time I had learned that I loved to write, and I kept at it, learning with every book, and finally developing what I like to think of as my own style. Or is it styles?
So was The Master of Blacktower the first book you sold?
The first book I sold wasn’t a mystery. I had despatched my early unappreciated mss. to every publisher in New York, every one of whom promptly returned them. When the third ms. made the rounds an editor at one of the publishing houses liked it. She couldn’t persuade her boss to buy it, but she recommended an agent. He couldn’t sell that book either, but without him I probably could not have sold the next, which was a nonfiction book on Egyptology. These days it is much more difficult to sell a book without an agent, and much more difficult to get a good agent. But it can be done.
Can you recommend others’ books to your agent?
I’d like to help aspiring writers; I’d like to help everyone in this suffering world. But I can’t recommend a manuscript I haven’t read, by a person I don’t know, to my long-suffering and very busy agent. I am very fond of him and want to stay in his good graces.
Where do you get your ideas?
I am sorry to say that this question has become something of a bad joke among writers. The only possible answer is: "Everywhere." You don’t get ideas; you see them, recognize them, greet them familiarly when they amble up to you. A few examples from my own experience: Reading Arthurian legends and articles about the Cadbury excavations inspired The Camelot Caper [by Elizabeth Peters]. An oddly shaped bag of trash some lout had tossed onto the shoulder of a country road make me think about bodies in trash bags and led eventually to the skeleton on the road, in Be Buried in the Rain [by Barbara Michaels]. Like all skills, this one can be honed with practice, but if you have to ask the question you probably shouldn’t try to write a novel or short story. And if you ask a writer who has heard that same question dozens of times, she may come back with some snappy answer like, "There’s a drugstore in North Dakota where I order mine."
How long does it take you to write a book?
One is tempted to reply, "As long as it takes." The actual writing process is only the final step. You ought to have some idea of what you are going to write about before you put your fingers on the keyboard or clutch the pen, and that part of the process can take weeks or months or even years, as you mull over an elusive idea and try to develop it into a workable plot.
Sometimes I start writing with only a vague outline in mind, and have to go back to insert useful clues, develop characters, or even change the identity of the murderer! Naturally, it takes longer to write this kind of book. On rare and blissful occasions the book just flows along, without the necessity of major revisions. That happened to me with The Snake, the Crocodile, and the Dog [by Elizabeth Peters]. I wrote it in a little over two months – day and night, weekdays and weekends. However, I had already done most of the research, I had a very clear idea as to what would happen and when it would happen – the sequence, in other words – and I was intimately acquainted with most of the characters.
I know Amelia and Emerson so well by now that all I have to do is set up a situation and describe how they will inevitably react. It takes much longer for me to write a book about people I don’t know. I learn to know them as I write, and they have a nasty habit of developing in ways I didn’t anticipate. That’s when I have to go back and rewrite. I was halfway through Vanish with the Rose [by Barbara Michaels] before I realized that the person I had picked to be the murderer was obdurately refusing to kill anybody.