Author Archives: Debbie Burke

About Debbie Burke

Debbie writes the Tawny Lindholm series, Montana thrillers infused with psychological suspense. Her books have won the Kindle Scout contest, the Zebulon Award, and were finalists for the Eric Hoffer Book Award and BestThrillers.com. Her articles received journalism awards in international publications. She is a founding member of Authors of the Flathead and helps to plan the annual Flathead River Writers Conference in Kalispell, Montana. Her greatest joy is mentoring young writers. http://www.debbieburkewriter.com

Cause and Effect – Guest Post by Lindsey Hughes AKA The Pitchmaster

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by Debbie Burke

Recently I read an outstanding article by Pitchmaster Lindsey Hughes about the importance of cause and effect in story momentum. Her words really hit home so I invited her to share her wisdom with Kill Zone readers.

Lindsey Hughes, Pitchmaster

 

Welcome to The Zone, Lindsey!

Cause and Effect: The Story Chain Reaction

A story is not just a string of things that happen. A story is a chain reaction.

This happens, therefore that happens.

  • A character makes a choice, therefore something changes.
  • A secret is revealed, therefore a relationship blows up.
  • A plan fails, therefore the hero has to try something riskier, scarier, or stupider.

That is cause and effect.

And when it is working, your story feels inevitable. It pulls the reader or viewer forward because every scene creates the next one. The audience does not have to be dragged through the story. They lean in because they feel the momentum.

When cause and effect is weak, the opposite happens.

Your story starts to feel episodic. Random. Wobbly. Things happen because you, the writer, need them to happen, not because the characters, stakes, and previous events naturally created them. The audience may not always be able to name the problem, but they feel it.

Story Momentum = Cause and Effect

Cause and effect is the principle that each important event in your story should grow out of something that came before it.

Not: And then this happened. And then this happened. And then this happened.

Because: this happened, the character did this. Because they did this, things got worse. Because things got worse, they made a bigger choice.

That is story momentum. A strong story does not just have events. It has connected events.

Consequences ➡️ Escalation ➡️ Pressure = Story Momentum

Readers and viewers keep going because they want to know what happens next.

If your hero sends the reckless email, kisses the wrong person, and opens the forbidden door, we want the fireworks.

Cause creates effect.
Effect becomes the next cause.
That next cause creates a bigger effect.

Now your story has rhythm, ratcheting tension, and building suspense.

Think dominoes, not beads on a string

A weak plot is often a bead necklace. Pretty scenes, one after another, threaded together because they all belong to the same story.

A strong plot is a domino line. Each piece knocks into the next.

That does not mean every scene must be loud, explosive, or full of car chases. Quiet stories need cause and effect just as much as thrillers do. In a romance, one honest conversation may trigger a breakup, which triggers distance, which triggers longing, which triggers a reckless declaration in the rain. In a mystery, one missed clue can lead to a false accusation, which drives away an ally, which gives the villain more room to operate.

The genre changes. The principle does not.

How Writers Lose Cause and Effect

Cause and effect is one of those craft elements that sounds obvious until you are 175 pages into a draft, three cups of coffee deep, and your heroine has somehow ended up in Prague with a knife and a new boyfriend.

A few common problems:

1. You are thinking in scenes, not in consequences.​
You know you want the breakup scene, the chase scene, the kiss scene, the courtroom scene. Wonderful. But if those scenes are not triggered by what came before, they feel placed instead of earned.

2. Your character is not driving the action.​
If the plot keeps happening to your protagonist, instead of being shaped by your protagonist’s choices, cause and effect get mushy and your story stalls.

3. You are using information as a shortcut.​
A clue appears. A person arrives. A stranger reveals exactly what the hero needs to know. Convenient? Yes. Satisfying? No.

At the end of each major scene, ask: What changed because of this?

If the answer is not much, the scene may be static.

Then ask: What does this scene cause?

If the answer is nothing in particular, you may not have cause and effect. You may just have a sequence.

A sequence is not enough. A murder happens. Then the detective visits the widow. Then he talks to the neighbor. Then he gets coffee. Then he finds a clue. That is a sequence.

Instead, a murder happens. Because the detective suspects the widow, he pushes too hard. Because he pushes too hard, she shuts down and lies. Because she lies, he follows the wrong lead. Because he follows the wrong lead, the killer gets more time.

The Secret Ingredient: Character Choice

The strongest cause-and-effect chains usually grow out of character decisions, not random external events.

Yes, storms, accidents, and betrayals can launch or complicate a story. But what makes a plot feel rich is when the protagonist’s own choices create the mess. That is where drama lives.

  • Your hero refuses help because he is proud.
  • Your heroine hides the truth because she is ashamed.
  • Your villain overplays his hand because he is arrogant.

Those choices cause consequences. Those consequences force new choices. That is not just plot. That is plot married to character, which is where the sparks really fly.

Cause and effect not only holds your structure together. It is revealing who these people are under pressure.

Check Your Scenes for Cause and Effect

Take your scenes and connect them using one of these phrases:

  • Because of that…
  • Therefore…
  • But then…

Your heroine misses the meeting.
Because of that, her boss gives the project to her rival.
Because of that, she tries to prove herself another way.
But then, that choice backfires and costs her the client.
Because of that, she has to team up with the one person she cannot stand.

See how quickly that creates movement?

It also exposes weak links. If you cannot connect one scene to the next with a believable because of that or therefore, you may have found a structural soft spot.

When a draft feels flat, random, or slow, ask:

  • What does this event cause?
  • What choice grows out of it?
  • What consequence makes the next scene inevitable?

Remember, story is not about events lined up politely in a row. Story is about pressure, choice, and fallout. Cause and Effect.

~~~

Many thanks, Lindsey, for visiting the Zone! 

Comments are welcome below. 

Lindsey Hughes loves helping people discover their superpower, create compelling content, and feel excited about pitching and networking.  She teaches how to pitch like a boss, network like a VIP, and write like an Oscar winner.

In her wide-ranging career as a Hollywood development executive, Lindsey has worked in everything from feature films, television movies, and TV series, to animation and live action.  She began her career reading scripts for Robert Zemeckis and Kathryn Bigelow, worked under Michael Eisner at Walt Disney Feature Animation, and developed projects for John H. Williams, producer of the billion dollar Shrek franchise.

She is the author of two books, the upcoming Sell Your Book to Hollywood: How to Pitch Your Book, Find the Right Producer, and Navigate the Deal and How to Turn Your Screenplay Into a Novel.

For help with storytelling and networking you can reach her at thepitchmaster.com.  To be notified when How to Pitch Your Book to Hollywood is published, sign up at booktohollywood.com. Subscribe to her free weekly newsletter for actionable creativity and career tips at thepitchmaster.com/newsletter.

 

 

True Crime Thursday – Government License and Permit Scams

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by Debbie Burke

You may be familiar with email and text scams from fraudsters claiming you missed jury duty or owe traffic fines or road tolls. Immediate payment is demanded, or they threaten you’ll be arrested, your driver’s license suspended, yada, yada, yada.

https://creativecommons.org/licenses/by-nc/4.0/

When such messages are sent by email, they’re called “phishing.” Those sent by text are “smishing.”

https://creativecommons.org/licenses/by-nc/4.0/

Many victims fall for these scams because the convincing messages look and sound like the government agencies they supposedly represent. Plus they play on fear and urgency.

Well, criminals have stepped up to a new level of sophistication.

If you plan to build, remodel, make additions, or otherwise change the use of your property, you may need to obtain permits and/or licenses. When a business or individual applies, the information filed for those projects is publicly available and can be accessed by criminals. That includes the property address, as well as actual code numbers for required permits.

In some states (like Florida), even a change as small as replacing a window requires permits, inspections, and, of course, fees.

Zoning and licensing departments are usually backed up, causing delays in project completion while the property owner waits for inspections and re-inspections before they receive approval to continue.

So it’s not surprising to receive an email that appears to originate from these agencies demanding fees. If you don’t pay immediately, they warn your project will be delayed, disapproved, and blocked.

Anyone who’s ever built a house or developed property understands the frustration of constant delays, as well as fees on top of fees on top of more fees.

Criminals are quick to recognize new profit opportunities. Permit and license scams are among the latest.

The FBI issued a public service announcement on March 9, 2026, warning about the recent rising trend of phishing emails from criminals impersonating government departments.

According to the PSA:

  • The emails contain detailed, accurate information about planning and zoning requests, including property addresses, case numbers, and the true names of city and county officials.

  • The emails use professional language, formatting, and imagery consistent with legitimate government communications for planning and zoning applications, including review processes, planning commission procedures, regulatory compliance, and relevant ordinances.

  • The email addresses contain usernames similar to city or county planning and zoning departments but originate from non-governmental domains, such as “@usa.com”

  • Email delivery may be timed to coincide with ongoing communications with city and county officials regarding the permitting process.

  • Attached PDF invoices contain itemized statements of purported fees and direct applicants to request payment instructions via email, rather than telephone, to ensure a reliable audit trail for all correspondence related to the application. This is designed to deter the victim from calling the city or county office to verify the fees.

  • The emails emphasize urgency, threatening delays or other obstacles in the permitting process if the applicant does not immediately render payment.

So how do you determine if an email is real or fraudulent?

  • If they demand payment by wire transfer, peer-to-peer payment service, or cryptocurrency, it is a fraud. Government agencies do not require these methods. But criminals love them because funds can’t be traced, and you can’t recover your money.
  • Check the actual website (NOT the link in the email). You may find the agency has posted warnings with updates about new scams.
  • Call the agency using the phone number listed on their official website (NOT a number from the email). Find out if fees are actually due.

Some agencies even reach out proactively to warn of scams. For instance, a few days ago, I received an email from the Montana Secretary of State who handles business licenses. She warned impersonators were making bogus demands for fees from business owners.

Since her email didn’t ask for money, I knew it was genuine!

The FBI adds:

If you or someone you know has fallen victim to this impersonation scam, file a complaint with the IC3 at www.ic3.gov. Be sure to include any available information including:

  • The email address, date of email, phone number, if provided;

  • The date of your project’s scheduled hearing, if applicable; and,

  • The amount listed in the fraudulent invoice, the method requested to pay fees, and bank account information, if provided.

Under the best circumstances, the permit and licensing process is glacial in speed.

Unfortunately, in some instances, internal corruption means shakedowns and bribes are required before a project moves forward. Remember The Sopranos?

Now phishing scams will mire systems even more as people call to find out if notices are fakes. Plus agencies must field complaints from victims who’ve been defrauded.

Ironically, so-called “artificial” intelligence is being used to create scams that appear increasingly real.

Credit: Andrea Pokrzywinski

As AI improves, new phishing emails may not smell as phishy as older versions but they still are frauds (phrauds?). 

~~~

TKZers: Have you encountered phishing or smishing?

~~~

In Stalking Midas, glamorous con artist Cassandra Maza doesn’t need AI. Instead, she uses charm and flattery to ensnare her latest prey: a cranky senior who loves his nine rescue cats. Then investigator Tawny Lindholm uncovers the scam. Cassandra has killed before and each time it gets easier. Now Tawny is in her sights.

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Five Tips to Keep Track of Characters Behind the Scenes

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by Debbie Burke

Crime fiction has multiple story lines. Readers see the story on the page, but important events also unfold behind the scenes that the reader may not see. TKZ’s own Jim Bell has a terrific term for this, “the Shadow Story.”

The shadow story follows the antagonist’s actions to thwart the hero. The hero (and the reader) may not be aware of what’s happening offstage as the villain lurks in the shadows, scheming and wreaking havoc.

That’s why the author must always keep track of antagonists and/or villains. (For this post, I’m using the terms somewhat interchangeably).

Stories require conflict. Antagonists cause conflict. Therefore, antagonists are as necessary, if not more so, than heroes.

If you lose track of your villain, you’ve lost the story’s primary cause of disruption and distress.

Here are five tips to monitor what antagonists are doing offscreen.

  1. Create two documents, parallel stories with one for the hero, one for the villain.

The hero’s story is what the reader sees on the page.

The shadow story tracks the villain offstage. This may or may not ever be visible to the reader.

In traditional whodunnit mysteries, the villain is hidden and not revealed until the end. The point of view is often limited to the hero’s, either first person or close third person. The parallel shadow story will not be shown on the page. Rather it is a working document for the author’s eyes only.

In suspense and thrillers, the reader may know or quickly learn the villain’s identity. With a known villain, the shadow story can be visible on the page in parallel with the “onscreen” story. Multiple points of view can include the villain’s. That’s how I write my thriller series, with POVs alternating among several characters.

  1. Track your shadow character with a baby cam or your phone. An imaginary baby cam keeps a constant watch on your villain. The locator dot on the phone screen blinks along the street map to follow the villain’s movements.
  2. Think of two TVs side by side. One is showing the hero’s channel. The other plays the villain’s channel. The timeframe is the same, but the locations are different. Flip back and forth between them.

    Photo credit: Annette Dawm, Pexels

4. Use a calendar or appointment book. Log the day, time, and location for each character in each scene.

Screenshot

In time-critical scenes, like a bomb ticking, you may need to detail the action minute by minute, or even second by second.

5. Use index cards or sticky notes in different colors (blue for hero, yellow for villain, green for secondary characters, etc.). Write a short summary of each scene (time, place, characters present, what happens) on the appropriate color card or sticky.

Another alternative is a white board using different color markers.

When the draft is complete, lay the cards out on a table. Kay DiBianca puts her stickies on closet doors in her office.

Study the color pattern. This visual review points out potential problems. Are there too many scenes in a row in one color? Do you need to rearrange the order to improve pacing or balance the characters?

Are there missing scenes? Or scenes that could be cut without hurting the story’s forward momentum?

 

Our creative brains all work differently. To keep track of multiple characters and story lines, some writers prefer programs like Scrivener (which Jim Bell uses), Memory Map, Wave Maker, and Fantasy Calendar.

I’m more visual and tactile-oriented so it’s easier for me to stay organized with physical appointment books, calendars, and index cards.

The method doesn’t matter as long as the author always stays aware of what the antagonist is doing in the shadow story.

Because that’s the wellspring of your story’s conflict.

~~~

TKZers: How do you monitor characters in the shadows? Do you use time-tracking programs? Low tech tools like calendars and index cards? Or another method? Comments welcome below.

~~~

Today’s post is based on The Villain’s Journey-How to Create Villains Readers Love to Hate.

“Debbie Burke has filled a critical gap in writing craft instruction. We needed a book of solid advice for creating compelling, three-dimensional villains. This is it.” – James Scott Bell

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Reading and Hearing

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OpenStax, CC BY 4.0 <https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons

by Debbie Burke

We often talk here at TKZ about the importance of reading throughout life.

Reading to young children is well recognized to benefit their early brain development.

Reading instructs us through school. It guides us in our daily lives and careers.

Reading keeps the mind sharp as we age.

I just learned a new reason why reading is important: for hearing.

My good friend Dr. Betty Kuffel is my favorite source for medical knowledge. Her husband has profound hearing loss and hearing aids aren’t helping. He will soon have a surgery for a cochlear implant. Betty described the procedure:

An array of electrodes within a thin wire is threaded through a hole drilled through the outer skull and into the cochlea behind and above the ear. The tiny wire follows inner contours of the cochlea with anatomy resembling a snail shell. It bypasses the damaged area reaching the hearing nerve that carries impulses to the brain. Then the surgeon buzzes out a shallow crater of bone for placement of the magnetized device with a microchip in it. Once secured, the scalp is sutured and after a couple of weeks of healing the device is activated. An external rechargeable sound processor with two microphones is worn behind the ear like a typical hearing aid that connects magnetically to the implant. Amazing technology.

BruceBlaus, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

However, the implant isn’t plug and play. The brain has to be retrained to use the device. Instead of the normal neural pathways between the ear (which hears sounds) and the brain (which interprets the meaning and appropriate reaction to those sounds), this rewiring makes new connections.

Here’s the interesting part Betty added:

The training consists of reading aloud as the primary trainer. You see the print, read and the brain processes the visual + verbal input.

In this article, audiologist Grace Sturdivant of the University of Mississippi Medical Center explains two crucial connections between hearing and the brain:

One is called Cross-modal Plasticity. Don’t let that term bog you down – it means that when the area of your brain which is purposed for processing sound (the auditory cortex) is not being stimulated adequately (i.e., when hearing loss is present), a well-functioning system like vision will begin to recruit that area to process its own input.

…the second brain change I’ll discuss is Cortical Resource Reallocation. Even in these mild, sloping hearing loss cases, auditory cortex activity is decreased and frontal lobe activity is increased on listening tasks…The frontal and pre-frontal areas are critical for working memory and executive function. When hearing loss is present and you are straining to hearing and understand someone in a challenging environment, your frontal lobe is loaded down with trying to understand what someone is saying in that moment. We call this “effortful listening.” This leaves less ability for that frontal lobe to help you remember what someone was saying after you walk away from the conversation.

In other words, over time as the ear no longer functions as it’s supposed to, the brain also loses those neural transmission pathways.

Sturdivant expands on the health effects:

…People with severe, untreated hearing loss are five times more likely to develop dementia…adults with untreated hearing loss develop cognitive decline 3.2 years sooner than people with normal hearing; or than people with dementia and severe untreated hearing loss have rates of cognitive decline 30-40% faster than dementia patients with normal hearing.

According to this article from Johns Hopkins Medicine:

Getting used to the cochlear implant takes a while. Eventually, the sound quality will change as the brain learns the stimulation patterns that the device provides. Most patients notice improving sound quality during the first three to 12 months.

This article from Alber Hearing Services outlines some steps in auditory rehabilitation:

Listening to these everyday noises and naming them out loud helps your brain connect the new signals from your implant to what they actually are. Watching TV with captions turned on or following along with lyrics while listening to music can also build stronger connections between sound and meaning.

More rehab techniques from Cochlear Implant Help:

Reading and listening to a fully abridged audio book helps the brain to make the connection between the words heard and words seen. By listening and looking at the words the connection can be made. To make this exercise more challenging, remove the visual and focus on the auditory input. This helps build one’s ability to understand what is being stated.

With sound and visual print correlation, the brain adjusts and soon words are clear and
meaningful. Each person is different but over 80% hearing restoration can be accomplished.

However, the National Institutes of Health reports 29-42% of people with implants express some level of regret.

Of course I’m wishing Betty’s husband an excellent outcome with improved function and no regrets.

I have some hearing loss, but the body adapts in amazing ways. Without being conscious of it, I’ve developed a little skill in lip reading.

Also, for about a year, I’ve been turning on closed captioning for TV and online videos. Will this combination of simultaneously reading and listening help keep my brain working? I don’t know.

But I figure it’s worth a try. Can’t hurt, might help.

~~~

TKZers: Do you think reading helps your hearing? Do you read visually (print books or ebooks)? Do you listen to audiobooks? Or both?

True Crime Thursday – Case of Missing Cemetery Records Solved…Sort Of

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by Debbie Burke

Last October, I wrote about a strange case in my hometown of Kalispell, Montana. Burial records of the historic Conrad Cemetery went missing.

For decades, Jim Korn, now 92, had been the sextant, caretaker, and groundskeeper for the historic cemetery and lived in a cottage on the property. He kept meticulous handwritten records, all stored in the cottage.

Documentation was almost entirely physical: thick volumes, index cards, and boxes of paper records. They included information about who was buried where, sale deed records of sites, and which sites were still available for purchase. Jim was trusted, respected, and beloved by many in the community.

Last year, when Jim began having medical problems, the cemetery board hired his son Kevin to help until a replacement could be found. Kevin was also supposed to help computerize the paper records.

Problems arose, causing the board to question operations.

Then last June, Jim and Kevin disappeared, along with volumes of burial records and several computers. The missing documents included the original deed book from 1903 when Alicia Conrad established the 104-acre site as burial grounds.

For six months, the cemetery couldn’t conduct normal business. Missing deeds for gravesites left families unable to bury loved ones. The cemetery association filed criminal and civil charges against Jim and Kevin Korn for theft and loss of revenue.

Further, the community was concerned about the unexplained disappearance of an elderly man in poor health.

At the time of my post last October, there were no leads.

New information surfaced in November, thanks to a concerned granddaughter and an old friend of Jim’s.

Michaela Preece is Jim Korn’s granddaughter and Kevin’s daughter. She lives outside Salt Lake City but spent much of her youth in Kalispell. Growing up, she had a close relationship with her grandfather.

She knew of Jim’s medical problems and that he came to Salt Lake from time to time for treatment. According to a November 30, 2025 article in the Daily Inter Lake newspaper, Michaela said:

“Knowing that he was sick, I’ve been trying to keep in touch with him every week or so, but depending on when I could get a hold of him, I kind of never knew where (Kevin and Jim) were.”

From the same article:

“Grandpa admitted to me that sometimes they sleep in rest stops or parking lots,” she said. “I had no idea about anything going on in Kalispell.”

Since then, the two bounced between staying with family in Boise, Idaho and Utah for medical visits. Jim’s long stints away from Kalispell concerned Preece.

“My grandpa’s not that way. He didn’t go on long trips and different things like that. He just didn’t,” she said.

When she learned Jim and Kevin had been accused of stealing cemetery property, she became alarmed, saying, “I just knew that I needed to do what I could to help my grandpa by trying to get the cemetery’s property returned. I just want what’s best for my grandpa.”

Michaela contacted family members, trying to determine their whereabouts. That led her to a distant relative in Libby, Montana. She learned Jim and Kevin had visited there in July 2025.

She asked whether the two had left anything at their house.

“They answered in the affirmative and told me I could come get anything at any time,” Preece said.

Meanwhile, a longtime friend of Jim’s named Travis Bruyer was also concerned for the elderly man. Travis is a Kalispell private investigator and retired deputy sheriff who does consulting work for TV and films. Travis explained: “Everyone I ever loved and have buried is in [Conrad Cemetery]. It was just important to be involved.”

Travis found Jim and Kevin at a residence in Boise, Idaho, and attempted to speak with Jim but was denied entrance. He asked Boise police to conduct a welfare check. They reported the Korns were safe.

That still didn’t answer many worrisome questions.

Acting on Michaela’s detective work, on October 20, Travis and the cemetery’s new sextant Jeff Epperly picked up the missing records from the relative’s home in Libby. Epperly stated: “[The documents] filled in the entire back end of an SUV, all the way up to the top.”

Deer graze at future gravesites at Conrad Cemetery, Kalispell, Montana

Conrad Cemetery is now able to conduct business and assist families with burials. Epperly is currently digitizing paper records, but the massive amount of information will take time to convert.

With the records returned, the cemetery board dropped the criminal complaint. However, the cemetery went six months without revenue, causing financial loss. The civil case against the Korns is still pending.

From the Inter Lake article:

When asked why the Korns did what they did, [cemetery board member Jeff] Ellingson said it may have been a reaction to feeling wronged by the cemetery for initiating a succession plan. He referred to written notes left behind among the records that indicated Jim’s outlook on the cemetery had soured.

“I think [Jim] actually thought he was protecting the cemetery by taking the records,” Epperly said. “We’re left to speculate until we’re able to talk it through with him.”

Preece suspected that her father was the driving force behind stealing the documents.

“Having grown up and known Kevin, him being denied that job. I think the ransacking of the office was basically a tantrum,” she said.  

The return of the records solved part of the case, but two questions remain:

  1. Why were they stolen?
  2. Is Jim Korn all right?

 

Self-Editing Pop Quiz Redux

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I just looked back at the first post I wrote for The Kill Zone in 2015.

2015??? How can that be???

My debut here came about because one of TKZ’s founding mothers, Kathryn Lilley, invited me to write a guest post about self-editing based on a workshop I presented at a conference.

For years, TKZ had been my favorite writing blog so I was thrilled by the chance but also nervous. At that point, none of my books had been published yet. Every contributor here had waaaaaay more experience and accomplishments than I did. But I’d edited a number of books and knew a little something about that topic. So that’s what I wrote about.

Today I’m dusting off that early post to see if editing has changed in the past decade.

Self-Editing Pop Quiz

This morning, let’s imagine we’re back in school and the teacher announces a pop quiz to test your self-editing skills. Did you do your homework?

1. Scan your WIP and highlight every form of the verb “to be.” How many times per page did you use:
is ​

are​

am ​

was/were​

had been

Tally your score: 

Fewer than 5 per page:​ Excellent

Between 5 and 10 per page: ​Very good, but could use more active verbs

More than 20 per page: ​Work on how to “de-was” with strong, active, specific verbs.

Many years ago, I took a workshop from the late, great Montana mystery author James Crumley. He shared with me how to “de-was” and I’ve never forgotten. This single skill goes a long way to transform your writing into active, muscular prose.

2026 note – De-was-ing still works. Grammar/editing software suggests ways to rewrite in active voice. 

2. Read the first few paragraphs of each new scene or chapter. Can a reader quickly determine:

WHO is present?

WHERE they are?

WHEN is the scene taking place?

If you can answer these questions, you’ve done a good job of orienting your reader immediately in the story world. Give yourself a point each time you effectively set the scene.

2026 note: Yup, this still applies. 

3. Do a global search for what I call “junk” words that add little information and dilute the power of your prose. Score a point every time you delete one of the below “junk” or “stammer” words.

There is (was)

​​it is (was)​

that

​just​

very ​

nearly​

quite​

rather​

sort of

turned to​

started to​

began to​

commenced to

Editor Jessi Rita Hoffman calls the last four examples “stammer verbs” that weaken the verb that follows, i.e. Barbara began to race to escape the zombie.

Stronger version: Barbara raced to escape the zombie.

Stammer verb exception: when an action is interrupted or changed, i.e. Robert started to run, but tripped over the corpse.

2026 note: still applies. 

4. How many of your characters’ names start with the same letter?

Deduct a point if you’ve christened more than two characters with the same first letter, i.e. Michael, Mallory, Millie, Moscowitz, Melendez.

Deduct a point for rhyming or similar-sounding names: Billy, Lily, Julie.

Extra credit: if none of your characters’ names ends with “S,” give yourself a point for avoiding the unnecessary complication of figuring out whether it should be “Miles’s machine gun,” or “Miles’ machine gun.”

2026 note: still applies. 

5. Do you exploit all five senses? Writers most often use sight and hearing, and ignore the other senses that can add texture and richness to the reader’s immersion in the story world.

Give yourself a point each time you employ one of the under-used senses of taste, touch, and smell.

Extra credit: for dramatic effect, deprive your characters of normal sensory input, i.e.

A blindfolded kidnap victim who cannot see where captors are taking her.

An explosion-deafened soldier who cannot hear the enemy stalking him.

2026 note: sensory detail still immerses readers in the story world. 

6. The English language constantly challenges even experienced authors. In the eyes of editors and agents, improper usage of common words marks a writer as an amateur. Choose the correct word for each of the following:

(a) It’s [or] its a beautiful day in the neighborhood.

(b) The bear retreated to its [or] it’s den as winter closed in.

(c) Hurricane Katrina effected [or] affected every home in New Orleans.

(d) The affect [or] effect of Hurricane Katrina continued long after the rains ended.

(e) After the lobotomy, McMurphy possessed a flat affect [or] effect.

(f) The farther [or] further the boat drifted from the shore, the harder Joe paddled.

(g) The further [or] farther you pursue this tangent, the more you lose credibility.

(h) The magician made an allusion [or] illusion to Houdini’s famous “vanishing elephant”illusion [or] allusion.

(i) Robert implied [or] inferred that Janet was a tramp.

(j) Since Janet had been convicted of prostitution, Robert inferred [or] implied she was a tramp.

(k) The witness that [or] who saw the assault ran away.

(l) Winston tastes good like [or] as a cigarette should. (Trick question for those of a certain age.)

Answers at the end. Score 1 for each correct answer.

The Elements of Style by Strunk and White is my go-to reference whenever I’m not sure of correct word usage. I find answers to 98% of my questions in Strunk and White.

2026 note: Word (and other writing programs) now do a better job of catching and flagging these misuses. 

7. Scan an entire chapter. How many times is the first word of a new paragraph the name of your character or a pronoun referring to that character (he or she)?

8+ out of 10 times – Normal for the first draft, but try varying sentence structure to begin paragraphs in different ways.

5 out of 10 times​​ – Better, but still needs work.

2 out of 10 times​ – ​You display good variability in paragraph structure.

2026 note: some writing software flags this problem, as well as makes suggestions how to vary sentence structure. 

8. Point of View—do you stay consistently in the same character’s head for the entire scene? Do you switch point of view only when a scene changes or when a new chapter begins?

How many POV changes can you find in the following passage?

Silky sheets caressed Teresa’s naked skin, as her heartbeat quickened. She watched Zack, framed in the doorway, as he unbuttoned his shirt. Secret fantasies he’d harbored for months were about to come true. Teresa’s heavy-lidded eyes promised a welcome worth waiting for. She quivered inside with trepidation. Would he be disappointed or thrilled? With a sweep of his sinewy arm, Zack whipped back the sheet, stunned to discover Teresa was really Terrance.

Answer: Four. The paragraph starts in Teresa’ POV because she feels the sheets and her heartbeat. Then POV switches to Zack and his secret fantasies, which she might guess, but can’t know about since they’re inside his head. Then back to Teresa, quivering inside. Then back to Zack being stunned.

If you struggle with POV, lock yourself inside the head and body of the POV character. Everything that goes on in that scene must be within the eyesight, earshot, or touch of that character. That means the character might be able to look at his own feet, but he can’t see the broccoli stuck in his teeth. Only another character can do that…and I certainly hope she tells him about it soon!

2026 note: a consistent POV is still important to avoid confusing readers. 

9. Is the action described in chronological order? Does cause lead to effect? Does action trigger reaction? Is the choreography clear to the reader? Who is where doing what to whom?

If you understand the last sentence, give yourself 10 points and deduct 10 points from my score!

How would you rewrite the following confusing sentence?

George slashed Roger’s throat with the knife as he grabbed him from behind after he sneaked into the warehouse.

How about: ​Knife in hand, George sneaked into the warehouse, grabbed Roger from behind, and slashed his throat.

Just as messy, but much clearer to the reader because events unfold in the order they happened.

2026 note: writing events in clear, logical order is still important. I don’t know how well editing software addresses this problem because I do it myself. 

10. Do you read your work out loud? If so, give yourself an automatic 10 points.

When you read out loud, you catch repeated or missing words, awkward phrasing, and sentences that are too long. “Glide” is the term used by author/editor Jim Thomsen to describe smooth, effortless, clear writing. Glide is like riding in a chauffeur-driven Rolls Royce as opposed to bucking and shuddering in a 1973 Pinto with bad spark plugs and a flat tire.

For extra credit, have someone else read your work out loud. If he or she can read without stumbling, you’ve achieved glide. Award yourself 25 bonus points.

2026 note: reading aloud still works but now many programs read to you. That saves a sore throat. 

Answers to 6 (a) it’s, (b) its, (c) affected, (d) effect, (e) affect, (f) farther, (g) further, (h) allusion, illusion, (i) implied, (j) inferred, (k) who, (l) Despite the catchy slogan from the 1950s, correct use would be as. Back then, liquor couldn’t advertise on TV, but cigarettes could. Now liquor ads are common, but few people even remember commercials for cigarettes. How times change!

How did you do? Tell us in the Comments! 

Fewer errors equal less distractions and a more engaged reader. A more engaged reader equals more sales.

And that equals an A+.

~~~

Revisiting this early post, the same principles apply. The main difference between then and now is that more editing software programs are available to alert the writer to potential problems.

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TKZers: how did you do on the quiz? Please answer in the comments.

Extra credit if you caught my error in the original. In 2015, an alert reader busted me. 

Do you use editing software? Which ones do you prefer? 

~~~

On March 5, I’m teaching a zoom webinar entitled “It’s 10 p.m. Do You Know Where Your Villain Is.” Click this link for more information. 

That topic began as a TKZ post and grew into my book, The Villain’s Journey-How to Create Villains Readers Love to Hate. Sales link. 

Good News for Indie Authors – Bookshop.org partners with Draft2Digital

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Bookshop.org Links and Widgets

by Debbie Burke

When two people you like and respect join together in marriage, it’s cause for celebration. When two businesses you like and respect join together, it’s less romantic but still cause for celebration.

On February 4, 2026, Draft2Digital and Bookshop.org announced their new partnership. For indie authors and bookstores, this is worth popping a champagne cork.

Draft2Digital has been around since 2012 as a way to distribute ebooks to outlets including Barnes & Noble, Kobo, Apple, as well as numerous library sites. I first learned about them in 2016 at the Pikes Peak Writers Conference and have enjoyed using their services in the years since.

Indie authors who want to “go wide” (rather than stay exclusive with Amazon) have to upload their books manually to other sales outlets. That takes a lot of time as well as learning the particular quirks of each system.

D2D streamlines that process. Upload your book once to their easy-to-maneuver site. Their formatting templates are free to use and offer various genre styles that produce good looking books.

You then choose which sellers you want and D2D automatically distributes to them. Their formatting conforms to the individual requirements of each marketplace.

There’s no upfront cost to the author because they take a percentage from sales.

For someone tech challenged (like me!), this fits the bill. I’m more than willing to give up 10% of royalties to have D2D do the heavy lifting. Their site is user friendly and their customer service is always responsive.

When D2D makes changes in terms, they are refreshingly transparent. They don’t make stealth alterations that sneak up later to bite the author in the butt (not pointing fingers here but you might guess who I’m referring to).

Bookshop.org was founded in 2020 by Andy Hunter to support independent bookstores under siege from a certain eight-billion-pound online gorilla. Bookshop.org donates a portion of profits to indie stores. To date, donations add up to more than $45 million.

Their self-described mission is:

A socially-conscious way to buy books online. We dedicate most of our profits to supporting local, independent bookstores, authors, and publications that cover books. We are preserving the profound cultural benefits of bookstores even when readers prefer the convenience of online shopping.

Increasingly I’m hearing backlash from readers and consumers in general who are disenchanted with monopolistic business practices by giant corporations. Many now refuse to buy from one particular gorilla. They prefer to support independent bookstores.

So how will this new partnership between Bookshop.org and D2D work?

Maggie Lynch, a respected colleague from the Authors Guild, summarizes the arrangement:

Bookshop.org pays royalties to the author, just like they do for print books. If you are doing this through D2D, the royalties are paid out for those ebooks to D2D who then take their percentage 10% of retail price and reimburse you with the remainder of your royalty.

In addition, 10% of all sales on Bookshop.org are added to an earnings pool that is evenly divided and distributed to independent bookstores every six months. They also have an affiliate option where they sell print books, and now ebooks, through their store. When they sell those books using the bookshop.org link the bookshop earns a 30% payment of the cover price on any sales generated from the link. NOTE: Authors can become affiliates as well but the payout is 10% instead of 30%.

Many small bookstores use Bookshop.org (I think they have 2,000 bookstores currently aligned). It is a way for brick and mortar stores to make money on the online sales, packaging, and distribution of both print and ebooks without having to invest in a website and all the sales, taxes, picking, packaging, and shipping costs for that online environment.

Thanks, Maggie! (Check out her 30+ books at this link)

The day after the announcement of the partnership, I received an email from D2D offering the option of distributing my books via Bookshop.org. The process was simple: one click to add all books at once, or each could be added individually. I clicked to add all books. Two days later, D2D sent confirmation emails that all books were up on Bookshop.org.

That illustrates how easy, responsive, and painless D2D makes it to do business with them.

As an indie author, I don’t plan to jump ship from the world’s largest bookstore because it accounts for most of my sales. But it’s good to have alternatives.

This link tells you how to add your books to Bookshop.org.

This link explains how to use D2D.

I like doing business with responsible, ethical companies like Bookshop.org and Draft2Digital. Their missions complement each other, supporting indie authors and independent bookstores.

Happy to raise a glass to toast this partnership. May they enjoy many happy years together.

~~~

TKZers: do you use Draft2Digital to distribute your books? Are your books in Bookshop.org? Please share your experiences with each. Have they been positive, negative, or mixed?

~~~

Draft2Digital offers another easy-peasy tool: the universal book link (UBL). A single link shows various markets and library sites where books are available. Please click on covers to see  UBLs to purchase books in the Tawny Lindholm Thriller series:

 

Celebrating Public Domain Day – Part 2

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Montage of 1929 Works

by Debbie Burke

Y’know what they say about great minds?

Well, Kay DiBianca and I independently had the same idea this week: Public Domain Day 2026.

When I went to schedule my post, I noticed Kay had already scheduled hers. So we put our great minds together and decided that1930 was such an exceptional year for books, films, and music, there was enough to cover without duplicating each other.

So here is Part 2 featuring music and recordings.

George and Ira Gershwin published four great tunes:  I Got Rhythm, I’ve Got a Crush on You, But Not for Me, and Embraceable You.

More hummable earworm songs: Georgia on My Mind, Dream a Little Dream of Me, Body and Soul, Just a Gigolo.

Music and lyrics have their own copyright dates as sheet music but recordings of those songs by particular musicians may fall under different later dates. For 2026, these specific performances entered the public domain:

In an interesting side note, the soundtracks for a number of cartoons were built on musical compositions that had earlier gone into public domain. For boomers, our first introduction of these tunes often came from cartoons, singing along to: “A Hunting We Will Go”, “The Farmer in the Dell”, and “Pop Goes the Weasel”. I have clear memories of several  cartoon heroes playing a flute to coax a cobra from a basket with the “Snake Charmer Song”.

How many of us boomers were called to the TV by the siren song of the “William Tell Overture,” the theme for The Lone Ranger?

Want to stroll farther down memory? Check out Duke University’s annual public domain summaries.

~~~

TKZers: Did any of these characters, books, films, cartoons, or music inspire your writing? Which ones and why?

Would any of these songs play well for the soundtrack of a movie based on your book? Which ones?

~~~

Tawny Lindholm Thrillers will probably enter public domain around the beginning of the 22nd century. Meanwhile, you can read them at this sales link.

Debbie Burke website.

True Crime Thursday – Scam Pop Quiz

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by Debbie Burke

Let’s have a pop quiz to see if you can spot stealthy scam tricks.

Identify the differences in the following email addresses:

  1. SECURITYALERT@YOURBANK.com  SECURITYALERT@Y0URBANK.com
  2. fraud-alert@your#1creditcard.com      fraud-alert@your#lcreditcard.com
  3. securitywarning@shoppingsitewarning.com  securitywarning@shoppingsitewaming.com

Answers:

  1. The capital “O” is replaced a zero (0).
  2. The numeral “1” is replaced with the lower-case letter “l”. In some fonts, these two characters appear identical. But notice the slightly different spacing.
  3. In the domain name “m” is substituted for “rn” because they appear similar in some fonts.

Have you heard of homographs?

According to Merriam-Webster, the traditional definition is:

Two or more words spelled alike but different in meaning or derivation or pronunciation (such as the bow of a ship, a bow and arrow).

However, scammers have added a twist to create “homograph attacks.”

Attorney Steve Weisman explains:

A homograph attack is a type of cyber attack where attackers exploit look alike characters, often from different alphabets to create misleading domain names, usernames, or URLs that appear legitimate but actually lead to malicious sites.

Fraudsters constantly find new tricks like using “confusable letters” as defined by util.unicode.org:

Confusable characters are those that may be confused with others (in some common UI fonts), such as the Latin letter “o” and the Greek letter omicron “ο”. Fonts make a difference: for example, the Hebrew character “ס” looks confusingly similar to “o” in some fonts (such as Arial Hebrew), but not in others. 

Cyrillic letters used in Russian and other Slavic languages are especially popular with fraudsters because the characters often appear identical to letters used in English. The human eye can’t see the difference but the program on your computer or phone that “reads” the character can.

That tiny substitution allows fraudsters to redirect unsuspecting victims to bogus domain addresses.

Check out more details and examples in these articles from Guardio.io and Bleepingcomputer.com.

Stealthy tricks like these can fool even the most careful, vigilant consumer.

Scammers frequently send emails that appear to come from your bank, credit card company, or a shopping site you buy from. They warn that your account has been compromised or they ask if a suspicious high-dollar charge is valid.

If you click on their links, they redirect you to their own fraudulent website. Those feature logos and graphics that look exactly like those of the authentic websites. But those sites are clones created by scammers.

Texts can also appear to originate from the actual phone numbers of businesses or government agencies, but the numbers have been spoofed. If you call that number back, the call goes to the scammer.

Because the sender’s address or phone number appears totally legitimate, you might be tempted to click.

Don’t.

If you go there, they may download malware to your computer. Alternatively, they may pump you for personal information, asking you to verify your identity with your date of birth, Social Security number, etc.

Yup, that verifies your identity, all right—enough to allow them to steal it.

Impersonation and homograph attacks have recently become so prevalent, many government agencies and businesses now post warnings headlined at the top of their real websites.

In a truly ironic twist in September, 2025, three bold scammers impersonated the FBI’s Internet Crime Complaint Center (IC3), the very agency whose function is to catch cybercriminals.

When you receive emails or texts with links, do not click. Close the message. To determine if the contact is legitimate, call the number on your credit card or billing statement.

Visit the website address shown on your billing statement. Don’t automatically assume the first website that appears in an online search is legitimate. Manipulation of logarithms can move misleading sites higher on search pages. 

If you click a link in error, immediately contact the real entity to report the incident so they can flag or freeze your account. If fraud takes place, additionally contact local law enforcement and IC3.

Thanks as always to Steve Weisman and his watchdog site Scamicide for alerting people to new twists.

What a world. Sigh…

~~~

TKZers: Have you experienced homograph attacks by email or text? Do you know of additional stealthy misleading tricks? Please share in the comments.

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Looking for a binge bundle for a bargain? Try the three-book gift set of Tawny Lindholm Thrillers for only $5.99.

 

New Year’s Thoughts from Fifteen Authors

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by Debbie Burke

The New Year is a time when many writers ponder what we want to accomplish.

I thought it might be fun to see what well-known authors, past and present, think about the New Year. Here’s a collection of advice, musings, and cautions:

1. “Cheer up! Don’t give way. A new heart for a New Year, always!” – Charles Dickens (1812-1870), English novelist

2. “We went nowhere without figs and never without notebooks; these serve as a relish if I have bread, and if not, for bread itself. They turn every day into a New Year which I make ‘happy and blessed’ with good thoughts and the generosity of my spirit.” – Seneca, who lived at the cusp of BC and AD.

Frances Burney

3. “I opened the new year with what composure I could acquire…and I made anew the best resolutions I was equal to forming, that I would do what I could to curb all spirit of repining, and to content myself calmly—unresistingly, at least, with my destiny.” – Frances Burney AKA Fanny Burney (1752-1840), English novelist and playwright

4. “‘A merry Christmas, and a glad new year,’
Strangers and friends from friends and strangers hear,
The well-known phrase awakes to thoughts of glee;
But, ah! it wakes far different thoughts in me.
[…] I, on the horizon traced by memory’s powers,
Saw the long record of my wasted hours.” – Amelia Alderson Opie (1769-1853), English novelist and abolitionist

5. “Ring out the old, ring in the new,
Ring, happy bells, across the snow:
The year is going, let him go;
Ring out the false, ring in the true.” – Alfred Tennyson (1809-1892), English poet

6. “New Year’s Day: now is the accepted time to make your regular annual good resolutions. Next week you can begin paving hell with them as usual . . . New Year’s is a harmless annual institution, of no particular use to anybody save as a scapegoat for promiscuous drunks, and friendly calls, and humbug resolutions. Yesterday, everybody smoked his last cigar, took his last drink and swore his last oath. Today, we are a pious and exemplary community. Thirty days from now, we shall have cast our reformation to the winds and gone to cutting our ancient shortcomings considerably shorter than ever.”– Mark Twain (1835-1910), American author and humorist

7. “For last year’s words belong to last year’s language. And next year’s words await another voice. And to make an end is to make a beginning.” – T.S. Eliot (1888-1965), American poet

8. “Drop the last year into the silent limbo of the past. Let it go, for it was imperfect, and thank God that it can go.” – Brooks Atkinson (1894-1984), American theatre critic

9. “Youth is when you’re allowed to stay up late on New Year’s Eve. Middle age is when you’re forced to.” – Bill Vaughan (1915-1977), American author and columnist

10. “I made no resolutions for the New Year. The habit of making plans, of criticizing, sanctioning and molding my life, is too much of a daily event for me.” – Anaïs Nin (1903-1977), French-American author

11. “The object of a New Year is not that we should have a new year. It is that we should have a new soul and a new nose; new feet, a new backbone, new ears, and new eyes. Unless a particular man made New Year resolutions, he would make no resolutions. Unless a man starts afresh about things, he will certainly do nothing effective.” – G.K. Chesterton (1874-1936), English author

Benjamin Franklin
Photo credit: Wellcome CC BY-SA 4.0

12. “Be always at war with your vices, at peace with your neighbors, and let each new year find you a better man.” – Benjamin Franklin (1706-1790), American author and a founding father of the U.S.

13. “I have always loved New Year’s Eve and New Year’s Day. Even though our sense of time is arbitrary and human, it still means something. I love the feeling I always get on New Year’s Eve that I am lucky — that the universe has been generous to me, to have let me stick around for another year, and to now erase the slate and give me another chance. Tomorrow I will be gifted with a brand new year — with no mistakes in it yet, and no heartbreaks yet, and no failures yet. I get to try again. Amazing. You will be gifted with this huge blessing, too. A clean and empty book awaits us all. Maybe we will be able to write things differently this time. Maybe a bit better. Maybe we will be wiser this time. At least we get to try. We have all been given a fresh chance. Let’s close the old book, and open a new one.” – Elizabeth Gilbert (1969-), American author

Woody Guthrie Statue
Photo credit: Cosmos Mariner, CC SA-BY 4.0

14. Woody Guthrie (1912-1967), American songwriter, offers his list of resolutions:

  • Work more and better
  • Work by a schedule
  • Wash teeth if any
  • Shave
  • Take bath
  • Eat good—fruit—vegetables—milk
  • Drink very scant if any
  • Write a song a day
  • Wear clean clothes—look good
  • Shine shoes
  • Change socks
  • Change bed cloths often
  • Read lots good books
  • Listen to radio a lot
  • Learn people better
  • Keep rancho clean
  • Dont get lonesome
  • Stay glad
  • Keep hoping machine running
  • Dream good
  • Bank all extra money
  • Save dough
  • Have company but dont waste time
  • Send Mary and kids money
  • Play and sing good
  • Dance better
  • Help win war—beat fascism
  • Love mama
  • Love papa
  • Love Pete
  • Love everybody
  • Make up your mind
  • Wake up and fight

15. And last from Susan Sontag (1933-2004), American author:

“I want to make a New Year’s prayer, not a resolution. I’m praying for courage.”

~~~

TKZers: Which of these quotes resonated with you? Why?

Do you disagree with any of them? Why?

Did you make writing resolutions or set goals? Want to share them?

~~~

Is 2026 the year you want to learn to write fascinating villains and antagonists? Please check out Debbie Burke’s bestselling craft guide, The Villain’s Journey-How to Create Villains Readers Love to Hate.

Amazon

Barnes & Noble

Apple

Kobo

Interested in taking a villain workshop from Debbie? Please visit debbieburkewriter.com to learn about upcoming zoom and in person classes.