Hawking Your Book in a Crowded Sky

by James Scott Bell
@jamesscottbell

Obsessive Marketing Disorder (OMD)

Sheesh! With over 4,000,000 books (mostly indie) published last year, how the ever-loving heckfire does an author hope to get noticed, let alone make any lettuce at this gig?

I recall two historical events converging at around the same time—the explosive growth of Twitter and the eruption of indie publishing via Amazon. I got in on both around the same time, and I remember a number of writers who had the idea that millions and millions of people would see their tweets, so the best strategy was repetitive messaging that was a variation on buy my book, really buy my book, really buy my book right nowI

That quickly grew stale. It didn’t take long to discover that social media is not a direct marketing tool. So authors began to use Twitter as part of their brand-building enterprise, which for many included several other platforms. That takes a lot of time and mental energy away from the writing, and can result in an affliction I call Obsessive Marketing Disorder (OMD).

To avoid this malady, let me offer my personal take on where to focus your energies. I invite your take in the comments.

Your primary marketing tool is your books, written with the best craft and care you can bring to them. Because word-of-mouth has always been the most effective way to sell books over the long-term. So spend most of your time doing what you do—producing pages and getting better at your craft.

Set up a website, of course. A full treatment of this subject is beyond the scope of this post, so start off by reading the advice of industry expert Jane Friedman.

Next in importance is the email list. By going direct to a growing base of satisfied readers, you build a career. But how, you may ask, does a newbie create such a list? Well, first, satisfy readers with your books! (See above). Then offer a reader magnet, a healthy chunk of free content in return for an email address. I use BookFunnel for this ($10 a month) offering a free novella.

Now, how do you interact with your list? With pleasant to read emails. What I mean is, offer your list something they’ll enjoy reading on its own merits, not just a sales pitch. One author who does this well, IMO, is a guy who is bound to break out soon. His name is Dean Koontz. One recent email “From the Desk of Dean” begins:

Dear Readers,

It’s been a month of chaos here, with real life intruding into Koontzland in ways that I simply refuse to tolerate. In my frustration, I was dismayed to discover there is no Bureau of Real Life Control to which we can turn. More than one officious federal bureaucrat, hearing my complaints during multiple phone calls (I do not give up easily) said, “You’re on your own, you idiot.”

I was further dismayed to discover there is no Bureau, Office, Agency, or Department that will soundly thrash bureaucrats who call model citizens like me an “idiot,” and will not even teleport them to a retraining facility on the moon, which I’d be willing to help fund. It seems that if I am to maintain my quality of life in Koontzland—with its sugar-cake buildings, candy-bearing trees, and herds of unicorns—I will have to take extreme measures, which I am still formulating.

He goes on for a couple of paragraphs, then deftly drops in his pitch:

I am smiling now with true delight when I tell you that the first three Jane Hawk novels—The Silent Corner, The Whispering Room, and The Crooked Staircase will be reissued for the first time in trade paperback by Bantam Books in June and can be preordered as soon as you’re wise enough to do so. The fourth and fifth Janes are coming in September. They all have dazzling new covers.

He finishes off with:

To calm myself, I will go running now in the company of unicorns through the vast meadows of wild orchids here in Koontzland, through the forest of muffin trees, to the great Fountain of Longevity. One drink of that fountain’s flow of cherry cola grants another century of life. It’s another century in real life, but I’m counting on a world run by benign robots that will spare us from the problems and annoyances that now plague us. How could they not?

Warmest regards from everyone here in Koontzland,

Dean Koontz

To see more of Dean’s mailers, go here. Please note, don’t try to imitate Mr. Koontz. It’s his tone. Find your own, one that would be welcome at a party, which means don’t become just another boorish ranter. We have way too many of those now.

As for frequency of mailing, I’d advise once a month. What might you talk about?

  • Your WIP
  • Your process
  • Your research
  • Early look at chapters
  • Cover reveals
  • New deals

If you enjoy writing about a certain subject, you might consider a newsletter. I have one of these via Substack, which you can sample here.

As for paid advertising, I’ve never cracked the CPC or CPM code, and trying to figure it all out while shelling out dough can induce OMD all on its own. I have had some success with promotional services like BookBub and Written Word Media.

My bottom line is, don’t stress about marketing. Keep the main thing the main thing—producing quality fiction. Set up an email list. Move outward from there, watching for signs of OMD as you do. If you feel it coming on, go outside, take a deep breath, come back in and write another chapter.

Comments welcome.

Mojo Words of Wisdom

Have you ever lost your writing mojo? Have you been blocked, overwhelmed by self-doubt, or felt your motivation to write vanish?

If so, today’s Words of Wisdom has you covered with advice from Clare Langley-Hawthorne, Boyd Morrison, and James Scott Bell. While the first two posts are included in their entirety, it’s well worth visiting the original posts to read the comments, and of course, JSB’s post is also worth reading in full.

I’ve been feeling like a bit of a loser of late – perhaps it’s the summer (or the week off from preschool which placed me in writing limbo) – but my writing mojo feels a little dented so I’ve had to claw my way back from depression-dom to start the week off. The only way I know how to beat the writing blues – not a writing block mind you – but that plague of self-doubt that hits you at midnight and which follows you through the day – is to resort to an old-fashioned tried and true method. Bum Glue.

This means that I sit down and, no matter how crappy or disillusioned I feel, I write. What gets typed may be absolute drivel (and it often is at first) but I persevere. I sit down, keep my bum glued to the seat, and write.

Tonight, as I compose this blog, I am preparing myself for the challenge of a week of bum glue ahead of me. I am trying to shaking off the panic and the angst, trying to shove back the “I’m a loser” thoughts and getting ready to face my fears. As Jim so aptly wrote in his post yesterday, I just have to move up the pyramid and the only way to do that is to keep writing.

So does anyone have any pearls of wisdom for me as I take a deep breath, wriggle my behind, and prepare? How do you restore your spirits or reclaim your writing mojo? Or am I the only one who suddenly finds themselves in that deep pit looking up and wondering how to escape?

Any tips on getting the bum glue to stick?

Clare Langley-Hawthorne—August 31, 2009

It only occurred to me recently how apt the word brainstorm truly is. Perhaps it was prompted by watching the terrible effects of Hurricane Sandy, but I’m sure it was also related to my own story problems lately.

I’m working on my fourth Tyler Locke book right now, and I’ve been having a hell of a time wrapping my head around why the plot just wasn’t working. I had a synopsis and basic outline, but the elements weren’t gelling into a cohesive story. No matter what I did with the plot I had, it wouldn’t work. It was as if I were trying to put together a jigsaw puzzle with pieces from three different boxes. The individual elements were all great, but for some reason they didn’t fit together.

It was the dreaded writer’s block. But I’ve written five novels already, so how could that be possible? Shouldn’t I have the process figured out by now? If I were a golfer, I’d curse my case of the yips. The stuff that should be an easy putt by now was suddenly impossible. The mojo was gone, and I didn’t know if it was a permanent condition or more specific to this story.

Then my wife reminded me that this happens with every book. I always reach a point where I want to chuck the whole thing and move on to something else because I can’t figure out what’s wrong with the story. She recited my familiar lamentations back to me: “This is never going to work.” “I’ll never finish the book.” “Why did I start writing this stupid thing in the first place?”

As Christopher Vogler describes in The Writer’s Journey, I had reached the deepest chamber of the Inmost Cave to face the Ordeal. And the defining element of the Ordeal is the hero’s death and rebirth.

So I had to throw out all the assumptions I had about the story up to that point. I had to look at each and every part of it and decide whether to keep it, toss it, change it, or put it somewhere else. It was time to brainstorm.

As with the most violent storms, like hurricanes and tornadoes, everything in the story was at risk: characters, scenes, settings, action, even premise. Then I unleashed the gale. Some parts were ripped away, while others right next to them remained virtually untouched. Whole swaths of the story were decimated, while others were picked up gently and set down intact in an entirely different place.

When the storm was over, many of the individual pieces were still identifiable, but the overall rearrangement gave the story a completely new life. While real storms bring tragedy, my brainstorming was as beneficial as it was difficult. Yes, there’s a lot of cleanup still to do, but I can build something long-lasting from the wreckage.

So my question for the writers out there is, how do you get out of writer’s block? Do you unleash the brainstorm, or is there a less turbulent method to dislodge the block?

Boyd Morrison—November 5, 2012

I love the NaNo vibe. Writers writing. Newbies trying. Keyboards clacking. Coffee brewing. Possibilities awakening. It’s a major accomplishment to finish a novel. To do it in one month is astounding.

Of course, it’ll only be a first and very rough draft. But it will exist. You can let it sit for a month and then figure out what to do with it. One likely outcome is that you’ll use it as a “discovery draft” that now allows you to structure a re-write. Another is that the novel never sees the light of day. That’s fine, so long as you get some writing lessons out of it. Analyze the draft. Judge your craft. Make a plan to strengthen your skills.

At the very least you will have proved something to yourself. Unless you’re a full-time writer, averaging 1667 words a day is hard. Doing so for a month stretches you. When you get back to your normal rate of production, try to up it by 10% now that you’ve gone through NaNo.

Here are three other NaNo tips:

Plan

NaNoWriMo is catnip for pantsers. But a little planning (starting today) can make all the difference in your final product.

First, take a day to do some free-form journaling on your idea. Who it’s about, why it matters, why anybody should care. Jot down scene ideas that come to mind, in random order.

Second, take one day to define your concept with a three sentence “elevator pitch.” This will be your plumb line, what keeps you from getting too far away from the essence of your story. Even if you go down rabbit trails, you can use this to get yourself back on the main track. (On the form of an elevator pitch, see my TKZ post here.)

Finally, brainstorm a tentative “mirror moment” for your main character. This beacon of light will help you find your way if you get stuck in the dark.

Write

Check out my 10 tips for powering through NaNoWriMo.

Try to get a “nifty 350” words done the very first thing in the morning (or second, after you get the coffee going … hey, maybe invest in a coffee maker with a timer!)

Don’t edit your work except for a quick review of your daily pages. If you can do that review right before hitting the sack, so much the better. Your “boys in the basement” will work through the night and you can dive into writing the next morning.

James Scott Bell—October 15, 2017

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Additional resources:  BICHOK Words of Wisdom

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Along with the questions asked above, have you ever lost your own writing mojo? If so, what helped you reclaim it?

True Crime Thursday – “Bear” is Accessory to Insurance Fraud

Yathin S Krishnappa, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons

by Debbie Burke

You’ve probably seen TV commercials that warn your auto insurance may not cover damage by wild animals.

Bear attacks on vehicles do happen. Here’s a news story from Colorado: 

In the video, I don’t know whether the humans’ actions to free the perpetrator should be considered “rescue” or “aiding and abetting a felon.”

Today’s true crime takes bear attacks to a whole ‘nother level: insurance fraud.

The hilarious Dave Barry sounded the alert on this case.

According to the California Department of Insurance, multiple insurance companies paid out more than $140K for damage supposedly caused by a bear to three different vehicles…on the same night, in the same Lake Arrowhead location.

What are the odds?

According to an April 2026 press release from the California Department of Insurance:

“The defendants used a person in a bear suit to stage fake attacks on high-end vehicles, then submitted fraudulent claims seeking payouts from insurance companies.”

Security cam video was provided to various insurers to support claims from three different vehicle owners of interior damage to a 2010 Rolls Royce, a 2015 Mercedes G63 AMG, and a 2022 Mercedes E350 on the same night in January 2024.

Photo credit: California Dept. of Insurance

 

 

Investigators later became suspicious of the coincidence. The California Department of Fish and Wildlife determined the “bear” was actually a human in a bear suit. The furry costume and metal claws were found in the home of the suspects. The claws are cooking tools to shred barbecued meat.

 

Credit: California Department of Insurance

 

 

 

Hint: Real bears don’t leave neat, evenly spaced scratch marks.

Alfiya Zuckerman, 39, of Valley Village, Ruben Tamrazian, 26, of Glendale, and Vahe Muradkhanyan, 32, of Glendale each pleaded no contest and were sentenced to 180 days in jail (weekend jail time), two years supervised probation, and restitution. A fourth suspect, Ararat Chirkinian, 39, of Glendale, faces a preliminary hearing in September 2026.

TKZers: Comments on this furry fraud?

The Crime Fiction Evolution

By PJ Parrish

As many of you regulars know, I have retired from fulltime novel writing. Still keeping my toes in the short fiction waters but the demands of turning out a novel per year (or more) in today’s market just isn’t for me anymore. (No pity sought. I am very happy with this decision!)

But…

My co-author and sister Kelly has talked me into re-looking at an unpublished manuscript we wrote several years ago. It wasn’t part of our series, and was also a departure from our usual hardboiled style. I’d say it was more tilted toward romantic suspense with a high humor quotient. We offered it up to our then-publisher, who turned it down. They said they didn’t know how to market it — that it was “neither fish nor fowl.” It didn’t really fit their definition for what then qualified as romantic suspense. The editor said, “Your heart is too dark.”

Which I took as a compliment. So we filed it away. Until this week, when Kelly opened it up.

Guess what? It didn’t smell. You know, like that chunk of brie that you forgot you had and it turned into an alien life form in the sliced turkey meat refrigerator drawer. In fact, when I started reading it, I thought it was pretty darn good.

Good enough to sell? Who knows? But we’re gonna give it a go. Mainly because I think the market has become more flexible in recent years. I get this notion mainly from the books I have been reading, and because I just finished my 20th year as banquet chair for the Edgar Awards, I have a front row seat to what is fresh in our genre. I’m getting the sense that changes are afoot in crime fiction, a mini-revolution of sorts. The old barriers between hard and soft fiction have become more blurred. I get the impression that readers nowadays are not so hung up on where exactly a title has to be shelved at a bookstore. And the advent of online publishing has created more space for those quirky books that don’t fit easily into categories.

I’ve been doing a lot of research on trends this week and found some interesting commentary. Our genre has long been a fiction cornerstone, but it’s undergoing an evolution. The classic tropes are still with us, but authors now are pushing boundaries, cross-breeding influences and finding new audiences willing to take chances on edgier suspense.

Some new trends I found in my digging:

  • Cross-Pollenization. Today’s mysteries now blend with other genres — “mystery-horror,” mystery-sci-fi” and especially mystery-fantasy. The old labels feel stifling. Readers seem to be hungry for richer, more complex books.
  • Psychological depth. Modern mysteries appear to be tiling focus more toward character than plot. Writers are plumbing the depths of motivation and the gray areas of morality. Modern mysteries and thrillers explore the human psyche, and feature deep backstories, and complex interpersonal relationships.
  • Dark Crozies. Sure, the village amateur sleuth is still popular, but now we’re seeing even cozy writers dealing with more serious themes — family secrets, personal demons, and heavier societal topics such as institutional racism, mental health, and non-traditional chosen families.These new shadows provide compelling contrasts to the lighter settings.
  • The Rise of Tech. Another trend is the incorporation of technology in crime narratives, mirroring its pervasive impact on our lives. Tech-savvy detectives and cybercrimes are increasingly featured in plots.
  • Fusion of Fact and Fiction. True crime has found a new home within the realm of crime fiction. Inspired by real-life events, these narratives are blurring the line between fact and fiction, giving readers a blend of authenticity and imagination.

I guess this can be scary to us Luddites, purists, and traditionalists. But I think it’s exciting. Our genre, from Poe through Hammitt to Connelly, has undergone change and tumult before. Maybe we are due for another new wave.

As author Valerie Webster puts it, “The landscape of crime fiction has become delightfully unpredictable, reshaping the genre’s expectations and norms. The once rigid boundaries of classic whodunits, thrillers, and noir have transformed into a fluid arena, thriving on audacious experimentation.”

She suggests that crime fiction has evolved from linear “whodunits” to complex psychological narratives that prioritize “whydunits.” The focus has shifted from just solving the puzzle to delving deep into motivations and psychology of the human mind. “Consequently,” she says, “crime fiction’s palette has grown richer, delving into the perpetrator’s psyche and blurring the lines between villain and victim.”

So maybe my book — “niether fish nor fowl” — is actually akin to a turducken. A little weird, not traditional, but definitely juicy and fit for an adventurous palate.

Who knows? Maybe everything in life is just about good timing.

I’m not going to overthink this. I’m going back into the old manuscript this week for some strenuous rewriting.  I’ll keep you posted on what comes out of the oven.

 

Are They Dead?

Because it’s a holiday in the U.S. and the unofficial start to summer, I thought we’d have a little fun today. I’m also in the process of moving my flock of six adult chickens from Massachusetts to New Hampshire and constructing an additional coop in my yard to accommodate 11 five-week-old chicks, who are quickly outgrowing their indoor nursery coop.

Playing Dead

Thanatosis or tonic immobility is the term used to describe the tactic of playing dead. Many animals use tonic immobility for various reasons. Some play dead to lure in potential prey, others play dead when threatened. And some, like crows, play dead to protect a food source. Acting dead tells other animals, “This food is poisonous. Don’t bother stopping to feed.”

Virginia Opossums

This little guy is very much alive. Look how convincing he is, though!

The most well-known animal to play dead is the Virginia opossum. These North American cousins of kangaroos put a considerable amount of effort into their play acting. When threatened by a predator, opossums throw themselves onto their backs, bare their teeth, drool, and excrete a foul-smelling liquid from their anal glands — all in an attempt to escape mortal danger.

If humans stumble across an opossum whose playing dead, they may suspect the animal’s suffering from rabies, but in fact, it’s all an act, a natural defense mechanism.

Texas Indigo Snakes

Texas indigo snakes—a subspecies of the eastern indigo snake—can grow up to 7 feet long and are found throughout Texas.  They’re not venomous, nor constrictors. Instead, they rely on muscular jaws to overpower and swallow their meals head first. Texas indigo snakes even hunt venomous rattlesnakes (they’re immune to the venom).

When threatened, these large snakes loosely coil their bodies, become immobile, and slack their jaws. If touched, they will rotate their bodies to remain belly down but otherwise remain still.

Ducks

Many species of ducks play dead when facing a dangerous situation. Researchers documented 29 out of 50 different wild ducks played dead when exposed to captive red foxes. This immediate collapse gives the duck a fighting chance should the fox lower its guard. The ducks remained still while the fox carried them back to den to escape later.

 

Japanese Quails

Another species of bird that plays dead is the Japanese quail. These animals do so for similar reasons to ducks – to avoid predators, such as cats — and wait for an opportunity to escape. When sleeping, Japanese quail also appear to be dead and can sometimes cause alarm to their owners.

Lemon Sharks

The lemon shark is an apex predator, yet they also play dead. If turned onto its back, the lemon shark will not only play possum, they’ll begin to exhibit labored breathing and the occasional tremor. This is especially interesting, considering the lemon shark lay on the ocean floor and allows other animals to pick the parasites off its body. They have the ability to remain completely still and pump water over their gills to breathe.

Lemon sharks prey on fish, stingrays, and other sharks. The fact that they also use tonic immobility is remarkable since they don’t encounter many natural predators. They’re also not the only species of shark to exhibit tonic immobility.

Rabbits

This little guy is alive, playing dead.

Both domesticated and wild rabbits play dead. As a prey animal, it’s not all that surprising. Rabbits spend most of their time with their paws on the ground. If they’re thrown into a position where they can’t flee, they use tonic immobility as a defensive mechanism.

Attention rabbit parents: Flipping a rabbit on its back may seem harmless but it stresses their hearts and respiration. What is believed to be a form of hypnosis is actually an extension of their natural fight or flight response.

Pygmy Grasshopper

Native to Japan, the pygmy grasshopper displays a unique version of playing dead when threatened. Not only do they freeze but they spread out stiffened legs as far as possible in all directions. This death stance makes it nearly impossible for predatory frogs to attempt to swallow them. Thus, the frog moves on to easier prey.

Redback Spider

This redback spider is alive but playing dead.

The redback spider is a close cousin of the black widow and are equally deadly to humans. Thankfully, they’re not normally aggressive toward us. Most bites occur when they’re trapped in clothing or shoes. Given its more docile nature, the redback spider resorts to tonic immobility when it senses danger outside its web. They curl into a ball and freeze till the threat passes.

Hognose Snakes

Convincing act of playing dead, isn’t it?

Hognose snakes are found throughout the world, and every variation plays dead. The eastern hognose resides in the Eastern half of the United States and prefers woodland environments.

Although they grow to lengths of up to 46 inches, these snakes put on quite the show when faced with perceived dangers.

First, they writhe as if in pain while excreting an extremely foul odor. After some time, the snake collapses onto its back with its jaws slightly parted. It remains in this state even if a human were to prod or handle it.

Antlions

And the acting award goes to…

Antlions are extremely aggressive insects known for their predatory larva. They’re equally impressive at playing dead. If approached by a predator like an eagle or snake, the antlion closes its wings and goes limp.

With a literal myriad of species of the same name, the most astonishing is the Euroleon nostras. Researchers recorded this type of antlion playing dead for 61 minutes. All antlion species feign death, but that level of commitment deserves an award.

Called doodlebugs in the United States, antlion larva are ambush predators that attack from pits or hiding places and suck out the insides of their victims. These aggressive larvae need to consume enough food to sustain the adult evolution of the species as they don’t eat once their transformation is complete.

Central America Cichlid

The Central American cichlid plays dead to lure unsuspecting prey. This aquatic predator’s intricate markings give the illusion of a decaying fish. Because scavengers are attracted to an easy meal, they move in. The cichlid springs to life and attacks.

Farm Animals

Farm animals like cows, goats, and pigs don’t play dead by dropping, stiff-legged or limp. Instead, they go into a trancelike state for several minutes.

Pselaphinae Beetles

Another animal that plays dead to catch prey is the pselaphinae beetle. Instead of waiting in ambush, these beetles employ tonic immobility so ants can carry them away. Once they get inside an ant’s nest, they spring to life and feed on the ant larvae (the majority of their diet).

Black Widow Spiders

Black widows are the most venomous spiders in North America, but they don’t always bite when threatened or provoked. Instead, black widows often play dead. When their lives are at risk, they curl into a ball while releasing silk to aid its movement.

Blue Jays

Blue Jays play dead by slumping down, motionless. Sometimes, like their crow cousins, they’ll sprawl out with their wings spread, head flopped to the side. Some birdwatchers theorize this is a form of blue jay sunbathing. Or they’re playing a practical joke since they often surprise people by springing to life if disturbed. When threatened by predators such as cats and hawks, they will absolutely play dead.

Play Dead to Avoid Sexual Cannibalism

While most animals play dead to protect themselves from predators, some have to protect themselves from their mates. Sexual cannibalism, where the female eats the male before or after mating, is more common than you might think.

Nursery Web Spiders

Male nursery web spiders present females with an insect to initiate the mating process. When the female feeds on the insect, he will mate with her. Should the female not feed on the insect, the male spider will pretend to drop dead. He will only come back to life if she starts feeding on the insect. Or leaves.

Praying Mantis

Praying mantis are easily recognized by their long narrow bodies, a small head with large eyes, and oversized front legs held upright. To avoid being eaten by the female after mating, the male will play dead. They will only move again once the female has lost interest and left.

Dragonflies

Not to worry. She’s alive, just not in the mood.

Rather than playing dead to avoid predators or survive mating, female dragonflies play dead to avoid mating altogether. When an unwanted suitor approaches her, she will drop from the sky, crash, and play dead on the ground. Flying again only when the coast is clear.

Female dragonflies fake death because they only need to mate once to fertilize all their eggs. Mating a second time can damage their reproductive tracts.

Ladies, the next time you’re not in the mood, try the dragonfly move. It may be more effective than “I’ve got a headache.”

Even Humans Play Dead

Thank you for standing in for the human, sweet puppy.

As part of the natural world, humans also play dead. Anyone who binges true crime has heard stories of victims who played dead to survive.

Thanatosis (tonic immobility; playing dead) is an anti-predator strategy that’s part of an innate defense cascade—activated when fight or flight is no longer possible—and involves the sudden onset of immobility (with or without loss of tonic muscular activity) and unresponsiveness but with preserved awareness.

Interestingly, thanatosis or tonic immobility occurs with some forms of REM sleep intrusion, like lucid dreaming or cataplexy, and in near-death experiences.

I hope you’ve enjoyed all the ways animals play dead. Mother Nature’s remarkable. Isn’t she?

*Please chat amongst yourselves. I’ll catch up on comments tomorrow.

Writing About Experiences Not Your Own

by James Scott Bell
@jamesscottbell

Memorial Day Weekend. Across this land of ours, barbecues will be firing, grill masters will be grilling, hot dogs and hamburgers will be sizzling, beers will be pouring, flags will be waving, and kids will be playing. I do hope that some of that time will be used to educate our young charges about the meaning of Memorial Day.

Its roots go back to the Civil War, when people honored the dead by decorating their graves with flowers and wreaths. After the war, by proclamation, May 30 was selected as “Decoration Day.” By the end of the 19th century it was also being referred to as Memorial Day. Congress adopted that latter designation and made the last Monday in May the official holiday.

I get choked up about heroic deeds in time of war. The earliest Bell ancestor on these shores was William Bell, born in County Armagh, Ireland. He came to America in the 1760s and settled in Philadelphia, opening a tailor shop. During the Revolutionary War, when Washington’s army was holed up in Valley Forge, William made an officer’s uniform for his brother, John, who was serving with Washington.

But there was a problem. Philadelphia was under British control, with sentinels carefully guarding ingress and egress. This made it almost impossible to get food or clothing to Valley Forge, some thirty miles away.

John Bell’s wife took care of the problem.

As William worked on the clothing, John’s wife established herself as a woman going about her daily business. Dressed in sunbonnet and shawl, she would walk by the British sentinel,  carrying basket of sundries, and return with groceries and other good. When the uniform was finished, she sewed it between her skirts and petticoats. She passed by with her basket once again, without incident, just like it was another day. Only this time she kept on going, walking the thirty miles to Valley Forge, to deliver food and the uniform to her husband.

My great-great grandfather, James Winfield Scott, fought under Sherman during the Civil War. My grandfather, Arthur Scott Bell, was in the Army in World War I. His brother-in-law, my great uncle Frederick Hamilton Fox, was a Marine. He died in the Battle of Belleau Wood, and is buried at Arlington National Cemetery.

The book I’m proudest of (because it is the longest book I ever wrote and required the most work) is Glimpses of Paradise. It begins in 1916 Nebraska and ends in 1920s Hollywood. In between is a World War I sequence.

But I’ve never been in battle. Which raises a natural question: how do you write about experiences you’ve never had? Here’s what I did: 

  1. Extensive reading. I found some books deep inside the downtown branch of the Los Angeles Public Library that were priceless, first-hand accounts of World War I battles. I also spent hours in the microfiche room, going through newspaper accounts of same.
  2. I connected my emotions. I believe that if we’ve made it past forty or so in this life, we’ve experienced every emotion there is to a greater or lesser degree. While I have never felt the fear that a soldier feels on the eve of battle, I have felt the fear of dying. The same physiological response is there, and by extrapolation I brought it to the characters in the book.
  3. I looked at a lot of pictures of battlefields, soldiers, weapons and so on. I wanted to be soaked in them, so I could write with a “lived” feeling.
  4. I had an expert review it. I showed the battle pages to someone who knows warfare, and got some notes for changes.

I believe a writer should be free to write about any kind of character or experience, so long as they make the effort to get things right. What about you?

How to Spot and Plug Plot Holes

Caution! Plot holes!

Nothing yanks me out of a story faster than a plot hole. If they’re really stupid, I get mad. And I quit reading or watching. That disconnect doesn’t just “break immersion”, it breaks trust, and it quietly murders your relationship with your reader/viewer.

Plot holes can happen anywhere, but they’re most common in mysteries, thrillers, and action stories, where the engine of the story is cause-and-effect.

At their core, plot holes are logic problems with motives, chronology, and missions.

Motives for Heroes

When readers say, “I don’t buy it,” they’re usually talking about motive.

  • Does what your hero wants make sense?
  • Do your hero’s actions make sense and connect with his motive?

Extra Plot-Hole Patrol Tip: Make sure the hero’s motive isn’t just logical, but urgent. If the hero can shrug and go get tacos, your plot is in trouble. Stakes are the duct tape that keeps decisions from wobbling.

Motives for Villains

Villains are plot-hole factories when their plans are vague, inconsistent, or powered by “because the writer needed it.”

  • Do we understand why he’s doing what he’s doing?
  • Do we understand what the bad guy’s plan is?

Extra Tip: “I’m evil” is not a plan. Even chaotic villains have an internal logic: a need, a wound, a belief, a fear, or a payoff. If the villain’s motive changes scene to scene, the audience notices.

Chronology

Chronology is where stories accidentally teleport.

Make sure that your characters are doing the things they need to do in the right order. Don’t have them break into the Art Museum before they’ve learned how to disarm the alarm system.

Extra Tip: Time is sneaky. If your story has travel, deadlines, injuries, weather, or “we only have six hours,” do a quick sanity check: How long would this actually take? If your character drives across town in three minutes during rush hour, you will lose your readers.

Missions

This is the “what are we doing and how are we doing it?” category. Mission confusion creates plot holes because the audience can’t track what should logically happen next.

  • Is your good guys’ plan clear?
  • What are they going after?
  • How are they going to do it?
  • And what do they need to do it?
  • How are the bad guys going to counter the hero’s actions?
  • Does the villain have a logical reaction to the hero’s successes?
  • Does the hero have a logical reaction to the villain’s roadblocks?

Extra Tip: Track resources like a hawk. Weapons, money, passwords, keys, vehicles, evidence, magic rules, phone battery, injury level, allies who know the plan. A shocking number of plot holes are really just “Wait…where did that come from?” problems.

Here are Three Ways to Avoid Logic Breaks

1. The Villain’s Timeline

From The Villain’s Journey by Debbie Burke, even when he is off camera, track what the villain is doing in every scene to stymie the hero.

2. The Villain’s Plan

Create a step-by-step plan for the villain’s goal. Each step should happen in your story, even if some of them are off camera.

Picture the villain with their own off-screen Netflix series running parallel to your story. What scenes are happening that we don’t see? Who are they calling, bribing, stalking, moving, framing, sabotaging?

A helpful test: if you can’t summarize the villain’s plan in 3 to 7 steps, it’s probably not clear enough in your head yet, which means it definitely won’t be clear on the page.

3. The Hero’s Knowledge and Logic Check

Go through each scene and ask: what does the hero know here about what the villain is doing? Based on what he knows, what is his next logical step?

Extra Idea: Do this for the reader, too. What does the reader know at this moment? What are you inviting them to assume? A lot of plot holes are really “the author forgot what they told the audience” holes.

A Few More Plot Hole Plugs

The “Because/Therefore” Chain

For every major beat: this happens because of that, and therefore this next thing happens. If you find yourself writing “and then,” pause. “And then” is where plot holes breed like rabbits.

The Reverse Outline

After you draft, create a scene-by-scene outline of what actually happens. You’ll instantly spot missing steps, logic leaps, and scenes that depend on information nobody has yet.

The Continuity Bible

Especially for series, thrillers, and anything with big conspiracies: keep a simple master doc for names, dates, rules, injuries, secrets, locations, and “who knows what when.”

Eyes on the Story

And finally, the best defense against plot holes and logic problems is another pair of eyes. Have trusted writer friends, story coaches, and editors read your book or script and give you feedback. Ask your readers to track your plot and make sure it makes sense.

Because here’s the truth: you can’t always see your own plot holes. You built the whole world. You know what you meant. Your reader only knows what’s on the page, and they will notice when your story skips a beat.

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