Notes From the Social Media Deportment Department

by James Scott Bell
@jamesscottbell

Is it too late in the day, too quaint a notion, to revive an idea of social deportment your grandmother called being nice?

We all know social media is an unavoidable part of a writer’s branding and marketing. But we also know that the Sturm und Drang of contemporary culture and interchange is rife with anger, hate, bile, vituperation, ridicule, and scorn—and that’s on a good day.

There are many reasons to avoid becoming part of the hatestream, not the least of which is that it can mess you up mentally. People get addicted to hate and the Dopamine rush of spewing it. Day after month after year of that will shrivel a soul as surely as meth shrivels the brain.

These thoughts crossed my mind recently as I perused a book published in 1899. I get daily alerts from Gutenberg.org, the site that churns out ebook editions of public domain works. If I see a title that intrigues me, I’ll have a look. One such title was Twentieth Century Culture and Deportment by Maude C. Cook. Turned out to be a big tome on etiquette. And what is etiquette but rules of behavior that keep us from being boors, jerks, haters, and dopes?

You decide. Here’s a sampling:

Learn to govern yourself and to be gentle and patient.

Guard your temper, especially in seasons of ill-health, irritation, and trouble, and soften it by a sense of your own shortcomings and errors.

Never speak or act in anger.

Remember that, valuable as is the gift of speech, silence is often more valuable.

Do not expect too much from others, but forbear and forgive, as you desire forbearance and forgiveness yourself.

Never retort a sharp or angry word. It is the second word that makes the quarrel.

Beware of the first disagreement.

Learn to speak in a gentle tone of voice.

Learn to say kind and pleasant things when opportunity offers.

Study the characters of those with whom you come in contact, and sympathize with them in all their troubles, however small.

Think social media would be a tad different in tone if people took the above advice? More:

Never permit yourself to be drawn into an argument in general society. Nothing can be more provocative of anger on one side or another, or more destructive to conversation, than a lengthy and, too often, bitter argument. Good breeding would suggest that the subject be changed at once before the controversy becomes heated. Especially should any debate upon politics or religion be avoided as subjects upon which two seldom agree, but which are so close to the hearts of the majority as to cause serious annoyance if their pet beliefs are touched upon or questioned. Be careful, also, not to take the opposite side of every question that is brought up in conversation.

All this to say I know myself well enough to know I can too easily get sucked into a heated exchange. So I avoid them, especially on social media, which is the worst place on Earth to have a rational discussion on anything controversial. It is easier to be a balloon in a knife throwing contest.

So…be nice.

And just because I want to help, here’s some further advice from the book. Pass this along to your sons and daughters.

Romantic advice for women:

As to temper or disposition, the woman can easily gain some insight into the respective peculiarities of another’s temperament by a little quiet observation. If the gentleman be courteous and careful in his attentions to his mother and sisters, and behave with ease and consideration toward all women, irrespective of age, rank, or present condition, she may feel that her first estimate was a correct one. On the other hand, should he show disrespect toward women as a class, sneer at sacred things, evince an inclination for expensive pleasures in advance of his means, or for low amusements or companionship; be cruel to the horse he drives, or display an absence of all energy in his business pursuits, then is it time to gently, but firmly, repel all nearer advances on his part.

Romantic advice for men:

To a man who has become fascinated with some womanly ideal, we would say, if the acquaintanceship be very recent, and he, as yet, a stranger to her relatives, that he should first consider in detail his position and prospects in life, and judge whether or not they are such as would justify him in striving to win the lady’s affections, and later on her hand in marriage. Assured upon this point, and let no young man think that a fortune is necessary for the wooing of any woman worth the winning, let him then gain the needful introductions through some mutual friend to her parents or guardians.

Under the heading “Trifling”:

Still more reprehensible is the conduct of the man who insinuates himself into the affections of a young girl by every protestation and avowal possible, save that which would be binding upon himself, and then withdraws his attentions with the boastful consciousness that he has not committed himself.

***

Again, the young lady who willfully, knowingly, deliberately, draws on a man to place hand and heart at her disposal simply for the pleasure of refusing him and thus adding one more name to her list of rejected proposals, is utterly unworthy the name of woman.

Maybe the “old way” of doing things wasn’t so bad after all. What do you think?

TKZ Celebrates 12 Years!

The Kill Zone blog makes its debut on 08/08/08. We’re an exciting group of thriller and mystery authors. Stay tuned!

By Joe Moore

That announcement was made 12 years ago by a small group of professional writers with the mission to share our knowledge and talents with others. The goal was to help make everyone that visited TKZ a better storyteller and reader. The original group included its founder Kathryn Lilley along with Michelle Gagnon, John Gilstrap, John Ramsey Miller, Clare Langley-Hawthorne, and myself. Not bad for a starting team!

Twelve years is a long time for a niche blog to exist on the Internet. Twelve months is a bit more like it. Group-writer blogs have been formed by many authors; most eventually running out of things to say and falling by the wayside. But TKZ is alive and well, garnishing numerous awards including the coveted Writer’s Digest 101 Best Websites for Writers 6 times.

How has TKZ prevailed? Of course, great writing tips and advice from successful authors are givens. Lots of blogs to that. We took it a step further by offering original ideas.

In 2012, we came up with the concept of First Page Critiques. Anyone can submit the first page of their manuscript anonymously. In return, they get an in-depth critique by a top-shelf author and additional feedback in the comments section of the post. And unlike other critique services, our First Page Critiques are free. You can review all the FPC at First Page Critiques.

We featured “Killer Sunday”, hosting some of the best mystery and thriller guest authors to be found including Alafair Burke, David Hewson, Cara Black, Michael Palmer, Tosca Lee, Hallie Ephron, Robin Burcell, Steve Berry, Sandra Brown, and so many other generous writers who shared their talent with our visitors.

If you’re looking for help with a particular issue, there’s TKZ Library covering topics such as Indie Publishing, Revision & Editing, and Developing Author Voice among many others.

Our list of emeritus bloggers that have been a part of TKZ team over the years is beyond impressive: John Ramsey Miller, Kathleen Pickering, Michelle Gagnon, Boyd Morrison, Jodie Renner, Nancy Cohen, Larry Brooks, Robert Gregory Browne, and Jordan Dane.

Bottom line: TKZ is the Fort Knox of writer’s information. No matter where you are in your career as a novelist, you’ll always come away with a little more knowledge than before. TKZ is a value-added resource that has been here for 12 years. Take advantage of it. And raise a toast to at least 12 more years of sharing the art of writing.

Reader Friday: Share a 2020 Victory

Success comes in many forms. No two writers view success in the same way. Sure, if we’ve had a film adaptation of our novel, then I think we can all agree that’s a success story.

That said, I’m a big believer in celebrating small victories along the road to success (whatever that means to YOU). Celebrating smaller victories helps to keep us focused, grounded, and moving forward in a positive way.

Please share one victory for 2020. I know it hasn’t been an easy year, but that’s why it’s more important than ever to celebrate each new hurdle you’ve jumped. A victory can be anything, from completing a manuscript to hiking a mountain for inspiration to a successful virtual book signing to Hollywood knocking at your door.

Let us celebrate your success!

True Crime Thursday – Police Stop

Photo credit: dwights ghost, wikimedia creative commons

By Debbie Burke

@burke_writer

 

Today’s True Crime tale is set in Detroit, dateline 2009. This three minute video chronicles a harrowing police stop with charges that include speeding, grand theft auto, and murder.

As a bonus, it offers a master class in storytelling by author Dan Yashinsky of Toronto.

Here’s Dan!

 

TKZers: Did you learn any techniques from Dan’s video to use in your own work?

~~~

 

 

Last day for introductory price of $.99 for Debbie Burke’s new thriller, Dead Man’s Bluff. Here’s the buy link.

Let There Be Light

Let There Be Light
Terry Odell

Light and Color

Image from Wikimedia Commons

Light is important when we’re writing—and I’m not talking about having enough light to work by. I’m talking about how much we can describe in our scenes. One of my critique partners questioned a bit I’d written (yes, it’s from one of my romantic suspense books).

She stepped inside and closed the door behind them. Placing her forefinger over her lips, she shook her head before he could speak. She unbuttoned the top button of his shirt. Then walked her fingers to the second, sliding the disc through the slit in the fabric. Then to the third, then the next, until she’d laid the plaid flannel open, revealing the tight-fitting black tee she’d seen at the pond this morning when he’d given her the shirt off his back.

His comment: “It’s night. Do you need to show one of them turning on a light?” Maybe. More on that in a minute.

In a book I read some years back, the author had made a point of a total power failure on a moonless night. There was no source of light, and the pitch-blackness of the scene was a way for the hero and heroine to have to get “closer” since they couldn’t see.

It didn’t take long for them to end up in bed, but somehow, he was able to see the color of her eyes as they made love. I don’t know whether the author had forgotten she’d set up the scene to have no light, or if she didn’t do her own verifying of what you can and can’t see in total darkness. Yes, our eyes will adapt to dim light, but there has to be some source of light for them to send images to the brain. If you’ve ever taken a cave tour, you’ll know there’s no adapting to total darkness.

In the case of the paragraph I’d written, the character had seen the man’s clothes earlier that day, so she’d probably remember the colors, especially since the tee was black. And you’ll note, I didn’t say “red and green plaid shirt.”

I won’t delve too deeply into biology, but our retinas are lined with rods and cones. Rods function in dim light, but can’t detect color; cones need more light, but they can “see” color. (All the “seeing” is done in the brain, not the eyes.)

We want to describe our scenes, we want our readers to ‘see’ everything, but we have to remember to keep it real. This might mean doing some personal testing—when you wake up before it’s fully light, check to see how much you can actually ‘see’. The ability to see color drops off quickly. So even if you see your hands, or the chair across the room, or the picture on the wall, how much light do you need before you can leave the realm of black and white? What colors do you see first? When it gets dark, what colors drop off first. Divers are probably aware of the way certain colors are no longer detectable as they descend.

Here’s a video showing what happens.

And another quick aside about seeing color. Blue is focused on the front of the retina, red farther back. This makes it very hard for the brain to create an image where both colors are in focus. It’s hard on the eyes. For that reason, it’s probably not wise to have a book cover with red text on a blue background, or vice-versa. You can look up chromostereopsis if you like scientific explanations. For me, I’m fine with “don’t do that because it’s hard to read.”

How do you deal with light and color in your books? Any examples of when it’s done well? How about not well?


Heather's ChaseI’m pleased to announce that my upcoming Mystery Romance, Heather’s Chase, is now available for preorder at most e-book channels.

(If you’d like to see some of the pictures I took on my trip, many of which appear in the book, click on the book title above and scroll down to “Special Features.”)



Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.” Follow her on Facebook and Twitter.

The Power of Poignancy

Old Yeller movie poster, public domain

By Debbie Burke

@burke_writer

Recently I read an article by Daniel Pink in the Saturday Evening Post extracted from his bestselling book WHEN—The Scientific Secrets of Perfect Timing. According to various studies he cited, people like happy endings in books and films. No surprise there, especially in the current troubling times. Happily Ever After (HEA) in fiction fulfills a deep human longing because most of us wish for that in our real lives.

But the main point of Dan’s article was, while happy endings are good, the most resonant, memorable endings have sadness connected to them. The addition of bittersweet adds an important layer of emotional complexity beyond mere joy. He writes:

“The most powerful endings deliver poignancy because poignancy delivers significance. Adding a small component of sadness to an otherwise happy moment elevates that moment rather than diminishes it.”

The power of poignancy is why the endings of some stories stick with us for years, while other HEAs disappear from mind as soon as we close the book.

Dan’s article started me thinking about which books and movies still resonate in my memory years later.

Warning: spoiler alerts ahead.

I saw Old Yeller when the movie came out in 1957. A couple of times since then, I watched it but stopped before the climax (warning: grab a box of tissues before clicking this link). That scene remained seared in my mind. I didn’t want to start weeping again.

A boy, Travis, and his dog share an unbreakable bond until Old Yeller is bitten by a rabid wolf while saving the boy’s life. When Old Yeller is infected, Travis must shoot his dearest friend to keep him from suffering. It’s the hardest thing he’s ever done and may well be the hardest thing he’ll ever face in his entire life.

To soften the blow, the movie wraps up when Travis bonds with a new puppy from a litter sired by Old Yeller.

Consider this alternate ending: What if Old Yeller still saved Travis from the rabid wolf but walked away unscathed? Travis and Old Yeller trot off into the sunset, trailed by Yeller’s adorable puppies? Pure HEA, right?

Would the story still evoke the strong feelings it does more than six decades after I first saw it and bawled my eyes out? Probably not.

Charlotte’s Web had the same emotional power. Additionally, the first line is one of the greats in literature:

“Where’s Papa going with that axe?” Fern said.

Charlotte the spider dies after saving Wilbur the pig’s life and making him famous. The blow of her death is tempered because she left behind generations of children and grandchildren to keep Wilbur company for the rest of his days.

Alternate ending: What if Charlotte didn’t die but continued her friendship with Wilbur until, one peaceful night, they both passed away from old age? Would the ending be as memorable? Nah.

Witness (1985) with Harrison Ford and Kelly McGillis is not only a cracking good thriller but also a love story. Philadelphia detective John Book must protect Samuel, a young Amish boy who witnesses a cop’s murder.  In the process, Book falls in love with the boy’s mother, Rachel. In the climax, the villains are thwarted and Samuel is safe. Mission accomplished. But Book must leave Rachel because, despite their love, he could never fit in her world and she could never fit in his.

Alternate ending: Book stays with Rachel in the idyllic Amish community and they share a blissful, if improbable, life together.

If screenwriter Earl Wallace had opted for the HEA above, would he have won the Oscar for Best Original Screenplay? I doubt it.

Photo Credit: Edgar Brau, Creative Commons

Perhaps the most famous bittersweet ending in film is Casablanca. Rick gives up the woman he loves and watches Ilsa walk away with her husband, not because Rick wants to, but because it’s the right thing to do.

Alternate ending: Ilsa tells Victor Laszlo to go back his resistance work without her and she and Rick share a passionate kiss in his saloon while Dooley Wilson reprises “As Time Goes By.” 

With that HEA, would Casablanca have become an icon in movie history? Unlikely.

The examples cited above are all legendary. As authors, we can aspire to that status but most of us are happy if readers enjoy our stories, remember them, and want to buy more.

Mickey Spillane, who sold 225 million books in his career, famously said,

“Your first line sells the book. Your last line sells the next book.”

How does an author make endings satisfying and memorable enough to convert a reader into an avid fan who wants more? One way is to inject poignancy.

Here are several tools to help you add the bittersweet component.

The Wound: The hero ends up damaged. The wound doesn’t have to be physical; it can also be emotional, psychological, or spiritual.

During the journey, the hero suffers greatly. By the end, she is triumphant in achieving her goal, vanquishing the foe, solving the mystery, or righting the wrong. That’s the HEA part.

But her success comes with a cost.

She may have lasting effects from a bullet wound, PTSD from emotional and psychological wounds, or undergo a spiritual crisis when the belief or value system she’s always depended on collapses.

The wound can happen to another character, someone she cares deeply for. That loved one’s pain or death causes her to question if her success was worth it.

Disappointment: The hero may have worked his butt off to attain his desire but, once reached, he learns it’s not what he really wanted after all. Wiser after his journey, he must let go of his dream. The HEA can spring from his epiphany that there is a different, sometimes better, reward than the one he originally sought.

Sacrifice: The hero prevails but must give up someone she cherishes. She does the right thing at great personal loss to herself. The HEA stems from her satisfaction that her loved one is happy or safe.

Can you think of other tools to achieve poignancy? Please share them in the comments.

When an author successfully balances bitter and sweet, the reader feels the resonance to their core. In fiction and in life, there is no sweet without the bitter. 

By tempering a happy ending with sorrow, joy may emerge as the dominant emotion but the complex feelings you evoke in a reader make the story more memorable and lasting than one that only taps into happiness.

Dan Pink concludes by saying:

“Endings can help us elevate—not through the simple pursuit of happiness but through the more complex power of poignancy. Closings, conclusions, and culminations reveal something essential about the human condition: In the end, we seek meaning.”

~~~

TKZers: Please share examples of your favorite endings in books or films and why they stuck with you.

What techniques do you use to inject poignancy into your work?

~~~

 

 

A high-stakes gamble. The winner lives. The loser dies.

Please check out Dead Man’s Bluff, Debbie Burke’s new thriller here. 

Parsley Poop – The Cozy Writer and the Conundrum of Keeping It Clean

Today, I’m delighted my pal, multiple-Agatha winner Leslie Budewitz, stopped by to visit. Leslie and I are often found in Montana cafes, noshing pastries while plotting someone’s demise. In this guest post, Leslie discusses how cozy authors can avoid explicit language but still have fun playing with words. Welcome, Leslie!

Agatha-winning author Leslie Budewitz

A recent thread on the Short Mystery Fiction Society discussion list on language—captioned ”Swearing Bad, Murder Good”—prompted me to talk to myself, on my morning walks, about why cozy mystery authors work hard to keep our language clean. You weren’t there that day, so thanks to Debbie Burke for inviting me to share some of my thoughts here.

First, what is a cozy? It’s a subset of the traditional mystery, which itself has quite a range, from the lightest of cozies (Krista Davis, Laura Childs) to historicals (Victoria Thompson, Rhys Bowen) to more psychological drama (Lori Rader-Day, Laura Lippman, Hank Phillippi Ryan). Generally, there is no graphic or gratuitous sex or violence. The killer and victim often know each other, or at least come from the same wider community; these are not stories of serial killers who prey on a certain type of victim or anonymous bombers wreaking havoc on marathon runners and those gathered to cheer them on. Typically, the traditional mystery involves an amateur sleuth, though there are exceptions; Louise Penny’s books are considered traditional mysteries though Gamache and his crew are police officers, aided by locals.

Reading a cozy is a walk on the light side. Think Jessica Fletcher and Murder She Wrote, or Midsomer Murders. The cozy is the comfort food of mystery world, and who doesn’t love a little mac and cheese now and then?

The murder is the trigger, the inciting incident, while the other characters’ response is the story. A bit of an oversimplification, and it’s crucial, in my opinion, to make sure we get to know and care about the victim, and to show how the murder disrupts the community. The estimable Carolyn Hart asks what’s more uncomfortable than murder in a small town where everyone is affected? And she’s absolutely right, though the same is equally true of urban cozies, which focus on a community within a community.

Ultimately, the cozy is about community. The sleuth, usually a woman, is driven to investigate because of her personal stakes. She wants justice, for the individuals and for the community. The professional investigators—law enforcement—restore the external order by making an arrest and prosecuting, but it’s up to the amateur to restore internal order, the social order, within the community. (I could go on about the elements of a cozy. Another time.)

So, what about the language?

Cozies tend toward clean language. SMFS members have pointed out the contradiction in readers who accept murder but dislike cursing or vulgar language. It is a contradiction, a bit. But then again, it isn’t. Murder happens in all social strata—among drug dealers and religious zealots. The murder in a cozy is typically off-stage; we don’t see the blood and gore—a character might, but she isn’t going to describe it for us.

Nor are most cozy settings and scenarios places where you’d expect swearing. Most of us, even if we cut loose now and then, watch our language at a street fair, in a tea shop, at a community theater rehearsal or on a tour boat headed to a clam bake. We might be freer of tongue at home or with close friends, but we know when to watch our language. So do cozy characters.

Who are the characters? Does the language fit them?

A frequent criticism by other writers about deliberately clean language is that it isn’t realistic, that a mobster won’t say “gosh, darn it” or “oh, firetruck.”

Nope, he sure as sugar wouldn’t.

But it goes both ways. Reality isn’t one size. Some people choose not to swear, from personal preference, out of moral or religious conviction, or for other reasons. TV broadcasters train themselves not to swear in private because one accidental “f*ck this sh*t” on the nightly news could cost them their jobs. (Credit for that insight goes to Hank Phillipi Ryan, a TV reporter who writes about them.) Retail shop owners, with some exceptions, watch what they say on the shop floor because most customers don’t want to be surrounded by curse words when shopping, especially if their kids are with them. I gave one of my series protagonists the word “criminy,” borrowed from a former legal secretary who chose it as her dastardly expression when she taught kindergarten; I doubt she knew it’s a contraction of “Christ Almighty,” but the word has long slipped the bonds of its blasphemic origins.

A sleuth who runs a bookstore or bakery and is investigating to right a wrong and restore the social order of the community she loves is not going to suddenly open her mouth and make sailors blush. “I swore under my breath” or “I’d never heard David swear before” makes the point just fine.

Tone matters.

Cozies often involve humor, as the titles make plain. Crime Rib, Assault and Pepper, Chai Another Day are a few of mine. The word play continues as a Spice Shop owner named Pepper says “parsley poop” when she learns a troublesome fact or calls an annoying customer a pain in the anise. The creativity fits and it’s fun.

But what about the killer? They aren’t all little old ladies wielding knitting needles.

No, they aren’t.

In traditional mysteries, including cozies, the killers are often opportunistic, motivated by emotion and injustice. They may strike out in the spur of the moment. Some act from the conviction that the victim needed killing. Others plot and plan, though pure evil and psychosis are the exception, not the norm. Still, planning a murder doesn’t necessarily equate to a potty mouth. With some exceptions, cozy killers come from the same community as the rest of the characters. They run bars and restaurants, work as TV cameramen, winemakers, and veterinarians, collect movie memorabilia, captain tour boats, and drink good coffee.

Many cozies are written in first person. We see the killer through the protagonist’s lens, although of course, they speak their own truth, sometimes spelled with four letters. When and where killer and sleuth meet might affect the language, too. For example, in one of my books, we first see the killer at a memorial service held in an upscale art gallery, where mourners are wearing linen and silk and sipping sparkling rosé. Not a crowd or a place for vulgarity—though if it did erupt, we might have a sudden silence, followed by a hubbub as the offender is escorted from the scene, all good action for a cozy. Later in the same book, we see the killer prowling around a darkened antique store, aiming to confront and stop my sleuth. The dialogue is limited, as they taunt each other while trying not to give away their locations. Swearing could happen; it doesn’t.

In my latest book, the killer and my first person narrator see each other several times, but only meet face-to-face once, outside a hospital. Again, it’s a place where swearing could happen, but isn’t essential—this isn’t the docks in the dark of night, and their conversation is a battle of wits. The protagonist, a spice shop owner, has no objection to swearing, but rough language isn’t going to help her tease out the killer’s motives or get him to feed her the info she needs to break his alibi. Vulgarity isn’t going to help him convince this pesky woman that he’s the wronged party, that he only did what anyone in his position might have done.

Last, consider the audience.

Cozy readers may be young teens, old ladies, and anyone in between. They are reading to meet the characters, get to know a place, eat good food, and learn about the subject of the book. They are there to see justice done and community restored. Why make them uncomfortable without good reason?

Language affects tone and characterization; it reflects plot and theme; it contributes to setting. If a well-placed “f*ck” or “sh*t” would advance any of those without pulling the reader out of the story, go ahead. Use it. Swearing is just another tool in your writer’s box. But in the well-written cozy, you won’t have to.

~~~

Leslie Budewitz blends her passion for food, great mysteries, and the Northwest in two cozy mystery series, the Spice Shop mysteries, set in Seattle’s Pike Place Market, and the Food Lovers’ Village mysteries, set in NW Montana. The Solace of Bay Leaves, her fifth Spice Shop Mystery, is out now in ebook and audio; paperback coming in October 2020. Leslie is the winner of three Agatha Awards2013 Best First Novel for Death Al Dente, the first Food Lovers’ Village mystery; 2011 Best Nonfiction, and 2018 Best Short Story, for “All God’s Sparrows,” her first historical fiction. Her work has also won or been nominated for Derringer, Anthony, and Macavity awards. A past president of Sisters in Crime and a current board member of Mystery Writers of America, she lives and cooks in NW Montana.

Find her online at www.LeslieBudewitz.com and on Facebook at www.Facebook.com/LeslieBudewitzAuthor

Pepper Reece never expected to find her life’s passion in running the Seattle Spice Shop. But when evidence links a friend’s shooting to an unsolved murder, her own regrets surface. Can she uncover the truth and protect those she loves, before the deadly danger boils over?

 

 

More about The Solace of Bay Leaves, including an excerpt and buy links here: http://www.lesliebudewitz.com/spice-shop-mystery-series/

Do a Best Day and Worst Day For Your Characters

by James Scott Bell
@jamesscottbell

Back when I was first learning how to write fiction, I concentrated on plot and structure. These were the parts of the craft that were most mysterious to me. I had no idea how the writers I enjoyed came up with twisting, turning plots that held delightful surprises and satisfying endings. I thought they just sat down and started typing, and therefore had an inner genius I lacked. I’d been told as much in college: “You don’t have any inner genius, Mr. Bell.” Okay, maybe not in those exact words, but it was implied. I was certainly told I couldn’t learn how to write great fiction. You either have it or you don’t, they said.

I apparently didn’t have it. So I went into a much more stable profession—acting. Then I got married (see last week’s post) and decided a steady income was actually a good thing, so I went to law school.

Some years later I saw Moonstruck and had to find out if I could, after all, learn to write.

It took me a year of study to get a handle on structure. During that year I was concentrating on screenwriting. My primary text was Syd Field’s Screenplay. I still remember the joy I felt when I finally started to see what was going on structurally, and then added to the mix my formulation of the “doorways of no return.”

So I wrote a screenplay (my fourth or fifth effort) based on what I learned. An up-and-coming Hollywood agent consented to read it.

I sent it to her.

And vividly remember the phone call. She told me the plot was good, but the script didn’t do it for her, because “the characters don’t jump off the page.”

After retrieving my heart from my shoes, I sat back and thought about her comment. Intuitively, I understood. After all, the movie that re-awakened my desire to write, Moonstruck, is full of characters who “jump off” the screen. Even the minor ones.

That’s what was missing in my screenplays.

So began another course of study to figure out characterization.

As usual, I got some craft books and re-read a few favorite novels with great characters. I studied and practiced and, lo and behold, landed a book contract. After a few years I began teaching workshops and writing my own books on the craft.

Here’s the new one: Writing Unforgettable Characters: How to Create Story People Who Jump Off the Page. (See below for pre-order info).

I’ve included a number of my workshop exercises in the book. One of my favorites is “Best Day, Worst Day.” I got this idea from the hit comedy City Slickers. Remember? Billy Crystal, Daniel Stern and Bruno Kirby play three friends: Mitch, Phil and Ed. They are almost 40 years old and have come to a point where they look at their lives and think, Is this is as good as it’s ever going to get? Mitch is stuck in a job he hates. Phil is stuck in a terrible marriage. And Ed is stuck in a macho image hiding his insecurities.

So the three decide to get away from it all and go out West for a “real” cattle drive. They join with a few other tourists. And then meet the tough trail boss, Curly (Jack Palance, in an Oscar-winning turn).

The superb script (by Lowell Ganz and Babaloo Mandel) is an example of what I call “orchestration.” You cast your characters so they are different enough from each other that conflict can naturally occur. This is especially important for your allies (characters on the same team).

At one point the three friends are riding along, and Mitch tells about the best day of his life (his father taking him to Yankee Stadium for the first time) and his worst day (the day a lump was found in his wife’s breast). Then:

Phil: All right, I got one. My best day—

Ed: This isn’t the one about Arlene and that loose step, is it?

Phil: No, my wedding day.

Mitch: What!

Phil: Yeah, remember that day? Outdoor wedding. Arlene looked great. Those water pills really worked. You guys were all smiling at me, and my dad, in the front, gives me a little wink, you know? I mean, he’s not the warmest of men, but he winked. I was the first one of us to get married and have a real job and I remember thinking, I’m grown up, you know? I’m not a goofball anymore. I made it. I felt like a man. That was the best day of my life.

Ed: What was your worst day?

Phil: Every day since is a tie.

Then the question is asked of Ed, who at first refuses to answer. But then:

Ed: I’m fourteen and my mother and father are fighting again, you know, because she caught him again. Caught him! This time the girl drove by the house to pick him up. And I finally realized, he wasn’t just cheating on my mother, he was cheating us. So I told him, I said, “You’re bad to us. We don’t love you. I’ll take care of my mother and my sister. We don’t need you anymore.” And he made like he was gonna hit me, but I didn’t budge. And he turned around and he left. Never bothered us again. But I took care of my mother and my sister from that day on. That’s my best day.

Phil: What was your worst day?

Ed: Same day.

That is just flat-out great dialogue. But for our purposes, it is also a fantastic exercise for deepening your characters before you render them on the page. The nice thing is you don’t have to put the material in your novel (though you certainly may). Just knowing it for yourself will automatically give you a better, more complex character. So brainstorm away, be ye plotter or pantser. You’ll be glad you did.

You’ll find more exercises like this in Writing Unforgettable Characters, which you can pre-order here:

KINDLE

KOBO

NOOK 

A print version will be also be available soon.

Why don’t we play half this game today in the comments? What was one of your best days or favorite memories?