How To Create Free & Easy Book Marketing Images

My eyes glaze over whenever I need to use photoshop or any other application with a steep learning curve. I’m sure I could figure it out eventually, but honestly, I don’t want to spend hours with the tutorials. I’d rather be writing. Sites that allow writers to shortcut the process make life so much easier. When they’re free and easy to use, these sites become invaluable tools.

This first little beauty is a gem. The site’s called DIY Book Covers. The section we want is The 3D Book Cover Creator You’ll Love to Use. And you know what? They’re right! It’s a game-changer for those of us who lack patience for sites like photoshop, which is why I’m sharing step-by-step directions with all of you.

Ready? Here we go …

Please excuse the lighting in some of these photos. I took them with my phone rather taking screenshots (long story).

The linked title above will take you to this page …

It automatically opens to “Single” image choices, as you can see here …

The cool part is, we also have the option of creating tablet, phone, and print combo images by clicking “Composite.”

Click the image you want to create, then click “Next” and it will take you to this page …

Click “Browse” and find your book cover on your computer. Then click the blue “Upload” button and the image will appear.

See the two orange buttons at the bottom? We have the option of saving as PNG or JPEG. I like to use PNG for marketing images because they tend to be crisper, but they do take up more download space. Once you choose your file preference, click “Next” and you’re done. The download will show your 3D image with a clear background.

These steps took less than five minutes from start to finish. Easy-peasy, right? Okay, now, we could use this 3D image as is, but it’s a little bland. We want readers to click our ad, so we need to add a background.

Numerous sites offer public domain photos that don’t require attribution. My top three favorites are Pixabay, Morguefile, and Unsplash.

Finding the perfect background image takes time. To help with the search, consider the following:

  • What type of mood do you want to convey?
  • We want our background to reflect our genre. Are you promoting a gritty crime novel, sci-fi, fantasy, or romance?
  • Will the background compliment your book or overpower it?
  • Where will your 3D image sit? Get creative!

The first and third promo pics below go against the norm; the middle one is more universal, but I’m showing them as examples of thinking outside the box …


The third image should be more centered, but you get the picture. The bookend photos are fun images to catch people’s attention. I wouldn’t recommend always using these types of backgrounds unless they fit your book, but taking a break from the serious side of marketing can be fun too.

Okay, once we’ve found our background, it’s time to insert our 3D image and text. As I mentioned in my first official post on TKZ, the easiest site to use is

Let’s go there now. This is the home screen …

See the dropdown menu under “What would you like to design”? Canva takes the guesswork out of social media’s various sizes. All we do is choose the social media site where we’ll be marketing our book, and Canva automatically gives us the correct size. Although, I’ve found that “Facebook post” images also work on Twitter. We don’t need to create two separate images unless we’re paying for ad space. In which case, it’s best to create an image that’s guaranteed to fit. Ads tend to run differently than a regular post.

I chose Facebook Post, which led me to this screen …

On the left-hand-side of the screen, you’ll find Uploads. Click that button and upload your background image as well as your 3D image. I’m showing you the background image I chose for SILENT MAYHEM so you can see how to drag the image to fill the screen.

See the white bars and corner dots around the outer edges of the background photo? Hold and drag until the image covers the entire template. Then decide where your 3D image should go. By clicking the book cover image in Uploads, Canva will stick it in the middle of your background, but positioning it easy and self-explanatory.

Next click “Text” in the left-side menu and a dotted bar will appear. At the top, you’ll find where to choose a font, color, size, etc.

Here’s the finished product that I created for my new release, SILENT MAYHEM …









Book Brush is another cool site. With the free option, our 3D options are limited, but they’ve combined everything we’d need to create a promo pic, including over one million background images, stamps, text, and fonts. The only catch is, they limit the amount of downloads to three per month. They also offer a Plus Plan for $8.00 per month ($96/yr), which grants access to all 3D templates, unlimited downloads, support, and five video templates per month. With Book Brush, creating a book promo image only takes a few minutes.

What sites do you use to create marketing images for your blog or book(s)? Do you have a favorite site for public domain photos? Any tips to share?


Some things in life defy comprehension, but that doesn’t make them any less real. Or deadly.

Pre-Order SILENT MAYHEM on Amazon and join the giveaway!

Email me your receipt and I’ll put your name in a drawing to win signed paperbacks of the first two books in the series.

Winners announced on Release Day (4/29/19).




You Can’t Please Everyone

by James Scott Bell

It was October 15, 1971, and former teenage idol Rick Nelson was one of the performers at an oldies concert in New York’s Madison Square Garden. Other acts included Chuck Berry, Bo Diddley, and Bobby Rydell.

Nelson, who’d had a string of hits in the late 50s and early 60s, sang a couple of his oldies, including one of his biggest, “Hello Mary Lou.” But then Nelson, who had been stretching his songwriting wings into country music, tried out a country-fied version of the Rolling Stones’ “Honky Tonk Women.”

Which is when the boo birds came out.

The unnerved Nelson gamely tried one more song, got more boos, then promptly left the stage. In fact, he left the building and did not appear onstage for the finale.

Back in California, Nelson holed up in his music room, and three weeks later came up with a song about his experience. “Garden Party” appeared in 1972 and reached number six on Billboard’s list. It was Nelson’s last hit song. He died in a plane crash in 1985 at the age of 45.

“Garden Party” tells the story of the concert in amusingly cryptic terms. Out in the audience, for example, “Yoko brought her walrus” (obviously John). And in the corner was a “Mr. Hughes,” the name used by Rick Nelson’s neighbor, George Harrison, whenever the quiet Beatle wanted to go out incognito.

But mostly the song is about being willing to pay the price for your artistic vision.


If you gotta play at garden parties, I wish you a lotta luck,
But if memories were all I sang, I’d rather drive a truck.
But it’s all right now, I learned my lesson well.
You see you can’t please everyone, so you got to please yourself.

As Rick’s son Gunnar later put it, “After a lifetime of pretending to be a character he wasn’t—wearing the sweater on Monday on the set of Ozzie and Harriet after being a real rock star on the weekends—he was writing and performing for his own pleasure and satisfaction. The song was based on his experience at Madison Square Garden. He turned what could have remained the darkest day of his life into his brightest shining moment. Just when the music industry considered him a relic, filing him away as yesterday’s news, he had the biggest hit of his career and it was totally autobiographical.”

The point is that every artist has to realize you can’t please everyone. Indeed, as the noted journalist Herbert Bayard Swope once said, “I cannot give you the formula for success, but I can give you the formula for failure, which is: Try to please everybody.”

My advice to writers (the ones who want to make a career out of this gig, at least) has always been to find that sweet spot where your love for the material meets commercial viability. Where your voice and vision lap onto the shores of reader expectation. Whip your story into a recognizable form, but fill it with the unique touches that can come only from you.

And know that when you do, there will be naysayers and critics. That comes with the territory. But if you’ve truly pleased yourself, it’s all right now.

What risks have you taken in your writing? How did it turn out? What did you learn from it? 



Start with a Line…


.comPhoto courtesy Jordan Steranka from

“Start with a line…” Okay. How about…”My emotional development was arrested when I was eighteen and given a life sentence.” Actually, I don’t mean that type of line when I wrote the above title. I meant the modern version of the old campfire game where someone thinks of a sentence to start off a story, the person next to them offers a second sentence to continue the tale, the next person creates a third sentence, and round and ‘round the campfire they go until the story is complete or something like it. It was inevitable that someone would create a new version of this game. Several someones have, actually.

I learned about the new versions of this storytelling method through a friend whose high school and college-age daughters have been writing short stories and novels online in collaboration with like-minded people from all over the world. There are a number of websites dedicated to this purpose. Each has their own rules. One gives a potential contributor a couple of minutes to come up with a sentence with a set word maximum. Another imposes a character limit, in terms of letters, numbers, and spaces (as opposed to, you know, people in the story).  There is at least one that permits contributors to critique each other. I bet that gets interesting. The stories, as one might expect, can meander quite a bit and the quality of the contributions and the ultimate sum of the parts can vary wildly. A number of the finished products actually turn out pretty well, however.

Two of my favorite sites of this nature are Folding Story and Novlet, but there are others to be found if you google “stories collaborative written online” or something similar. My participation has been limited to reading as opposed to contributing (I’ve been too busy watching Love, Death & Robots on Netflix, notwithstanding the warning that it is for mature audiences). It seems likely, however, that these and similar sites would be good places todevelop the ability to craft killer sentences or paragraphs by hitching them to developing stories, get the creative juices flowing during an episode of writer’s block, or even suffer the slings and arrows of peer critique if you are looking for that sort of thing and Facebook happens to be down for the day.

Please take a few minutes, check out the sites I mentioned (or find your own!), and let us know what you think. If you have been a participant on one or more of them and are so inclined please share your experience. Thank you. And enjoy the first Saturday of Spring 2019. Boing!



READER FRIDAY: Share Your Feelings When Your First Book Was Published


This can be a big topic. I had several stages and amazing feelings when my books first sold and when I saw them on a book shelf at stores all over town and online. My first autograph.

But the one I will share with you today is when I received my first cover flats from HarperCollins. I had them sitting on my coffee table. As I stared down at them, still stunned to see them for the first time, my husband walked in on me. He picked them up and grew very quiet. You could hear a pin drop. I didn’t know what he would say or if he knew what they were (the format is not like a real book), but I didn’t want to put words in his mouth.

He finally looked at me and with tears in his eyes, he said, “My God, you’re going to be in a library.” That simple realization hadn’t dawned on me. I usually tried downplaying the events because I was in it for the long haul and wanted a writing career, but my best friend husband always knew how to draw emotions out of me. He hugged me and I finally broke down and cried–my first real celebration since I’d sold. I had put so much passion and hard work into achieving this moment and he knew it. He’d been there with me.

My advice now is to celebrate every step of the way. You’ll never get that moment back and you’ve earned it.

Please share what you felt or did when you first were published. We can all use good news stories.


How Writing is like a Good Brisket Recipe – 8 Key Questions for Every Writer

Jordan Dane


When this post is released on TKZ in the wee hours of the morning, my brisket will be cooking low and slow all night and waiting to be swaddled in heavy foil. I’m praying for a crispy thick bark, an elusive phenomenon for me. My house is filled with an incredible aroma. Someone should bottle it.

There is a genuine art form to making a perfect Texas-style smoked brisket and I already know I will never be worthy, but I’m giving it a go. My older brother is a God when it comes to being a pit master. He’s given me tips and I am sticking to them…as much as my headstrong mind will allow me. I am my mother’s ‘let’s wing every recipe’ daughter.

I will be posting pictures and recipe tips on my Instagram account where I focus on my low carb ketogenic diet and other interests.

Just like a good, tried and true recipe is for brisket, we pick up new tips but keep what works. The same goes for writing. There are ways we all use to build upon our craft methods of writing a novel. We try new things to see what works. We discard other methods that we’ve outgrown as we evolve.

Below are some questions I’d like for you to answer if you see anything that fits you. Feel free to add what you’ve learned about writing in your comments. I am a sponge for picking up new stuff.

Writer Questions – Share your Experiences

1.) Are you still finding time to read? Do you read outside the genre you write? Even when life gets busy, reading can be a comfort, but it can also open your eyes to new techniques or interesting POVs or genres. Always be a student when it comes to your writing craft. You will keep growing.

2.) Do you cherish the time you write, where you write and make sure you don’t get interrupted? Life, family/friends and your day job can pile on to add stress in your life. Is your writing the first thing to go? I hope not. Even if you only finish a page a day, that’s progress. I find that once I establish a routine, my body can react in a bad way if I stray from my writing schedule. I can physically get the shakes. Even when I had my day job, I made sure to write every evening and on weekends. It wasn’t easy but it paid off.

3.) How do you capture those big ideas that can spring on you any time of day or night? Do you keep notebooks all over the house or a voice recorder? I get lots of ideas while I’m driving. The best ones, I pull over and reach for my purse where I keep a small notepad and pens. Or better yet, get someone to drive you so your genius is unfettered. Is there a place where you consistently get your big ideas? No pictures if you tell me “the shower.”

4.) Do you have personal rules/discipline when it comes to unplugging from social media and the internet while you are writing? My usual day is writing 9:00 am until 3:00 pm with short breaks to care for my dogs and grab a snack. I try to get up every 3 hours to stretch and walk and replenish the well for a quick change of scenery but I don’t get to emails or social media until after I’ve achieved my word count goal. YES, I have a daily goal. I generally shoot for 1500-2000 words per day and do rolling edits to keep my progress going on the overall project. But social media and emails are a time drain. No sneak peaking as a diversion when you hit a wall. Pick another way to shake out the cobwebs.

5.) Do you read your work aloud? After all these years, I still read my edits aloud. It’s a great way to insure you have a natural cadence to your dialogue and prose. Even if you don’t do this every day, I recommend doing it for important passages/proposals or as one of your final draft processes. This is the best way to find words you’ve left out.

6.) Do you use the first third to a quarter of your book to set up your world building and character introductions? An editor with a large publishing house said something at a writer’s conference about expecting to read the basic set up with characters and conflict within the first 3 chapters. Now it may not be 3 chapters exactly, as I see it now, but he wasn’t wrong about how to establish your world for the reader. Even if you don’t plot ahead of time, expect that readers and editors and agents will expect you to set that foundation for your story and include your cast of characters and their conflicts in the first part of the book.

7.) Do you plan the ending of your book while you’re working on your plot idea or are you willing to let it happen when you get there? If you’re like me, each book can be different. Sometimes I get up in the middle of the night with a new character telling me the ending to his/her story. True. That doesn’t happen with each book, but when it’s that strong that it wakes me, I listen. On the other hand, I am flexible enough to see new ways to add twists. I want to be open to new character motivations too. More times than not, I have found better books by staying open to my endings. How rigid are you? Have you ever been pleasantly surprised with an ending you never expected, just because you followed a rabbit trail or discovered something new about your main character?

8.) How open are you to criticism? Does it matter who gives it? I used to be more prickly when anyone criticized my masterpiece, but after having many good editors from the publishing houses I’ve worked with and solid beta readers, I’ve grown very open to their suggestions. I think of their criticism as a collaboration to make the book better. I may not always take every suggestion. Only the author should decide what makes sense for the world they are building, but pick your battles. Generally, if someone is confused or something isn’t working for them (even if they can’t describe it exactly), I pay attention and try to find a solution. I’ve never regretted that approach. For anyone taking the time to give a critique, take what they say and make changes where it’s appropriate, even if you have to come back to their feedback later. Keep an open mind.


1.) Share your answers to any of the questions I’ve mentioned above–the questions that resonated with you the most.

2.) Add any new questions or tips that you have found a must to your process. What are your core “must dos” and what have you discarded?

3.) Any brisket tips? I promise I will listen, even if you’re not from Texas.


First Page Critique: ALEXA


The Party Busload of Exposition (GoDaddy Stock photo)


Dearest Readers,

Step into the Kill Zone Critique Parlor, where today’s Brave Author has a tragic tale to tell. Pull up a tuffet, and buckle up. I have Thoughts.



Tom’s death changed everything.

I sat in my car, the engine idling, staring at the cheery yellow Victorian. I wasn’t cheered.

It was only twelve weeks past his funeral. When I wasn’t sobbing, I was frowning at the myriad details I’d had to deal with in the days following the end of life as we know it. That’s how I thought of it. I’d packed up the furnished rental, mailed out change-of-address forms and done my best to put on a brave face for TJ. I was exhausted from the long drive that brought us to Ohio.

We’d been planning the move before Tom…went away, but now I was making it alone. Well, with TJ. Tom inherited the yellow house from his grandmother when she passed away six months ago. He’d flown out to look it over and reported back that it needed some updating but had good bones. He said there were lots of rooms, which sounded like heaven in comparison to our tiny two-bedroom in the city. “It has a huge country kitchen,” he said with a grin, poking me in the side and causing me to jump and make a face at him. At the time I was chopping veggies in the postage-stamp that passed for our current kitchen. I leaned my head back against his shoulder and sighed, daydreaming of twirling around in our future house, giddy at all the space.

I’m so angry at the goddamn drunk driver who snuffed out my husband’s life on March 16, 2017. March 16, 2017…a day that will live in infamy. Oh, ha ha. Bitter much?
I guess I have a right to be. All that crap about forgiving. I will not forgive the one who stole his life…and my life and TJ’s.

Maybe with time. Everyone’s quick to say that holding on to the hate I feel for Mr. George Goddamn Daniels will only poison me and not bring Tom back. I feel the poison in me now, but I embrace the huge empty hole eaten away by the acid-generating hatred. I don’t want to feel good, because everything’s bad now. Maybe with time….

I glanced in the rearview mirror at TJ. His face was sad, like mine. He gazed at the yellow house, not moving to open the car door. Maybe the two of us could stare it into becoming our home.
“Ready, buddy?” I asked as I opened my door. My heart broke at his wan smile and “Sure, Mom.”


Let me say right off that I’m impressed with the voice of this story. The narrator’s voice is confident and mature. Believable. The sentences are tight and declarative–my favorite. Let’s talk story.

My understanding is that ALEXA is about a newly-widowed woman and her young son who are moving into the house her husband inherited from his grandmother before he was killed by a drunk driver named Mr. George Daniels. The new house is somewhere in Ohio and they’re coming from a bigger (?) city, where they’d lived in a two-bedroom, furnished rental apartment. She loved her husband Tom very much, and she and her son are very sad that he’s dead. She feels poisoned with hate, but doesn’t yet want to go of her consuming, awful feelings.

This opening telegraphs that this is a family or personal drama, and neither a thriller nor mystery. It could end up with a romantic story line, but it doesn’t feel like that will be a focus.


This story is called ALEXA, and there’s no evidence that it has anything to do with Amazon’s AI, Alexa. I was confused right off the bat. I know young women named Alexa, and while I would never confuse any of them with the AI, it’s different when I run into the name as a title. Perhaps I’m being picky (“I’m not picky, I have standards.” –Mindy Kaling), but Amazon comes up first in my brain. Amazon has appropriated the name, and there’s no going back.

Is our narrator named Alexa? Was it the grandmother’s name? If so, somehow let us know asap so we’re not left hanging. This seems to me a sad and rather tender story. If I’m mistaken, and they walk into the beautiful country kitchen (What is considered a country kitchen these days? There are many, many online definitions, but my ancient understanding is that it is a large kitchen with maybe a seating area and perhaps a fireplace. I don’t know what image it suggests to others.) to discover that ALEXA has taken over the house and is programmed to terrorize them, then it’s a story that surely takes a shocking turn on Page 2.


May I just say… WHOA THERE, NELLIE!

I was exhausted by the time I finished the first 400 words. I was even more exhausted the second and third and fourth times I read it. I worry because at this pace the novel will only be approximately 60 pages long.

It feels as though you’ve decided to get the backstory out of the way so you can move on and proceed with the action.

We start out very well: “Tom’s death changed everything.”

“I sat in my car, the engine idling, staring at the cheery yellow Victorian. I wasn’t cheered.”

It’s clean. It’s direct. It’s compelling. Though you might consider shifting to present tense with the second line to give the story immediacy and emotional punch.

“I sit in our idling Toyota, staring at the cheery yellow Victorian house. I’m not cheered.”

The third paragraph continues with our narrator relating the many, many things she’s been doing in the past twelve weeks besides staring: sobbing, frowning, dealing, packing, mailing, and putting on a brave face.

In the next paragraph we learn that the family was moving. Tom was also inheriting, looking over, flying, reporting, grinning, poking, and causing our narrator to jump. And she’s making a face, chopping veggies, leaning back, sighing, and daydreaming about twirling and being giddy.

In the fifth paragraph, we learn how Tom died.

In the sixth paragraph, we learn that she’s really, really pissed off at the guy who killed him, and won’t be forgiving.

The seventh identifies the drunk driver.

Then we finally get back to the boy in the car, and the yellow house.


What we have here is a busload of exposition. Exposition–a chunk of narrative or backstory plunked in the middle of the action to give the action context (see what I did there?)–can be a useful tool in small doses. In large doses it distracts from the action of the story and slows it down. Note my second paragraph in the TITLE section above. I digress on what a country kitchen might be for such a long time that the reader probably had to go back and figure out what I said about a country kitchen before I opened the parentheses. Even I had to go back and look!

It’s tough to give the reader just enough information to get them interested, and keep them reading.

The thing to remember is that you’re writing scenes. Sentences build scenes. Scenes build chapters, chapters build books. A good way to start is to write one scene per chapter–even if it makes the chapter short. You’ll keep the reader focused, which is what you want to do. At the end of that scene, give the reader a reason to read on.

Here, you could continue this small scene with the boy bravely opening the car door. (I would discourage you from have her opening her door as she asks him if he’s ready. It’s a weighty moment that doesn’t need an activity.) The reader will naturally want to know what they do and see when they’re out of the car. Does she take his hand? Does he shrink back, used to the smallness of their previous home? Is there someone waiting on the porch?

“I’m so angry at the goddamn drunk driver who snuffed out my husband’s life on March 16, 2017. March 16, 2017…a day that will live in infamy. Oh, ha ha. Bitter much?
I guess I have a right to be. All that crap about forgiving. I will not forgive the one who stole his life…and my life and TJ’s.”

There are a lot of critical emotions here. We don’t need them all on the first page. She has a good, direct, confiding tone. But it’s too soon to jump into this. Sure, her feelings are complex. Right now, she’s just arrived at this house. Slow it down.

An aside– Mr. George Daniels is the drunk who caused the accident. It’s probably just me, but I couldn’t help but think of George Dickel and Jack Daniels as though the two whiskey brands had morphed into one drunk person.

“Maybe the two of us can stare it into becoming our home.” This is a beautiful line.

I don’t often suggest rewrites, but here’s a brief beginning. I can envision them getting out of the car, continuing, but you can too.

Tom’s death changed everything.

I sit in our idling Toyota, staring at the cheery yellow Victorian house we were supposed to move into together. I’m not cheered.

Our son T.J. sits in the backseat. In the rearview mirror, I see that he, too, is staring at the house. Maybe the two of us can stare it into becoming our home.

“Ready, buddy?” I ask. It’s been twelve weeks since we buried his father, my husband. My heart breaks at his wan smile, and the way his sad eyes meet mine in the mirror.

“Sure, Mom.”

Get to it, TKZers! I’ve left a couple things unaddressed because I want you to have some fun. What have I missed?


First Page Critique – Freets

by Debbie Burke


Today, please welcome a brave Anonymous Author with a story entitled Freets.


By –


The coffin was nearly ready. Andy Turbett knuckled sweat off his brow and stepped back to get a good look at the lid. It was as fine a piece of wood as he’d ever had on his bench and the work was going well. Hmm, maybe a tiny shave off the side. He reached for a spokeshave just as Ruth came into the barn, toting some colourful paper stuff under her arm. Bright sunshine framed her.

“Andy,” she said, nodding, with her bunchy smile.

“Hello, lass. Come to check up on me, have tha?”

She looked at the side panels and base of the coffin leaning in a corner, waiting to join up with the lid. “Oh, you are getting on fast. I did come to say maybe we won’t need it so soon after all. Not if Dan has it his way.”

Andy blew at the curls of wood that he’d planed off. They joined the rest of the wood debris on the long dirt floor.  “Ah, well. Can’t say I disagree with him there.”

“Grandad needs to die,” Ruth said.

Andy made a non-committal sound. Her husband would never let her do it, and what he said went. Not one to let the wife put her foot out the door first after the wedding, wasn’t Dan. “What’s that paper?” he said, to change the subject.

“Oh, I made a banner to hang in the tea-shop. Tha won’t miss this afternoon, will tha?”

“Nay. Got to wash and change first, I’m sweating like a beast.” He took a pull from the pint-glass of water on the floor. Warm and dusty, but it’d do. “This weather. Got to be a record.”

“That’s what they’re saying.” She watched him. “There’s some houseleek growing by the rocks in the woods, I’m going tomorrow if tha wants me to get -”

“Nay,” he said. “Nay.” God, this little apple-cheek lass scared him sometimes. He took up the spokeshave again.

“Oh, Andy. I do wish tha knew it’s all right if tha treats it with respect.”

“Nay, best to leave ’em alone. I know tha thinks different, being so young and -” There. He should have kept his mouth shut after all; she wasn’t one to take offence, but you never knew, what with her thinking herself as much a daughter of the village as Fiona, his own wife.


With TKZ first page critiques, the focus is usually on what’s not working and how to best fix it. Once in a while, a submission comes in that is so good, it’s more useful as an example of how to do things right.

Freets is such a submission.

However, I have to say that title put me off. How many readers know what a freet is? I didn’t. How many will take the time to look it up?

According to, freet is:

  1. A superstitious notion or belief with respect to any action or event as a good or a bad omen; a superstition. quotations ▼
    • 1824, John Mactaggart, The Scottish Gallovidian Encyclopedia, page 263:

If the old “freet” be true “ that those who fall when at the handspake aneath the corpse, will soon be the corpse themsell,” there would soon be a good few corspes; for at these “druken” concerns, the bearers are falling some of them every now and then.

  1. A superstitious rite, observance, wont, or practise. quotations ▼
    • 1903, Samual Ferguson, The Fairy Well of Lagnanay:

Oh, sister Ellen, sister sweet, Come with me to the hill I pray, And I will prove that blessed freet!

  1. A charm.

Okay, once we understand the meaning, Freets has the components of a great title—identifies a story problem, hints at the conflict, and evokes a wonderfully sinister tone.

However, the obscure meaning is a big negative. Perhaps the author can add a subtitle. A vivid, compelling cover is a must; otherwise, browsing online shoppers may pass it by because of the unfamiliar word. Also, define freets in the book description or jacket copy.

That’s the biggest nit I have with this submission.

At TKZ, we talk a lot about starting with action rather than static weather descriptions, backstory, or a character contemplating her navel. Jim Bell recommends opening a story with a “disturbance,” which doesn’t have to be violent or loud.

This submission avoids those common pitfalls. Each sentence is deliberately crafted and performs multiple functions, drawing the reader deeper into the story. I’m going to examine individual sentences and explore why they work.

Sentence 1 – The coffin was nearly ready.

This quiet, simple, declarative sentence caught my attention immediately. Death is a monumental disturbance yet the matter-of-fact tone sets an understated mood. The implication is that death has already occurred or is imminent. I’m guessing the genre is mystery, suspense, or horror so death is likely to mean murder.

Consider making this first sentence its own paragraph for more dramatic impact. See Kris’s excellent post on paragraphing.

Sentences 2, 3, 4Andy Turbett knuckled sweat off his brow and stepped back to get a good look at the lid. It was as fine a piece of wood as he’d ever had on his bench and the work was going well. Hmm, maybe a tiny shave off the side.

Andy’s character is introduced without superficial details about age and appearance but instead drills straight into his values, beliefs, and skills. He is a diligent woodworker who appreciates quality materials, is a perfectionist, and takes pride in his craft. “Knuckled” is a great active, visual verb.

Building a coffin by hand suggests the time period is historical rather than contemporary.

Sentence 5, 6He reached for a spokeshave just as Ruth came into the barn, toting some colourful paper stuff under her arm. Bright sunshine framed her.

Spokeshave is clearly a tool of his trade, even though the term was unfamiliar until I looked it up (see illustration). It also confirms a historical period, because he doesn’t reach for, say, a power sander.

Spokeshave – Wikimedia Commons

The spelling of colourful indicates the locale may be the British Isles.

The second character, Ruth, is introduced. Setting details (a barn) and weather (bright sunshine) are also established in an active way rather than as static description. The sun isn’t just shining—it frames Ruth, doing double duty as a weather report and an active verb.

Sentence 7“Andy,” she said, nodding, with her bunchy smile.

Bunchy is another unfamiliar word yet it evokes a great visual of a big mouth with lots of teeth. Turns out it’s an adjective, dating back to about 1400 AD, that means protuberant or bulging.

Sentence 8, 9“Hello, lass. Come to check up on me, have tha?”

Lass and tha are additional indicators the setting is Great Britain. Tha easily translates to you without stopping the reader. When I looked it up, I found it is Yorkshire dialect.

Sentences 10-13She looked at the side panels and base of the coffin leaning in a corner, waiting to join up with the lid. “Oh, you are getting on fast. I did come to say maybe we won’t need it so soon after all. Not if Dan has it his way.”

When Ruth says they might not need the coffin yet if Dan has his way, I’m totally hooked. Who is dying? More important, who is controlling how and when the person dies? Obviously there is more going on than an ordinary death due to natural causes.

Sentences 14-17Andy blew at the curls of wood that he’d planed off. They joined the rest of the wood debris on the long dirt floor.  “Ah, well. Can’t say I disagree with him there.”

Again, the author incorporates description into action. Curls of wood is a vivid visual. Long dirt floor reinforces the historical time period.

Andy’s response suggests conflict lurking under the surface of apparent calm.

Sentence 18 “Grandad needs to die.”

Wham! The author immediately gets to the core of Ruth’s character. She wants her grandfather dead and appears ready to help him along if he doesn’t go willingly, even though her husband disagrees.

Sentence 19Andy made a non-committal sound.

Sometimes what’s not said is more revealing than what is said. Andy’s non-response shows that not only does he want to avoid a confrontation with Ruth, but he may be intimidated by this outspoken woman who might be capable of murder.

Sentences 20, 21, 22Her husband would never let her do it, and what he said went. Not one to let the wife put her foot out the door first after the wedding, wasn’t Dan. “What’s that paper?” he said, to change the subject.

This statement of opinion reveals more insight into Andy’s beliefs, as well as delivering a glimpse into the relationship between Ruth and her husband, Dan. Not one to let the wife put her foot out the door first after the wedding, wasn’t Dan is an incredibly awkward sentence, yet it sounds authentic to the historical time period. It expresses Andy’s analysis of the marriage in a quaint, archaic way that’s still understandable to contemporary readers.

Sentences 23, 24“Oh, I made a banner to hang in the tea-shop. Tha won’t miss this afternoon, will tha?”

Apparently a public meeting is planned about an unspecified topic. Grandad? Or something else? The author is dropping questions like breadcrumbs. The reader will follow the trail to find answers and keep turning the pages.

Ruth adds another slightly veiled threat to Andy that he better show up.

Sentences 25-31“Nay. Got to wash and change first, I’m sweating like a beast.” He took a pull from the pint-glass of water on the floor. Warm and dusty, but it’d do. “This weather. Got to be a record.”

“That’s what they’re saying.”

This gives another revelation of Andy’s character as well as amplifying the weather and setting. He works hard and appreciates the small reward of a warm, dusty glass of water.

At the same time, these innocuous sentences show him trying to change the subject to avoid the unease of talking with Ruth. The author makes the setting description do double duty to point out conflict and tension.

Sentences 32, 33She watched him. “There’s some houseleek growing by the rocks in the woods, I’m going tomorrow if tha wants me to get -”

Already the reader has the sense that being watched by Ruth makes Andy uncomfortable. I didn’t know what houseleek was but, right away, I suspected poison.

Houseleek – Wikimedia Commons


Turns out it’s a succulent plant, also called hens-and-chicks, that was used medicinally to treat diarrhea, burns, and mouth ulcers. Even so, Ruth’s sinister aura makes the reader wonder how else she plans to use houseleek.



Sentences 34-37“Nay,” he said. “Nay.” God, this little apple-cheek lass scared him sometimes. He took up the spokeshave again.

Andy interrupts Ruth and repeats Nay twice for emphasis. Short, punchy sentences mirror his fear. He’s worried enough to pick up a possible weapon. Additionally, the reader learns more about Ruth’s physical appearance.

Sentence 38“Oh, Andy. I do wish tha knew it’s all right if tha treats it with respect.”

Ruth chides him while reinforcing the hint that houseleek is potentially toxic if not treated with respect. She’s also trying to reassure him. I can almost hear her next statement: “One little taste won’t hurt tha a bit. Here, try some.”

Sentences 39-42“Nay, best to leave ’em alone. I know tha thinks different, being so young and -” There. He should have kept his mouth shut after all; she wasn’t one to take offence, but you never knew, what with her thinking herself as much a daughter of the village as Fiona, his own wife.

Andy challenges Ruth and immediately regrets his statement. Uh-oh, you never knew if Ruth might take offence. The unspoken threat is clear—she may be capable of evil acts. He also appears to think she’s presumptuous, considering herself a daughter of the village as much as his own wife. That indicates Ruth is an outsider, who has brought youthful, possibly dangerous beliefs and omens–freets–to the village.

By now, I’m eager to turn the page…except the submission is over. Drat!

Today’s brave author provided a case study of how to effectively open a novel. Each sentence does double or triple duty—showing description incorporated into action, and revealing character and conflict. There is no pointless meandering.

While we don’t yet know the specifics of time period or locale, carefully chosen details give enough hints without bogging down in exposition. Each sentence builds on the previous one, inexorably marching forward, carrying the reader into a story full of intrigue and promise.

In one page, the author establishes s/he is as skilled in the craft of writing as Andy is in woodworking.

Thank you, Brave Author, for submitting this excellent page. Keep us posted when it’s published.


Just because I was taken by this piece doesn’t mean all readers will be. TKZers, do you have differing opinions or points? How might you handle the story?







The Ordinary Detective

For today’s blog post, I thought I’d give a brief update on my police citizen’s academy program as we just completed two sessions focusing on the detectives. As far as  research goes, it was a fascinating study in contrasts. We had the hardboiled vice detective who had previously worked undercover – he was full  of colorful anecdotes, expletives and jargon, and had an almost stereotypical demeanor and backstory (a divorced Italian American with a dry sense of humor and total disdain for petty criminals). The other was one of the two female detectives on the force. She was meticulous, low-key and calm, with a self-deprecating sense of humor. When I approached her, you could tell that the other detective was surprised I wanted to ask her the questions, as he was the one that had definitely attracted the majority of interest from the group. Part of the writer in me, however, was quick to dismiss him simply because he represented exactly the type of police detective we see all the time in books, TV, and movies. The female detective in contrast, was almost dull. Her PowerPoint presentation didn’t have exciting crime scenes or drug busts but instead had detailed timelines of burgularies and credit card theft, along with an analysis of a high speed car accident. Not exactly the stuff of movies, but for me, it was far more interesting precisely because it was so…ordinary.

When I approached her to ask her what she thought was the most common mistake made by writers/TV shows about female detectives she had to take a moment to think – because she honestly didn’t have time to read crime books or watch police TV shows.  After work she went home to be with her husband, kids, pets, chickens and horses and, in her mind, did what everyone else did. Being a detective was a job she enjoyed but it didn’t consume her life. So for her the most obvious mistake (apart from female detectives wearing tight clothing and high heels) was that female detectives are often portrayed as being driven, single minded or obsessed with their job. Although it was refreshing to hear such a down to earth approach (given how tortured many female detectives appear in books and movies), she also posed  a bit of a dilemma for the writerly part of my brain – how would I create a character based on her that would be both realistic and interesting? Yet the sheer ordinariness of her world and how she approached crime solving also presented an intriguing challenge. The other, more stereotypical detective would be far easier to portray simply because he represented the kind of detective we see on the screen and page all the time…which got me wondering about writers who have successfully portrayed the ‘ordinary’ lives of local law enforcement in their books…which is why I turn now to you, TKZers for recommendations as well as advice. Who do you think successful portrays the more mundane aspects of law enforcement? Who is the most realistic female detective you’ve read about or seen in movies or on TV? What advice would you give a writer who wanted to portray an ‘ordinary’ detective?


Get Grammatical or Get Lost

by James Scott Bell

No, I’m not telling the ungrammatical to take a hike. But I am saying that without a basic understanding of certain rules of our language, your thoughts will be in danger of getting lost on the reader.

As a public service, here are a few of the errors I frequently come across so you, dear writer, may avoid them:

Uninterested v. Disinterested

Uninterested means not interested in something. Disinterested means objective.

“Many young people today are disinterested in marriage.” WRONG.

A good umpire is disinterested in the outcome of a game, but he should never be uninterested.

Yet virtually every time I see disinterested it’s misused. Maybe people think it sounds more sophisticated. That excuse doesn’t interest me at all.

Begs the Question

You’ll read or hear this almost every day. Like on the news, when a talking head spouts, “He said cows should be outlawed, which begs the question: Where will we get our steaks?”

No! Begs the question does not mean demands that the question be asked. That doesn’t even make sense on its face. If a question demands to be asked, it isn’t begging, is it?

Question begging is actually a fallacy of logic. It means someone has assumed, rather than proved, a premise. Thus, in a debate, you might hear, “My esteemed opponent has begged the question.”

This is a fight we’ve probably lost, but I can’t help digging in my heels. Whenever I hear someone on TV casually drop “That begs the question…” I always beg to differ.

The Wandering I

It was drummed into us as kids that using me instead of I is wrong.

“Me and Henry rode bikes today.”

“No, dear, that’s Henry and I.”

So the kid starts saying things like:

“That belongs to Henry and I.”

Wrong-o. But it’s a mistake made all the time. I heard this on TV the other day: “That means a lot to my wife and I.”


You can easily determine the correct usage by removing the first noun from the sentence. Would you say, “That means a lot to I”? Of course not. “That means a lot to me” is correct, so stick the wife back in there and you’ve got it right.

“Henry and me went to the store.” Would you say, “Me went to the store”? Only if you’re Tarzan. Otherwise, “Henry and I …” is correct.

Its v. It’s

It is so easy to make this mistake, because it’s looks like a possessive since we use the apostrophe that way in other places. The cat’s mat is on the floor can easily become, in another context, It’s mat is on the floor.

It’s (did you see that?) tricky because it’s is really a contraction, a combo of it and is; and its is possessive, but without the apostrophe.

When I’m typing fast, I sometimes make this mistake, and its it’s irritating. Just train yourself to take a little pause and ask, “Do I mean it is?” Then type accordingly.

i.e. v. e.g.

E.g. is short for the Latin phrase exempli gratia, which means “for example.”

“There are lots of ways to lose money in Vegas, e.g., blackjack and craps.”

I.e. is short for id est, “that is.”

“The police who violated the Fourth Amendment—i.e., busted down the guy’s door—should have secured a warrant.”

In other words, e.g. sets up one or more examples, while i.e. supports just one clarification.

An easy way to remember this is to think of the e in e.g. as standing for example, and the i in i.e. as standing for in other words.

Also, when you use either of these babies in a sentence, they are lowercase and followed by a comma, e.g., The boys will get to pick among their favorite games, e.g., Bone Storm and Gilstrap’s Revenge. 


My head literally explodes when I hear people misuse literally.

No it doesn’t, for literally means exactly, in a factual sense. People misuse literally because they think it provides added force to their point: He was literally as big as a house! 

Don’t use literally unless you are trying to make clear an actual fact. And you don’t have to use figuratively at all. When you say He was as big as a house people will understand what you’re trying to convey. You don’t have to gild the lily, as they say (which reminds me that you should avoid clichés like the plague).

Complement v. Compliment

When something goes with something else and produces a nice effect, it complements the other thing. “Her orange scarf complemented her ensemble.”

A compliment is something nice you say about somebody. “The speaker paid Mrs. Hanson a compliment.”

You most often find this error when these words are used in their –ary form, as in this example I came across recently: “If you’re not sure where to begin, try taking a picture of a single book against a simple, complimentary (but not overpowering) background.”

No, the wallpaper is not paying the book a compliment. 

Now, I admit I am no grammar expert. I still think a gerund is a fuzzy pet you keep in a cage. But when I’m unsure about some usage rule, I’ll pause to do a quick search on the internet, or look up the issue in one of my reference books (my favorite is Write Right! by Jan Venolia.)

So what are your pet peeves of language blundering?


三体 (Three-Body)

By Mark Alpert

After I read an interesting novel, I like to devote some time to thinking about it, contemplating what I liked about the book, what I didn’t like, which characters were the most intriguing, and which plot twists were the most exciting. It’s a useful exercise for a writer. Plus, it’s fun.

This week I finished reading a trilogy of science-fiction novels by Chinese author Liu Cixin: The Three-Body Problem, The Dark Forest, and Death’s End. The novels were published in China between 2008 and 2010, and the English translations came out between 2014 and 2016. The first book in the Three-Body trilogy won the Hugo Award and the third book won the Locus. Former president Barack Obama called the series “wildly imaginative.” (Wow, a blurb from Obama! Very nice.)

I was hooked from the start, because the first chapter was so unusual for a sci-fi novel. It portrayed a scene from the Cultural Revolution, the fanatical anti-intellectual movement that devastated Chinese society during the 1960s and 1970s. Ye Wenjie, a student in Beijing, sees her father, a physics professor, beaten to death in a public square by frenzied Red Guards. Afterward, she’s exiled to the countryside, but soon she’s assigned to work at a military base on a mountaintop where there’s a huge radio antenna. Eventually she realizes that the purpose of this base is to search for radio signals from extraterrestrial civilizations.

(Warning: there are some spoilers ahead, but this sci-fi trilogy is so packed with inventive surprises that I don’t think revealing a few of them would truly spoil a reader’s enjoyment of the books.)

The intended point of the novel’s first section is that Ye is devastated by her father’s public execution and develops a very low opinion of humanity in general, so low that she becomes actively nihilist. To be honest, the author doesn’t quite succeed in this task of showing the character’s development. Ye comes across as somewhat numbed by the traumatic events of the Cultural Revolution, but I never sensed her secret thoughts, the formation of her new moral philosophy. In retrospect, Liu could’ve done a better job of portraying the mental leap that Ye made, the seeds of the radical actions that she would take later in the book. Perhaps the author didn’t want to tip his hand, telegraph the surprise he’d planned? As all novelists know, this is a tricky balance. You don’t want to give away the store, but at the same time you also need to build a foundation for an upcoming plot twist, to ensure that it doesn’t seem to come out of nowhere.

In any case, the surprise is powerful. The radio antenna at Ye’s base receives a signal while she’s working alone on the night shift, a message from the Centauri star system, which is our solar system’s closest neighbor (about four light-years away). The extraterrestrials — called Trisolarans because the Centauri system consists of three stars gravitationally bound to one another — have detected radio transmissions from Earth, and their first response is a dire warning from a Trisolaran pacifist who knows all too well the aggressive intentions of his fellow aliens. He urges Earthlings not to respond to any radio messages from Trisolaris, because doing so will reveal the exact position of Earth’s solar system. But because of Ye’s disdain for the human species, she responds anyway: Come here! I will help you conquer this world. Our civilization is no longer capable of solving its own problems. We need your force to intervene.

This message puts an epic story in motion. Even for a highly advanced civilization, the task of conquering another star system isn’t easy. It’s extraordinarily difficult to accelerate spacecraft to even a small fraction of the speed of light, so it’ll take the Trisolaran invasion fleet hundreds of years to cross the void between their star system and ours. Most of the Three-Body trilogy focuses on the Earth’s desperate efforts to defend itself, building its own space fleet during the 21st and 22nd centuries and concocting various strategies to outsmart the Trisolarans. Those efforts are hindered by a fifth column of traitorous Earthlings who, like Ye Wenjie, believe our planet would be better off under alien control. The motives of the traitors seem perverse, but they’re also strangely familiar. As this week’s events in New Zealand showed, our species has no shortage of deluded fanatics.

The three novels, particularly the first one, have some weaknesses. The quality of the writing isn’t stellar (pun intended), although this might be the result of the translation. Many of the characters aren’t fleshed out; Wang Miao, the main point-of-view character in the first book, is practically a blank. I also didn’t get a good sense of what the Trisolarans are like, which is probably the biggest missed opportunity in the trilogy. The novel’s human characters (and by extension, the reader) learn about Trisolaran culture and biology through a virtual-reality computer game that the traitorous Earthlings play; this game, called Three Body, shows that much of Trisolaran history was shaped by the chaotic movements of the three stars in the Centauri system, which alternately boiled and froze the aliens’ home planet in a wildly random pattern. To mitigate the damage, the aliens tried to learn to predict the orbital movements of their three stars, but they never succeeded; as any physicist can tell you, the Three-Body Problem is notoriously difficult to solve, even with a powerful computer. This dilemma helps to explain why the Trisolarans are so eager to conquer our solar system, which is a stable, orderly paradise compared with theirs.

Unfortunately, this fascinating fictional premise doesn’t apply to the real-life Centauri system, which consists of two sun-like stars (Alpha Centauri A and Alpha Centauri B) that orbit their center of gravity in a predictable way, and a much smaller red-dwarf star (Proxima Centauri) that orbits the other two at a great distance, also very predictably. (Because Proxima is so much smaller than A and B and so distant from them, there are no mathematical difficulties in this particular Three-Body Problem.) The chaotic orbital dynamics might apply to a planet orbiting relatively close to A and B, but not to the stars themselves. This error would’ve been very easy to fix, so it’s a shame that it crept into the novels. I noticed a few other mistakes in the trilogy: a stellar explosion in the Centauri system wouldn’t be visible from Earth’s northern hemisphere; twelve Apollo astronauts walked on the moon, not fifteen; Pluto and its moon Charon are tidally locked with one another, so the moon would appear to be stationary to an observer on Pluto’s surface. (Liu Cixin, if you’re reading this, please allow me to vet your next manuscript. I’m good at spotting these astrophysical errors!)

But Liu’s story is too good to be ruined by a few factual mistakes. The trilogy becomes more and more compelling as the narrative progresses into the 23rd and 24th centuries. The human characters discover that the Trisolarans aren’t the only threat they face. In fact, the whole galaxy is packed with technologically superior species competing for the Milky Way’s resources, and most of these extraterrestrials have no qualms at all about exterminating potential rivals. Any emerging civilization must hide its presence; if it sends out too many radio signals, a more advanced species will swiftly destroy the upstarts’ star system. In the Three-Body trilogy, the universe resembles a dark forest in which hunters are lurking everywhere and the prey must stay silent to survive. This fictional scenario is a clever solution to the paradox named after physicist Enrico Fermi, who famously wondered why humans haven’t observed any signs of extraterrestrials in a galaxy that should (statistically at least) be full of them. We haven’t seen any aliens, Liu says, because they’re all hiding.

Here’s another reason why I liked this trilogy: it shows a future human civilization that blends Western and Eastern influences. In Liu’s novels, China and America remain separate nations, but scientists from both countries team up against the Trisolaran threat. Their cultures intermingle too; people born in future centuries have names that combine English words and Mandarin characters. I visited China several years ago to research one of my novels (Extinction), and I came away with the strong hope that America and China can learn to peacefully coexist. We don’t need extraterrestrials to seal our doom; if we’re not careful, we’ll stumble into an apocalypse all by ourselves.

Want to see another weird connection between fiction and real life? My new novel THE COMING STORM was foreshadowed thirty years ago by a conversation I had with a certain New York real-estate mogul who later decided to run for president. Read this for the details.