Monthly Archives: February 2021

First Page Critique: Scattershot

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Another brave writer submitted their first page for critique. Catch ya on the flip-side.

Scattershot

It wasn’t supposed to be this way.  We had it planned, Tom and I. We said goodbye to friends – hoping retirement would be an adventure in everything we did. To drive cross country to New England, a picture postcard of snow and autumn leaves coloring the landscape in hues of red, orange, and yellow.  The Coronavirus took my Tom a week before the move.  His labored breathing and limp body placed in the ambulance drove him to the hospital.  I tested negative.  I never saw him again.

It wasn’t supposed to be this way.   Oh sure, plans change, but no one ever thinks death will stop you cold.  Well, it stopped Tom and the hospital confirmed my worst fears.  Grateful to the nurse who held his damp, feeble hand, I listened to his last gasp from the speakerphone.  Tom was gone, the house was sold, and the movers expected me in Connecticut in two weeks to unlock the door.  My new life began without the love of my life.

My name is Joanna Seavers, and I am a 59-year-old retired teacher living in the age of Covid-19 or the Coronavirus or whatever the hell it’s called.  Who knows, and who cares?  All I know is the world stopped for Tom and me in 2020, and everyone else for that matter.

One thing I’ve learned in life, even in a pandemic, is never stop planning. It’s what keeps you alive.  You need a reason to get up in the morning, so I got up.   The pandemic wound down, and I drove north.  Businesses reopened and the population was injected with the second shot of the lifesaving serum.  Mask wearing became optional, but on occasions, I still wore the cloth covering my nose and mouth.  You can’t be too careful in a crowd.

Driving down the highway, the virus in my rearview mirror and Alfie, Tom’s faithful bird dog, really a raven, sitting in the passenger’s seat.  Not sure why my husband had a pet raven, but the relationship remained solid for fifteen years.  I read somewhere domestic ravens have a life span of 40 years, so it was a good thing Alf’s loyalty shifted to me.  We clicked and his companionship sustained me as we drove from the Bay Area out of California, not looking back to what we had lost.

I like the voice of this first page. The biggest problem for me was the lack of emotion. The words are there, but it’s not visceral. You can’t gain empathy for Joanna unless the reader feels her pain. As written, she doesn’t seem all that broken up. If Tom’s death is the trigger that kickstarts Joanna’s quest, it needs to pack a bigger punch. Because the first time I read this page, I thought maybe she’d planned his death…till she mentioned the coronavirus.

Dig deeper, Brave Writer. She’d pinned all her hopes and dreams on retiring with Tom. They had plans, plans they talked about for years. Where’s the grief? Where’s the heartache? Where’s the anger over not having the chance to hold him on his deathbed, of one last kiss, of professing her undying love to the man she’s spent a lifetime with? Tom’s death acted more like a minor blip in Joanna’s life.

To deliver a bigger bang, you need to let the emotions unfold gradually. We’re not fine one minute and hysterical the next. Emotions build in layers, change and intensify, and finally reach a crescendo. For Joanna, Tom’s death should be soul-crushing.

Actually, this is the perfect example of why JSB recommends interviewing characters.

A few questions for Joanna could be:

When did you first know Tom had the virus?

What made you call an ambulance?

How did you feel when the medics said you couldn’t accompany Tom to the hospital? Lost? Empty? Frightened?

Did you have a physical response?

Who broke the news of your husband’s decline? What’d s/he tell you? How did it feel to hear those words?

Are you a different person without Tom? What’s changed?

The reader doesn’t need to know every detail, but you do. Joanna’s past will affect her future. You may be thinking, but Sue, Joanna’s the type to raise her chin and forge ahead. Fair enough. But her silent keening should still bleed through.

Five Stages of Grief

  • Denial
  • Anger
  • Bargaining
  • Depression
  • Acceptance

The character should bounce between each stage to mimic real life. A step forward to depression, two steps back to anger, etc.

Infuse Emotion

I like the echo of “It wasn’t supposed to be this way,” but let’s force the reader to feel those words.

Quick example:

It wasn’t supposed to be this way. We had a plan, Tom and I. We had a chance at a new beginning, a fresh start. We had hopes and dreams for retirement. But now, emptiness consumed me, the pit widening more each day. If the movers didn’t expect me in two weeks, I’d never leave Tom’s grave. How did this happen? Why us? We were so careful, so diligent about protection. We made all the right moves. And for what? So I could drive cross-country alone?

Notice I never mentioned what happened to Tom. All readers know is he’s dead, she’s devastated. Let the reader flip pages to find out why. In the next paragraph offer a bit more and get the hero moving.

Example:

It wasn’t supposed to be this way. Tom and I dreamed of life in New England, with its snow glistening on autumn leaves, hues of Scarlet, orange, and gold-painted landscapes. Pointless now. Muted shades of black and gray zipped by the driver’s window. Up ahead, a motorist leaned under the raised hood of a minivan. (Or whatever the case may be.)

 I added the motorist to accomplish two things:

  • It gets our hero moving, active rather than ruminating.
  • It hints at trouble to come.

Delete the part where Joanna introduces herself. It’s the lazy way out. You can do better.

Add dialogue. Keeping with my motorist example…

I pulled in behind the van, and a man craned his neck around the side of the hood. Not a female. Crap. I should’ve let Dr. Rosenthal change my prescriptive lenses before I left.

The stranger approached my window. “Thanks for stopping.”

“No problem.” I held a tight smile, jabbed a chin at the van. “What happened?”

“Outta oil. I could use a lift to the gas station.”

Joanna resists. The motorist pushes. Against her better judgment she gives in. Blah, blah, blah. During the drive the conversation turns.

“Really appreciate this.” He blows into cupped hands (the cold signals she’s on the east coast). “I’m Frank, by the way.”

“Joanna.”

Boom. Now the reader knows her name. Keep in mind, Joanna’s a woman alone. Other than her first name she isn’t likely to tell this stranger her life story.

“What do you do, Joanna?” The way he said my name raised the tiny hairs on my forearms.

“Retired.”

“From what, Joanna?”

Never had my name sounded so creepy. Tom wouldn’t have allowed a stranger in the car. If he were alive, we’d be halfway to Connecticut by now. (See how I slipped in her destination without slowing the pace?)

Frank rested his hand on my knee. “Joanna?”

Mute, my gaze shifted between his hand and the road. “Is the gas station much farther? My husband’s expecting me.”

“So, you’re not from the area?”

“Umm, I…uh…”

“Where are you from, Joanna?”

Each time my name rolled off his tongue my stomach somersaulted, flipped, acids splashed against the liner. Damn you, Tom! We vowed to grow old together. You promised to never leave me.

“Michigan,” I lied, unwilling to share details about my route from the west coast to the east.

And on and on it goes. I don’t have room for a line edit, but keep in mind there’s only one space after a period.

Pets

The last thing I’ll mention is the raven who materialized out of nowhere. As a die-hard corvid lover, I hope you’re not using the bird as symbolism for doom, gloom, or death. Pets needs a valid role in the plot. If the raven doesn’t fill that need, please consider removing it.

As written, it doesn’t sound like Joanna ever bonded with the family pet, a gigantic bird whose lived in her home for 15 years. It’s odd. When a wife loses her husband, (or vice versa) she clings to any and all traces of him, including his possessions (i.e. Tom’s favorite football jersey, the collar saturated with his scent). A loyal feathered baby should act like Joanna’s life preserver, and not a pet she hardly knew.

Main Takeaway

Concentrate on the fine art of storytelling, less focus on backstory. Allow readers to get to know Joanna in bite-sized pieces. Force the reader to flip pages. And they will, if you avoid filling in the blanks right away. The inclusion of story questions, conflict, dramatic moments, and hints of danger (valid or misinterpreted) helps to create a compelling mystery that strangleholds the reader.

Thank you for sharing your work with us, Brave Writer. Pandemic stories will flood the marketplace, if they haven’t already. Thus, it’s more important than ever to craft a visceral thrill ride so yours rises above the rest.

Over to you, TKZers! I excluded a few things to avoid turning this post into a book, so please mention them in the comments. How might you improve this first page?

Movie Gems from the Early 1930s

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by James Scott Bell
@jamesscottbell

In one of Steve’s recent posts I left a comment with a little ditty based on the famous song “Shuffle Off to Buffalo.” The song is from the 1933 film 42nd Street. Steve commented that he’d have to see it sometime. To which I say YES! Every writer, actor, dancer—indeed, any artist who bleeds for their art—needs to see this classic.

With dance numbers choreographed by the great Busby Berkeley, 42nd Street is the backstage tale of a Broadway musical, from initial financing to opening night. The central plot revolves around a naive young actress newly arrived in the big city (Ruby Keeler) who gets cast in the show’s chorus. Will she somehow emerge a star? (Go ahead, guess.) The marvelous cast includes Ginger Rogers, Dick Powell, and Una Merkle, supported by veteran character actors Guy Kibbee, Ned Sparks, and Allen Jenkins.

Ruby Keeler and Warner Baxter in 42nd Street

But the movie belongs to Warner Baxter as Julian Marsh, the show’s director. Baxter—who a few years earlier won the second Academy Award for Best Actor (In Old Arizona, 1928)—fully inhabits the role of a man whose life is the theater, who is incapable of compromise, who would rather die (and just might!) than put on a mediocre show. Baxter gives us a masterful range of emotion, gaining intensity the closer they get to opening night. And then comes a crisis! The show is in danger! Can Baxter pull out a miracle? (Go ahead, guess.) We get the show itself for the last part of the movie. And then, for my money, one of most memorable last shots in movie history. When you see that shot—being the artist that you are—you’ll relate to it fully.

All this got me thinking about a few other gems from the early 1930s—the “pre-code era”—that shouldn’t be missed.

You’ll not see a finer ensemble cast than the one in Dinner at Eight (1933, dir. George Cukor). It’s led by Marie Dressler, John and Lionel Barrymore, Wallace Beery, and Jean Harlow. From this film you can learn about handling parallel plotlines, and also the great value of orchestration. That is, creating characters who have the greatest possibilities for conflict with one another. Indeed, this is responsible for one of the best last lines ever. It’s between the highly-cultured actress Carlotta Vance (Marie Dressler) and the gorgeous but unrefined Kitty (Jean Harlow). Since it doesn’t spoil the film plot wise, here it is:

No pre-code retrospective would be complete without at least one film starring Barbara Stanwyck. Stanwyck, of course, went on to become one of the big stars of the golden age of movies, and then on TV in The Big Valley. Equally adept at comedy and drama, Stanwyck shot to fame in 1930 in the Frank Capra-directed Ladies of Leisure. She plays a “party girl” who falls genuinely in love. Stanwyck—not a classic beauty a la Garbo or Harlow—demonstrates that sexiness is as much about attitude as it is about surface features.

Stanwyck would show that over and over in her career, but never with more verve than in Baby Face (1933). As Lily Powers (great name) she uses her sexuality to seduce men on her way up the ladder in New York City. (The film is also notable for a small part played by a miscast young actor named John Wayne.)

Clark Gable and Claudette Colbert in It Happened One Night

And then, of course, there’s a film everyone who loves movies should see: It Happened One Night (1934, dir. Frank Capra). From this you can learn the tropes of a great romance. Ellie Andrews (Claudette Colbert) is a spoiled heiress who goes on the run, against her father’s wishes, to get to the man she wants to marry. The story becomes a national sensation. Taking a night bus for New York, Ellie is recognized by a street-smart reporter, Peter Warne (Clark Gable). He offers to help get her to her lover in return for her story, exclusive.

These two peas are not from the same pod. They take an immediate dislike to each other (trope). Through a series of obstacles they begin to fall in love (trope). But a big misunderstanding sunders their romance (trope) until…well, you need to see it.

The movie was not supposed to be a big hit. It was made by a small studio (Columbia) and Gable was in it only because he had been “loaned out” by MGM’s Louis B. Mayer. Mayer was mad at Gable for demanding a raise, and wanted to teach him a lesson.

Some lesson. Gable won the Oscar as the film swept the major categories: Best Picture, Best Director, Best Actor, Best Actress, Best Screenplay.

One famous bit of trivia. There’s a scene where Gable starts to undress in front of Colbert. When he takes off his shirt, he’s bare chested. Thereafter in America, sales of men’s undershirts plummeted.

The film also shows the value of what I call the “spice” of minor characters. Don’t ever waste yours. They are opportunities to delight your readers. The two standout spices in It Happened One Night are a pair of great character actors: Roscoe Karns as an obnoxious, would-be Lothario; and Alan Hale as a roadster-driving con man.

Undergirding it all is the flawless script by Robert Riskin, a frequent Capra collaborator. More trivia: During the production of his script for Capra’s Meet John Doe (1941), Riskin reportedly got increasingly annoyed by critics talking about “the Capra touch.” One day, when he felt Capra himself was taking too much credit, he stormed into Capra’s office and threw down 120 pages of blank paper. “Put the Capra touch on that!” he said, thus becaming a hero to Hollywood screenwriters ever after.

I only have time for some honorable mentions, but these are all worth seeing and contain lessons for every writer. You should be able to find most of these via streaming services and/or YouTube:

Little Caesar (1931)

The Public Enemy (1931)

Cimarron (1931)

The Champ (1931)

American Madness (1932)

I Am a Fugitive From a Chain Gang (1932)

Rain (1932)

Scarface (1932)

Ladies They Talk About (1933)

The Power and the Glory (1933)

The Thin Man (1934)

Manhattan Melodrama (1934)

Happy viewing!

Any other early movie favorites you’d like to add? Of the films mentioned, which have you seen? Any other writer lessons you draw from them?

Leading Them to Water…

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Photo by Kelly Sikkema, unspash.com

I recently gave three books to S., my fourteen-year-old granddaughter. S. has up until now not been a huge fan of reading. She flirted with the Warriors series — I think of those books at least twice a day, which would be every time “my” feral cat shows up the back door, waiting for me to feed him — and manga books,  but the works that have constituted the “required reading” part of her educational curriculum up to the present would, I’m afraid, divert just about any fledgling reader to computer games, YouTube, and King of the Hill reruns. My own experience is that when something that is supposed to be enjoyable becomes a requirement it becomes drudgery. 

Cover Copyright (c) Charles Scribner’s Sons. All rights reserved.

I have gently attempted on a number of occasions to get her interested in reading. No go. I therefore recently decided to get the reading camel’s nose under the tent of her interests and/or needs through non-fiction. “Needs” won. S. indicated to me that she had experienced some difficulty with a couple of school writing projects. I could have blessed her with a couple of instructive boring grandpa lecture but instead gave her On Writing: A Memoir of the Craft by Stephen King. I picked that one because she had at least heard of King and the book isn’t just about writing. King also goes into his life, his background, what drives him, what derailed him, what got him back on track, and how important other people were and are to the process. With regard to the last, King’s name may be on all of those book spines, but there would not be nearly so many of them if not for Tabitha King, his wife, who worked in bakeries when he was unpublished, scheduled interventions after he was published, and ministered to him during multiple dark days and weeks after his life-threatening injury. I handed On Writing to S. and she smiled with the good grace that a well-mannered child does when given clothes instead of a pony for Christmas. I then said, “The great thing about this book is that when you read it you can hear the author talking to you.” She smiled as if she had received that pony after all. Oh, On Writing does cover the act and art of writing, too. It has helped S. with her problem. Now she enjoys writing and reading. 

Cover Copyright (c) Nicholas Hughes. All rights reserved.

I did not stop there. I chose a second book to give S. because she is with increasing frequency getting out more on her own. Dad and Grandpa, for a number of reasons, won’t always be around to smite the varlets who might otherwise accost her as she innocently goes about her business.  I accordingly placed How to Be Your Own Bodyguard by Nick Hughes into her hands. Nick has handled security for movie sets and rock musician tours (among many other things) and lays his subjects and advice out in a very personable and businesslike manner with plenty of interesting accounts of practical applications of his considerable skillsets. The volume discusses such topics as situational awareness, threat assessment, and, if at all possible, trouble avoidance rather than confrontation when one is exposed to adverse situations.  I gave S. my copy, which includes a personal inscription from the author (full disclosure: Nick and I consulted on presentation issues during the writing of the book but it is all his. I don’t get a penny from the sales nor do I deserve any) and thus increased its worth in her eyes. 

Cover Copyright (c) Hachette Group, Inc.

The previous two books contain advice that S. can use now. The third is one that she can look at now and utilize later. It is Adulting: How to Become a Grown-Up in 468 535 Easy(ish) Steps by Kelly Williams Brown. Imagine your eighteen-year-old self standing at the entrance of a long, dark, and unfamiliar tunnel and having a friend who is several years older than you standing at the other end, advising you of the pitfalls you will encounter as you take your steps into the unknown. That sums up this book. It covers topics such as how to apply for a job, work once you get it, find an apartment, get a pet, deal with friends, and handle money. It is a cheat sheet, if you will, for the pop quiz that is early adult life. I don’t agree with all of the author’s suggestions but she picks all of the right topics, including the ones that young adults don’t think of until they come calling with little or no warning. All of this advice is given in a friendly and appropriately humorous voice. The book won’t solve every problem S. will meet within a couple or five years but it will hopefully give her a leg up on them. As I often tell folks in another context, better to have and not need than need and not have.

S. is now reading and seems to be enjoying the process. She is also hopefully learning some practical things along the way. Mission accomplished. Have you ever given or recommended a self-help book or a novel to someone younger than you? Was it with the hope that they would start reading, or at least start enjoying it? If so, what was the book, and did it work?

Thanks once again for dropping by. It means a lot.

 

 

Reader Friday: Are You Publishing Too Soon?

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SOP (Standard Operating Procedure) teaches us to set a completed draft aside for a while. It’s easy to prematurely submit a manuscript to a publisher, or to push publish too soon for Indies. And sadly, these books languish on Amazon with poor reviews and one-star ratings.

We’re too close to our work. By setting aside a manuscript, we gain clarity. A new perspective illuminates typos, plot holes, clunky sentence construction, wordiness, writing tics, etc.

How long to set aside a manuscript fluctuates between two weeks to two months, depending on the writer.

How long do you let your manuscript rest?

Do you start a new project while you’re waiting?

What’s the longest you’ve waited? And why?

Is Blogging Worthwhile for Thriller and Mystery Writers?

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To blog or not to blog? That is the question. (For thriller and mystery writers, that is.) Whether ’tis nobler in the mind to suffer the slings and arrows of outrageous troll comments or bravely take pens against a sea of **crickets**.

If Shakespeare were alive in this internet day, my bet’s the Bard would blog—despite the extraordinary effort required to consistently publish and the resounding risk of no return. He, himself, said so: “The heart-ache and the thousand natural shocks that flesh is heir to, ’tis a consummation.”

We writers on the Kill Zone, and we followers of our blog, are not Shakespeare. We’re resilient mortals, albeit with self-doubt and insecurities, and consumed with pursuing the written word. Including weakly weekly words pounded out on WordPress.

Is blogging worthwhile for thriller and mystery writers? My take? Absolutely!

I hit the blog publish button on June 30, 2012, and I have no regrets. I’ve put out 400+ pieces on DyingWords.net, and it’s returned more satisfaction than I can count. Money? No, not directly. But there’s a much bigger picture to author blogging than direct monetary reward.

Let me count the ways. Blogging has helped build my writing and technical skills, it’s allowed me considerable craft experimentation, it’s educated me in so many ways, it’s forced discipline and motivated me to meet deadlines, and blogging has let me network with like-minded writers on an international scale. I’ve built a brand through blogging, I’ve met influencers or force-multipliers, and I’ve been humbly invited to guest post on prominent sites.

Looking back, I see blogging has done one overall and invaluable thing for my writing adventure. It’s given me discoverability. Being discovered on a global scale loops back to indirect commercialization—making money by having readers buy my books. Blogging has been so, so worthwhile, and I will not lose momentum.

“And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action”
~William Shakespeare / Hamlet

Running a regular blog isn’t for every thriller and mystery writer. Quite frankly, it’s a lot of bloody work. Many writers see blogging as a time suck with a low entry barrier where they compete with hacks who pollute the blogisphere with, well… shite.

I don’t worry about that. I’ve learned to do my own thing, and it’s slowly paid off. I look at blogging as a long-term venture—not some sort of a get-rich-quick scheme. (Spoiler Alert — nothing quick about getting rich with writing, and even Wild Bill Shakespeare made little money during his world-changing career.)

However, none of us are Bards, yet there’s never been a better time to be a writer. I sincerely mean this. We have amazing tools and resources to build our skills, cull our craft, network, and get discovered. Let’s look at why thriller and mystery writers should blog.

Improving Skills

Practice makes perfect. Although there’s no such thing as perfection—as far as I know—writing is a skill to be learned. It’s not Shakespearean-God-given talent for almost all of us. Whether you aspire to quill the next great American novel, outsell Rowling and King, or stack readers to your mail list, serious writers strive to improve. It’s a daily slog through other blogs and seeing what currently works.

What currently works for others may not work for you. “Current,” in blog terms, is as recent as a whale sighting. Blog things change fast. They surface and dive, but writing basics really don’t. Many times, blogging is about making old things seem new.

My experience in improving skills? Practice by publishing. Polish Erase the purple prose. Edit with efficiency. And keep on learning.

Experimentation

What’s writing without experimenting with your voice? “What’s voice?” my cow’s milk cheese, white bread, and raw leek sandwich once asked. Until I started blogging, I had no concept of “voice.”

Blogging taught me to free my voice. No, it’s not like free as in clothes-dropping and whirling-around-the-stripper-pole that my new neighbor Pamela Anderson performed in her video with Elton John. And yes… seriously… I’m not messing with you. Pam Anderson is my new neighbor, and that’s for a blog at another time.

See. I just experimented with my writing and my voice, and I know you’re going to read it when I post What I See With My Cabala’s Tripod-Mounted Bushnell Telescope When Pam’s Bedroom Blinds Slightly Crack.

Education

My blog has a tagline. It’s “Provoking Thoughts on Life, Death, and Writing.” Life. Death. Writing.

The blog–trogs of yesterday and the top-bloggers of today say, “Stick to your niche.” I didn’t know what a niche was when I started blogging. Till then, I thought a niche was my sister’s daughter.

But I learned what a niche was, and I found it. Education is a good thing. Education is something you’ll learn in spades when you blog. Continual education has let me learn to blog a lot about life, death, and writing. From that, I’ve learned a ton.

Discipline, Motivation & Deadlines

This is where my cop training came in—long before I was a writer. I was humiliated and soul-crushed in basic training—never mind physically worked to the mat—but I learned mental toughness and the power of teamwork.

Teamwork, motivation, deadlines, and discipline invoke mental toughness. It’s the underscore or underline of personal achievement. To put out blogs or articles, writing pieces day after day, and believe in yourself as a professional scribe, you have to psychologically put yourself in a winner mentality.

Discipline is putting your butt in your chair and your fingers on the keys. Motivation is personal—motivation is believing in your purpose and knowing you have deadlines. Deadlines are having this post up on the Kill Zone every second Thursday morning.

Blogging does this.

Networking

That’s why we’re all here at the Kill Zone. Not just the regular contributors who always have to constantly improve, experiment, educate, discipline/motivate, and meet deadlines. We network. And we critique each other. Often silently.

Blogging—and in my opinion—no better media lets you network more than blogging. I don’t mean just following my blogsite, or TKZ, or the hoards of SM-listed blog sites. There’s a whole wide world of blogging out there, and there’s a secret. That’s to tap into the blog community you want to be recognized by.

It’s by commenting.

Everyone in this TKZ thriller and writing community wants to network. Bloggers and followers inclusive. Sure, some contributors are prominent names and some commentators are new. Putting your comment on a TKZ post is a powerful networking move. Be assured prominent people are reading your comment, and they’re influencers who’ll help lift you.

Influencers/Force Multipliers

Writing. Blogging. Publishing. Marketing. This is a cooperative community. Not a competitive one. We help others to help themselves.

Influencers are folks who have gone before. They may be writers who’ve “made-it” as traditional publishing names. They may be teachers who go above and beyond to help other up-comers in indie publishing. And they may be peers who share what currently works, and what doesn’t for all of us in this crazy biz called writing, regardless of how you’re published.

Force-multipliers are big hitters. They have the success, credibility, and presence to endorse new-comers and guys like me. That might be an encouraging return comment on a blog post comment, or a SM shout-out reaching thousands.

Discoverability

Your return—your magic reward—from thriller and mystery writing blogging is discoverability. Yes, there’s a learning curve and a lot of work, but it’s so, so worth it.

I’ve blogged for over nine years. My followers aren’t huge by some scales, but I’ve amassed 2,100 qualified email list followers. My website clicks are around 800 a day. And when I send a DyingWords.net post out every second Saturday morning at 8:00 PST precisely, I get about 350 faithful readers clicking through.

These faithful readers discovered me through my blog. I look at it this way—if I called a town hall meeting every second Saturday morning and 350 showed up—with my bookselling table at the back of the room—I’d be happy with my blogging audience.

I don’t have a town hall, but my table is virtual, and my venue is open 24/7/365—internationally. It keeps growing as my blog keeps feeding it, and the spin-offs from my blog help discover me.

My secret sales sauce? Discoverability. It used to be called, “Word of Mouth.” Now it’s, “Word of Mouse.”

To me, as a Thriller and Mystery writer, “To blog or not to blog” isn’t the question. It’s the answer.

What about you Kill Zoners? Is blogging worthwhile?

——

Garry Rodgers is a retired homicide detective with a second career as a coroner responsible for investigating unexpected and unexplained human deaths. Now, Garry has reinvented himself as a crime writer and indie publisher.

An avid and active blogger at DyingWords.net, Garry Rodgers has also guest written for many sites including commissioned articles for the HuffPost. Garry lives on Vancouver Island in British Columbia at Canada’s southwest coast.

Beware the “ING” Construction

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Beware the “ING” Construction
Terry Odell

ING constructionI know this topic was mentioned recently, and apologies for not being able to find the post to credit the author. Perhaps it came up in the comments. No matter the source, I thought this craft topic worth another look, especially after a recent read.

We all have our favorite sentence construction. For the author in question, the book was overrun with sentences starting with gerund phrases – those “ing” words.

At the very first writer’s conference I attended, an agent said she would reject a query with more than 1 sentence beginning with the “ing” construction. Her explanation—it’s too easy to make mistakes with that sentence structure.

What mistakes? We’ve been told that construction with “was/ing” is a sign of weak writing. He was running. She was dancing. It’s stronger to say “He ran” (or sped, or rushed). Or “She danced” (or pirouetted, or waltzed, or sashayed) But there are more ways overusing gerunds can get you into trouble.

Dangling and misplaced modifiers. (Note. You don’t have to be able to know which is which, as long as you know they’re wrong and how to fix them.) A misplaced modifier is too far away from the thing it’s supposed to modify, while a dangling modifier’s intended subject is missing from the sentence altogether.

First, the misplaced modifier. In my first crit group, I held the prize for creating an answering machine that gave neck massages. I’d written, “Rubbing her neck, the blinking red light on the answering machine caught Sarah’s eye.” Ooops. (But I would like a machine with that function!)

Make sure the noun or pronoun comes immediately after the descriptive phrase. Thus, the above example could be “Rubbing her neck, Sarah noticed the blinking red light on the answering machine.”

And example of a dangling modifier: “Walking into the room, the smell was overpowering.” Corrected, it could become, “Walking into the room, they encountered an overpowering smell.”

Next, and the one this post-inspiring author was most guilty of: the non-simultaneous action. “Running across the clearing, John dove into the tent.” Or, “Opening the door, Mary tripped down the stairs.”

John can’t be getting into the tent while he’s running across the clearing. And Mary needs to open the door before she goes downstairs.

When you’re looking over your manuscript, you might want to flag words ending in “ing” and take another look to be sure you haven’t made any of these basic errors.

ING Construction

If you’re using Word, you can do a “find” using wild cards to flag words ending in “ing.” In Word, which is what I use, it’s Edit/Find/More. Then check the “use wildcards” box, and then special, where you’ll find the command for end of word, which is the > symbol.

That means, you should type ing> into the search box. Then you can either look at them one at a time, or check the “highlight all items found in:” box. True, you’ll get words that aren’t gerunds that end in ‘ing’ – thing, building, etc., but it’ll give you a place to start.

Any examples to share–from your own reading or writing?

OK, one more thing, a brag moment. The Mapleton Mystery Novellas was selected as a top pick for 2020 at Kings River Life Magazine.

 

 

Deadly OPtions e-ReaderAre Gordon’s Days in Mapleton Numbered?

Now available for pre-order. Deadly Options, a Mapleton Mystery/Pine Hills Police crossover.

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.

Want to Talk to a Kill Zone Author?

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Photo credit: Chris Montgomery – unsplash

By Debbie Burke

@burke_writer

Have you ever wanted to chat with the Crime Dogs at The Kill Zone?

Now, your book club, reading or writing group can meet with TKZ authors via Zoom, Facetime, Google Meeting, or Splash.

To give you hints what they might talk about at a virtual meeting, I posed two questions to each member.

Joe Hartlaub:

#1 – When you’re invited to speak, what do you plan to say?

I accept!

Actually, I would discuss the steps that a writer goes through after finishing their manuscript and before being published. 

 

 

#2 – What would you like listeners to learn from you?

That they probably should have asked someone else! Seriously, I would hope they would come away encouraged, rather than discouraged. While the process of publishing seems overwhelming, people still do it. 

(BTW, we’ve asked Joe to leave his big knife at home when he zooms.)

~~~

Sue Coletta:

Most readers ask about the story behind the story, my characters or subjects (if nonfiction), research, and male vs. female serial killers. I also touch on forensic science (i.e. blood spatter analysis, decomposition, handwriting analysis, forensic psychology, the difference between a psychopath, sociopath, spree killer, etc. The seven stages of serial killing is a big hit, as it allows readers to peek into a killer’s mind. The psychology behind these monsters is a fascinating topic.

For writers: how to create believable characters, show vs. tell, understanding deep point of view, story structure, how to use research without slowing the pace. Also, my experience working with publishers.

Most of all, I want attendees to have fun. Laughter is good for the soul.

~~~

John Gilstrap:

I have several “canned” presentations that are fully described here, but I tailor every presentation to the individual audience. I’ve been doing this for over a quarter of a century, so I can discuss everything from character development to finding an agent to adapting stories for the screen. I’ve done full day seminars and I’ve done 20-minute chats.

I start every presentation by asking attendees what they want to take away from the seminar/meeting. In my experience, people who attend these kinds of presentations have one or two very specific itches that they’d like to have scratched, and my job is to scratch them.

~~~

Clare Langley-Hawthorne:

Most often my presentations start off with the history that inspired my stories and, depending on the audience, delve into my own personal connection to the events or characters in the book. Rarely do I go into the actual writing process but this is often a question I get asked so that’s when it comes up. I want listeners to come away inspired – either by history, reading, or to write their own stories.

~~~

James Scott Bell:

I speak on any of the 7 critical success factors of fiction: plot, structure, character, scenes, dialogue, voice, meaning.

Fiction writing can be learned, if one studies diligently and keeps practicing.

 

~~~

Terry Odell:

I’m flexible with what I’ll talk about. If it’s a writer’s group, I can talk about craft, including dialogue, point of view, voice, writing romantic suspense, or just the writing process. I can also share my experiences with small presses, digital presses, and independent publishing.

Book clubs are usually a whole different game, with them wanting to talk about specific books or series, or just general Q&A.

~~~


Garry Rodgers:

From my experience it’d be “talk about what you know.” Mine is crime, forensics, and death investigation and the worlds around them. My schtick would be about Joseph Wambaugh’s saying, “The best stories aren’t about how cops (and coroners) work on cases – it’s how the cases work on cops (and coroners).”

I see it from the reality human angle rather than the non-reality TV CSI stuff.

~~~

Steve Hooley:

My subject would be “Heritage, Writing, and Leaving a Legacy.” The discussion would center on the importance of passing on (in writing) to our descendants what we have learned from our ancestors – history, service, and values.

I would like to convince listeners that “passing the torch” is important, and maybe inspire some young people to become interested in writing.

I added a category: Who is my desired audience? Middle Grade Schools, High Schools, Parochial Schools, Christian Schools, Home School Groups, Senior Citizen Groups, and Writers’ Groups.

~~~

Elaine Viets:

My talks are tailored for the audience. If you want to be entertained, I talk about my light-hearted Dead-End Job mysteries. If the audience likes darker mysteries, I discuss my Angela Richman, Death Investigator mysteries. Death investigators are like paralegals for the medical examiner. They are in charge of the body and work for the ME.

I’ve also taught workshops and seminars for Sisters in Crime, MWA, and the Florida Writers Academy and other groups. Topics include: “Forensics for Mystery Writers.” “How to Murder Your Darlings — editing for writers.” “Who’s Talking? What voice is best for your novel?” and “Mystery Writing for Beginners.” All workshops come with handouts.

I’d like all my audiences to come away entertained, and if they’re taking a workshop, to leave it energized and ready to write.

~~~

P.J. Parrish (Kris Montee): 

The need to learn your craft and have patience, especially if you self-publish. A book that’s put out in public before it’s professionally ready will fail.

Perseverance. I’ve run the full gamut of publishing with huge NY legacy publishers, paperback imprints, foreign publishers, and Amazon’s Thomas and Mercer. I changed genres from romance to mysteries, reinventing a stalled career. I regained backlist rights and self-published them, also self-published an original series. Lots of success (bestseller lists and awards) and plenty of failure, but you keep going! You have to have a hard shell, lots of drive, and you can’t let the suckers get you down!

Topics I like to talk about: The difference being showing and telling. Making your settings/locations come alive. Series vs standalones.

~~~

 

Debbie Burke:

For writing groups—how to edit your own writing, how to survive rejections and keep writing, traditional publication vs. self-publication, tapping the subconscious for stories, confessions of a pantser.

For book clubs—A peek inside the warped mind of a writer. Behind the scenes anecdotes. How does a nice girl like me write such nasty villains? What does an author do when characters won’t behave?

~~~

How do you set up a virtual meeting with a TKZ author? It’s easy!

At the top of the screen on the left side of the menu banner, click on “Request a TKZ Speaker.” Fill out the form and hit submit. We’ll be in touch.

 We look forward to “seeing” you for a virtual chat!

Tens(e)ion in a Novel

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So I’ve been thinking (well, wondering…) a lot about the growing popularity in the use of present tense in novels – probably because we recently had this issue come up in a first page critique, but also because two members of my writing group are also using it in their historical novels (quite successfully I might add) – which has led to some puzzlement on my part. While there are certainly some benefits to using the present tense (see below), it isn’t something that flows naturally for many writers so I’ve been ruminating over its recent appeal.

On the plus side, present tense provides an immediacy to a scene that can ramp up dramatic tension. In many YA novels, it can also provide a deeper connection to the main character. Suzanne Colins did an amazing job of using the present tense to immerse readers in the world of Panem and Katniss Everdeen. However, it certainly can feel like an artifice in many other books – one that strains the flow and forces a writer to employ some pretty awkward sentences. In my writing group, I have questioned the use of present tense in some of my fellow writers’ work, not because it hasn’t been effective in the scenes I’ve reviewed, but because it seems like a difficult tense to sustain for a whole novel. In my own work, I’ve really only used the present tense for interior thoughts or flashbacks (maybe because I’m not skilled enough to use it full time!).  When used judiciously, the present tense can help signal to the reader a transition in terms of time or narrative focus and it can certainly be used to create compellingly tense scenes. As with anything with writing, when the present tense is employed well a book can soar. That being said, the apparent popularity of writing in the present tense does seem a little…weird…So I thought I’d reach out to you, our fabulous TKZ community to provide insight and input.

So what do you all think/feel in general about novels written in the present tense? As writers, have you considered using it and if so, why? What benefits do you see to writing in the present tense? Does it feel natural to you for a whole novel?

Please note, I’m asking these questions, not by way of judgement, but out of general curiosity since I’ve recently seen many novels employing the present tense that I would have typically expected to be written in the past tense. A well written novel succeeds irrespective of the tense (or any other literary device) used – but it is intriguing to me that so many more writers seem to be choosing it as an option!

What say you all, TKZers?