Author Archives: James Scott Bell

About James Scott Bell

International Thriller Writers Award winner, #1 bestselling author of THRILLERS and BOOKS ON WRITING. Subscribe to JSB's NEWSLETTER.

Stir Your Echoes

Posted on by

by James Scott Bell
@jamesscottbell

Some of you will recognize in my title an homage to Richard Matheson and his novel Stir of Echoes (one of his best!) Not very clever, but I had a heck of a time coming up with something better.

But I digress.

What I wanted to tell you is that the other day I picked up a novel in a long-running series by a mega bestselling writer (now deceased). It was one of the later books in the series which, truth be told, was starting to run a little thin. Some critics have noted this, but I’m a fan of the early books so I thought, What the hey?

Unfortunately, I was only a few chapters in when I decided to set the book aside. I just got the feeling that this one was mailed in, that the writer wasn’t working hard anymore.

The final straw was a grating echo.

A writing echo is the close repetition of a word or phrase:

Monica charged into the room.
“So there you are!” she said.
Harvey said, “You don’t understand.”
The girl in the bed elbowed Harvey. “I think she does.”
“See you in court,” Monica said as she charged out the door.

The obvious echo here is charged. The words occur in close proximity. The echo clangs on the ear of the reader. It’s what I call one of those writing “speed bumps” that, even for a brief moment, can take the reader out of a smooth, fictional ride.

So don’t put them in.

But an echo is easy for a writer to write and overlook when editing his own manuscript. It should be something a good editor or reader catches for you.

In the novel I’m talking about, either the editor was asleep at the switch or, more likely, the manuscript went straight to copy editing. After all, the mega bestselling author sold 80,000 hardcovers out of the gate. Plus, he probably made it clear he was not going to edit the thing anyway.

So a clunky, clumsy echo found its way into the book:

Shepherded by the detail cop, it backed up out of sight. Somebody held up a clacker board in front of the camera.

A few paragraphs later:

Shepherded by the detail cop, the limo backed up out of sight. I’d been around movie sets before.

Now, one might argue that this glaring echo was somehow intentional stylistically. But there is no stylistic reason for it. If you’re going to echo intentionally for effect, you do it in a way that is unambiguous—usually following the “rule of three.” To wit:

I devoured the sandwich.
I devoured the fries.
I devoured the news, then decided it was time to get my butt in gear.

Or you can do a double:

I cancelled my subscription, then Twitter cancelled me.

All the way home I screamed at the injustice of it all. When I walked through the door, Stan screamed at me for being late.

In both cases, the echo is a pleasant one, and the reader knows it.

Two observations:

  1. The more distinct the word, the greater the echo

Common verbs like run, walk, went don’t stick out so much, though in the same paragraph you should really choose another verb. Someone who runs into a room can scurry out, for example. Just don’t have them scurry in, too.

  1. Do a word to search for your personal bugaboos

I always have a word or phrase that repeats in my first drafts. Mrs. B catches these, and I then search for that echo throughout the document and make changes accordingly.

Do you ever catch echoes in your own writing? What are some of your frequently repeated words or phrases?

How About Drawing Your Plot?

Posted on by

by James Scott Bell
@jamesscottbell

Carl Reiner (1922-2020)

When Carl Reiner died recently at the age of 98, I pondered again my theory about comedians and their brains. It’s not scientific or scholarly or anything other than my personal observation, but it seems to me that comedians who daily exercise their brains by being funny, often on the spot, resist dementia as they age. Ditto trial lawyers.

I’ve written about this before:

What got me noticing this was watching Carl Reiner and Mel Brooks being interviewed together, riffing off each other. Reiner was 92 at the time, and Brooks a sprightly 88. They were both sharp, fast, funny. Which made me think of George Burns, who was cracking people up right up until he died at 100. (When he was 90, Burns was asked by an interviewer what his doctor thought of his cigar and martini habit. Burns replied, “My doctor died.”)

So why should this be? Obviously because comedians are constantly “on.” They’re calling upon their synapses to look for funny connections, word play, and so on. Bob Hope, Groucho Marx (who was only slowed down by a stroke), and many others fit this profile.

And I’ve known of several lawyers who were going to court in their 80s, still kicking the stuffing out of younger opponents. One of them was the legendary Louis Nizer, whom I got to watch try a case when he was 82. I knew about him because I’d read my dad’s copy of My Life in Court (which is better reading than many a legal thriller). Plus, Mr. Nizer had sent me a personal letter in response to one I sent him, asking him for advice on becoming a trial lawyer.

And there he was, coming to court each day with an assistant and boxes filled with exhibits and documents and other evidence. A trial lawyer has to keep a thousand things in mind—witness testimony, jury response, the Rules of Evidence (which have to be cited in a heartbeat when an objection is made), and so on. Might this explain the mental vitality of octogenarian barristers?

There also seems to be an oral component to my theory. Both comedians and trial lawyers have to be verbal and cogent on the spot. Maybe in addition to creativity time, you ought to get yourself into a good, substantive, face-to-face conversation on occasion. At the very least this will be the opposite of Twitter, which may be reason enough to do it.

In that post I offered a few creativity exercises to help writers keep the brain primed and playful. Today I want to add something else to the list.

I recently came across a scholarly article published a couple of years ago which demonstrated the effect that drawing has on memory.

We propose that drawing improves memory by promoting the integration of elaborative, pictorial, and motor codes, facilitating creation of a context-rich representation. Importantly, the simplicity of this strategy means it can be used by people with cognitive impairments to enhance memory, with preliminary findings suggesting measurable gains in performance in both normally aging individuals and patients with dementia.

So how might drawing operate as an aid to plotting your novel or scene?

Most of you know about mind mapping. Early in my writing journey I read Writing the Natural Way, which teaches mind mapping as a practice for writers. I use it all the time. For example, I was trying to come up with a great big climax to one of my Mallory Caine, Zombie-at-Law novels. I took a walk to Starbucks, got a double espresso, and sat for awhile. Then I took out some paper and starting jotting ideas as they came to me. Here is that paper (the numbers I added later to give me the order of the scenes):

And that’s the ending that’s in the book.

When pre-plotting, I’ll take a yellow legal pad and turn it lengthwise and start mapping. Now I’m thinking about adding drawing to the mix. I don’t have to be a skilled cartoonist (good thing, for that is not one of the gifts bestowed upon me). But I can doodle, have a little fun, and trigger another part of my brain.

If you’re writing a scene with a closed environment, I can see value in making a map of the place—office, city block, house—and drawing the characters (even stick figures will do) as they negotiate the action. It might stimulate new ideas for the scene you wouldn’t get any other way.

Your friend, the brain. It is quite versatile indeed.

What about you? Do you use any visual techniques for your writing or creativity? (I’m on the road today and will check in when I can. Until then, talk amongst yourselves!)

Write What is Unreal But True

Posted on by

by James Scott Bell
@jamesscottbell

I love Orson Welles. He is one of the few authentic geniuses America has produced in theater and film. At the tender age of 25 he co-wrote and directed what many critics (and your humble scribe) consider the greatest film ever made, Citizen Kane (1941). It was so far ahead of its time that RKO didn’t know how to market it. So they came up with what may be the worst ad line in the history of movies: It’s Terrific!

The movie itself is so good it’s sometimes easy to forget that Welles’s portrayal of the titular character is also one of the great acting performances ever. The guy, in brief, was an amazing talent. Sadly, the studios didn’t get what he was doing and he would have nothing but trouble making films the rest of his life. Still, whenever he did complete a project, it was either a masterpiece or had scenes in it that are unforgettable.

Masterpiece definitely describes Touch of Evil (1958). It was considered by Universal to be a nice little crime movie for Charlton Heston (pre-Ben Hur). No one thought of the material as anything earth shattering. It was based on the novel Badge of Evil by “Whit Masterson,” the pseudonym of crime fiction duo Bob Wade and H. Bill Miller.

Orson Welles as Police Captain Hank Quinlan in Touch of Evil

Welles was cast as the villain, corrupt police captain Hank Quinlan. This is when the merciful fates of film stepped in. During a phone call between Heston and the producers, Heston suggested that Welles might also direct. Universal asked Welles if he’d like to helm the picture, and Welles said yes, provided he got to re-write the script. Again, considering Welles’s reputation at the time, that Universal acceded to the request makes it seem those movie fates were working overtime.

Touch of Evil, it can be argued, is the last true film noir. But it is so much more. It has the Welles touch all the way through, from the fantastic one-take opening sequence to the shadows and angles Welles did better than anyone. He saw stunning visuals in his prodigious mind and then used whatever camera techniques were available to put them onscreen.

No other director has ever had that singular, Welles imagination.

Then, for some reason, the fates took a coffee break. During the shooting, the studio had seemed very happy with the dailies. But when the rough cut was delivered the honchos got cold feet. Welles was never told why. I suspect that, once again, he was so far ahead of every other filmmaker the studio didn’t how to market the thing. So they took the film away from Welles and did some cutting and re-shooting. Then they ended up releasing it as the B picture on a double bill, with absolutely no advertising. The movie died, and with it any chance that Welles would ever work unhindered in Hollywood again.

But in Europe, especially France, the film was hailed as a triumph. In the 1970s that assessment got to America and now everyone knows it’s a classic.

Throughout his troubled Hollywood existence, Welles somehow kept his youthful ebullience whenever he was interviewed. I encourage you to go on YouTube and search for Welles interviews. They are always smart, funny, charming. Here is one where he talks about Touch of Evil.

In this interview he says something fascinating. Someone remarked to him that Touch of Evil seemed “unreal, yet real.” And Welles replied that he was actually trying to make something that was “unreal, but true.” That, he said, is the highest and best kind of “theatricality.”

What do you think of that? I’ve always said that great fiction is not a depiction of reality. It is a stylized version of reality for a desired effect. And that desired effect is the truth as seen by the writer.

So let’s have at it: What do you think Welles is saying here, and do you agree?

How to Move From One Scene to the Next

Posted on by

by James Scott Bell
@jamesscottbell

Terry’s helpful post on transitions got me thinking (always a dangerous thing). So today I’d like to add a few nuggets of my own.

Simply put, transitions are what take you from one scene or POV to another, or ahead in time within the same scene. Here’s an example of a location transition:

     John stormed out of the apartment. If the big man wanted a showdown, he was going to get it.
     Putting pedal to the metal, John tore across town, ignoring stop signs and pedestrians and at least one cop.
     Entering the office, John heard the receptionist say, “Good morning.”
     “Whatever,” John said.

We have moved from John’s apartment to his office—change of location.

Now an example of time transition:

     “You want to know why you’re being let go?” Stevenson said.
     “Yeah,” John said. “Fill me in.”
     “Sit down, and cool off. I’ve got some things to tell you.”
John plopped in a chair.
     “I want to tell you about my dad, and how he started this firm,” Stevenson said. “I need to start when I was a kid.”
     Half an hour later, John was ready to jump out the window. Stevenson hadn’t stopped talking the whole time.

We don’t get the entire Stevenson speech. Unless it’s crucial to the plot, we don’t need it. Time transitions are easy. Just add one line to let us know we’ve moved ahead within the same scene.

Now let’s look a little more closely at location transitions. I’m not talking about chapter breaks here, but moving to another setting within a chapter. When you do change locations, you can stay with the same viewpoint character, or shift to another POV. But you have to let the reader know what’s going on in the most efficient way possible.

There are three techniques:

  1. Narrative Summary

As the term suggests, you can get from one location to the next by summarizing the transitional stuff (rather than showing each beat). Unless plot or character material is necessary, just get us to the new location with as little muss as possible. This is the narrative summary from in the first example in this post, above:

Putting pedal to the metal, John tore across town, ignoring stop signs and pedestrians and at least one cop.

We aren’t shown the drive. That would involve description, action, perhaps John’s internal thoughts as he drove. But if none of that has any value to the story, don’t put it in. Use narrative summary to get us to the new scene toot sweet.

The pulp writers were especially adept at this. Here’s how Talmage Powell (1920-2000) did it in his Black Mask story “Her Dagger Before Me.”

     “All right,” I said. “I’ll do what I can to help you. This is murder. Contrary to what the public thinks, private dicks don’t like to get mixed in murder. If we have to wade through murder the cost is high.”
     “I know,” Phyllis Darnell said. “I’ll pay.”
     “I’m not worrying. After all, I’ll have the letters, won’t I?”
     I ushered her out, showered, and went over to Mac’s garage, where my coupe had been laid up with a ring job.

  1. White Space

Another way to move is by putting in a space break, like this:

     John stormed out of the apartment. If the big man wanted a showdown, he was going to get it.

 

    Entering the office, John heard the the receptionist say, “Good morning.”
    “Whatever,” John said.

White space is also how you switch between POV characters within the same chapter. Just be sure to identify the new viewpoint character in the first line:

     John stormed out of the apartment. If the big man wanted a showdown, he was going to get it.

 

    Gil Stevenson stuck his head out his office door. “Has Stone come in yet?”
    “No, Mr. Stevenson,” Peggy said.
    “Well, get him in here the moment he arrives!” He slammed the door and took a deep breath. This was not going to be one of his better days.

  1. Just Be There

Last week I wrote about the Bill Lennox stories by W. T. Ballard. For fun I re-read the first one, “A Little Different,” published in Black Mask in 1933. In one scene Lennox is in a cab being followed by a dirty PI. He gives the cabbie a fin ($5) to lose him.

     The driver grinned and turned sharply onto Vine, right on Sunset, left at Highland, crashing a signal. Finally, at the corner of Arlington and Pico, he pulled to the curb. “Where to?”
     Lennox said, “Take me to Melrose and Van Ness.” The driver shrugged and turned towards Western.
     Lennox got out at the corner and walked to the apartment house.

What happened between the driver turning towards Western and Lennox getting out? Driving, maybe some talk, arriving, pulling to the curb, etc. We don’t need any of that. Here’s a little secret: the reader fills in that stuff subconsciously and thus the pace doesn’t slow one bit.

And speaking of pace, how you handle transitions is a major way to control it.

The above examples keep the pace crisp. But suppose you want to slow things down a bit, give the reader a breather, and stick in some deepening of character? Just use the transition to add internal thoughts or, if you’re brave enough, a flashback.

Internal thoughts

     Putting pedal to the metal, John tore down the street. He saw a cop ahead and slowed. One thing he didn’t need was a ticket. One thing he did need was a drink. Maybe a quick stop at Barney’s would help. Sure. A little liquid courage never hurt.
     Of course it hurts, you dope. You know how you get. Two shots of Bushmills and you’re ready to give Mike Tyson his comeback bout.

Flashback

     Putting pedal to the metal, John tore down the street. He saw a cop ahead and slowed. One thing he didn’t need was a ticket. He stopped at the red light like an A+ driving student.
     Which he’d once been, in high school. That was before the accident. He and Tom Barker were out one night, John driving his dad’s Porsche. Tom wanted In-N-Out. John wanted Boone’s Farm Apple Wine.
     “We’ll get some guy to buy it for us,” John said. “Then we’ll go stuff your face.”

Needless to say (but I’ll say it anyway) the skillful handling of transitions, and using variety in the technique, is a way to subtly enhance the fictive dream for the reader. And dreamers buy books.

Now let us transition into comments.

***

 

Tomorrow is release day for Romeo’s Stand, the fifth Mike Romeo thriller (the books can be read in any order). See the listing here!

Why I’m Writing 40s Style Pulp

Posted on by

by James Scott Bell
@jamesscottbell

Bill Armbrewster, Hollywood Troubleshooter (Illustration by Josh Kenfield)

In the comments to last Tuesday’s post, Kris asked me about the series of pulp-style stories I’m doing for my Patreon community. It doesn’t take much prompting to get a writer to talk about his work, now does it? So here I go.

My parents were friends with one of the most prolific pulp writers of his day, W. T. Ballard (who also had several pseudonyms). I was too young to realize how cool that was. I wish I’d been aware enough to ask him some intelligent questions about writing! (I’ve blogged about Ballard before.) Fortunately, I was the recipient of many of his paperback books and a collection of his stories for Black Mask about a Hollywood troubleshooter named Bill Lennox. Lennox was like a PI, but did his work for a studio. I thought that was a nice departure from pure detective.

So I decided to create a troubleshooter of my own. The first thing I did was write up a backstory for him:

WILLIAM “WILD BILL” ARMBREWSTER was born in 1899 in Cleveland, Ohio. He grew up on a farm and had a troubled relationship with his father, which led to Armbrewster dropping out of high school and riding the rails as a hobo. He was nabbed by yard bulls in Chicago in 1917 and given a choice: go to jail or join the Marines. He chose the Marines and saw action in France during World War I, most notably at the Battle of Belleau Wood, for which he won the Silver Star. After the war he took up residence in Los Angeles and drove a delivery van for the Broadway Department Store. At night he worked on stories for the pulp magazines, gathering a trunk full of rejection letters.

In 1923 a chance meeting with Dashiell Hammett in a Hollywood haberdashery led to a lifelong friendship between the two. Hammett asked to see one of Armbrewster’s stories, liked it, and personally recommended it to George W. Sutton, editor of Black Mask. The story, for which Armbrewster received $15, was “Murder in the Yard.” After that Armbrewster became a staple of the pulps and was never out print again. Between 1923 and 1940 he averaged a million words a year.

In 1941, after the outbreak of World War II, Armbrewster tried to re-enlist but was turned down due to his age. Instead he went to work for National-Consolidated Pictures, writing short films to inspire the troops. When one of the studio’s young stars was the victim of blackmail, Armbrewster tracked down the perpetrator and dragged him to the Hollywood Police Station. Morton Milder, head of the studio, immediately put Armbrewster on retainer as a troubleshooter.

Known as the man with the red-hot typewriter, Armbrewster wrote many of his stories at a corner table at Musso & Frank Grill in Hollywood. He was granted this favor by the owners, for reasons that remain mysterious to this day (some Armbrewster scholars believe he rescued the daughter of one of the owners from a sexual assault under the 3d Street bridge).

He Lives at the Alto-Nido apartment building, 1851 N. Ivar Avenue, Hollywood.

What is it that I love about pulp writing? Part of it is what Kris called “the streamlined locomotive style.” These stories move. There’s no time for fluff or meandering. Pulp stories were entertainments for people who needed some good old-fashioned escapism from time to time. (That hasn’t change, has it?)

There was also a nobility to the best pulp characters. They had a professional code. Even the most cynical of the lot, Sam Spade, throws over the woman he loves because, “When a man’s partner is killed he’s supposed to do something about it. It doesn’t make any difference what you thought of him. He was your partner and you’re supposed to do something about it.”

I have set my Armbrewster stories in post-war Los Angeles. What a noir town it was then, full of sunlight and shadow, dreamers and drifters, cops and conmen. And, of course, Hollywood.

I’ve now done four Armbrewster stories (which run between 7k-10k words). The fifth is due to be published soon. They aren’t published anywhere but on Patreon, so if you’d like read them you can jump aboard my fiction train for just a couple of berries ($2 in pulp lingo). Go here to find out more.

And thank you, Kris, for asking.

Is there a particular style of writing you warm to? What books or authors do you turn to for pure escapism?

How to Characterize

Posted on by

by James Scott Bell
@jamesscottbell

 

“Nice to meet you. I’m beautiful and talented and caring. But enough about me.”

 

 

Some years ago I decided to see what all the hubbub was about a bestselling romance writer. It’s not my usual genre, but I like to read outside the thriller realm to pick things up other authors do well in their own bailiwick.

So I went to the library and picked one of this author’s titles off the shelf, at random. I sat down and opened to the first chapter.

I don’t have the specifics now (I’ve since forgotten the title!) but it opens with the main character in her car. The second paragraph went something like this: She was beautiful, talented, and caring. She was a hard worker, and earned every bit of her success… 

It went on in the same vein for a few more lines. And I found myself thinking, “Really? You expect me to believe this?”

You know why. It’s pure telling. How would we feel if we met someone for the first time at a party, and the person said, “Nice to meet you. I’m beautiful and talented and caring. But enough about me.” It’s only a short jump from that to an author telling us the same thing about a characters.

So let’s go over the two ways to characterize that won’t put up a subconscious barrier in the reader.

  1. Show us through action

Instead of telling us that Mary cares about people, show her bringing a meal to a grieving friend. Or stopping her car to comfort a crying child. Or letting a little old lady go ahead of her at the pharmacist’s.

Or, start with a character who doesn’t care about people. Rick (Humphrey Bogart) in Casablanca sticks his neck out for nobody. The first time we see him he’s playing chess—by himself. A bit later in Act 1, the police come to take away Ugarte (Peter Lorre) who begs Rick to help him. Rick refuses, even knowing Ugarte will now face a firing squad.

And by the way, a character’s own dialogue is a form of action. So earlier when Ugarte is sitting with Rick and asks, “You despise me, don’t you?” Rick responds, “If I gave you any thought I probably would.”

And as dialogue is a form of action, inner thoughts are a form of dialogue (just not so that anyone can hear it).  In a novel Rick could think If I gave you any thought I probably would, and not say anything out loud.

So determine what you want readers to know and feel about your character. Brainstorm possible actions and dialogue that will show us these things, and salt them in early in your novel—because first impressions count.

  1. Let other characters do the talking

In the first of my Mike Romeo books, Romeo’s Rules, I wanted the readers to know that Romeo is a big guy who can handle himself in a fight. Since these books are in First Person POV, I couldn’t very well have Mike say, “I’m a big, strong guy. I can handle myself in a fight.” That’s braggadocio, and we don’t like braggarts in real life, do we?

So on the opening page I have him jogging, stopping to talk to an older woman about her flowers (Mike is into flora). At one point the woman says, “You don’t look like a flower man.”

“What do I look like?”

“Football player, maybe?”

I shook my head.

“Then what exactly do you do with all those muscles?”

“Are you flirting with me, Nell?”

She pushed her hat back slightly. “If I was thirty years younger, I’d rip your T-shirt right off.”

You do the same thing in Open Third Person POV (where you switch between POV characters). Dean Koontz does this in The Door to December. The first three chapters are from Laura McCaffrey’s POV. She is a doctor—a psychiatrist—whose ex-husband absconded with their daughter six years ago. Now the police are taking her to a home with multiple murder victims and lots of blood. The detective there, Dan Haldane, has summoned her because one of the bodies might be her ex. He also needs her to see something (Koontz, the rascal, keeps us in suspense as to what that is).

Then we get Chapter Four, which is from Haldane’s POV. Koontz uses this opportunity to further characterize Laura:

Dan Haldane was surprised at how well the woman was coping with the situation. Okay, she was a doctor, but most physicians weren’t accustomed to wading through blood; at the scene of multiple, violent homicides, doctors could clutch up and lose control as easily as any ordinary citizen. It wasn’t just Laura McCaffrey’s medical training that was carrying her through this; she also had an unusual inner strength, a toughness and resilience that Dan admired—that he found intriguing and appealing. Her daughter was missing and might be hurt, might even be dead, but until she to the answers to important questions about Melanie, she wasn’t, by God, going to break down or be weak in any way. He liked her.

So don’t let me catch you, dear author, trying to slip in some instant characterization by telling me something. Let’s see it demonstrated on the page, or hear about it from other characters.

Make sense?

Public Speaking for Writers

Posted on by

by James Scott Bell
@jamesscottbell

Mark Twain

On occasion here at TKZ we’ve posted on the topic of public speaking for writers. Examples are here (Gilstrap) and here (Burke). Today I’ll add a few of my own tips for the scribe who gets a yakking gig. The first comes by way of Mr. Mark Twain.

Before his books and stories began to appear, Twain gained celebrity as a lecturer. Working as a correspondent for the Sacramento Union newspaper, he’d sent in dispatches on what were then called The Sandwich Islands (Hawaii). These proved wildly popular. When he returned stateside in 1866, he pondered how he might use this bit of renown to expand his wallet.

One possibility was delivering a lecture based on his columns. Encouraged by a friend, Twain rented a San Francisco opera house and charged $1 a ticket. He wrote up an advertisement for the newspapers:

MAGUIRE’S ACADEMY OF MUSIC
PINE STREET, NEAR MONTGOMERY

MARK TWAIN

(HONOLULU CORRESPONDENT OF THE SACRAMENTO UNION)
WILL DELIVER A LECTURE ON THE SANDWICH ISLANDS

AT THE ACADEMY OF MUSIC
ON TUESDAY EVENING, OCT. 2d

In which passing mention will be made of Harris, Bishop Staley, the
American missionaries, etc., and the customs and characteristics
of the natives duly discussed and described. The great volcano of
Kilauea will also receive proper attention.

A SPLENDID ORCHESTRA
is in town, but has not been engaged

MAGNIFICENT FIREWORKS
were in contemplation for this occasion, but the idea has been abandoned

A GRAND TORCHLIGHT PROCESSION
may be expected; in fact, the public are privileged to expect whatever they please

Dress Circle, $1.00 Family Circle, 50c
Doors open at 7 o’clock The Trouble to begin at 8 o’clock

Twain was nervous that evening, sure he’d be facing a mostly empty house. In fact, the place was packed. But when he first stepped out into the lights he was sandbagged by stage fright. He was, as one biographer put it, “wobbly-kneed and dry of tongue.” As the introductory applause died down, he told himself, “These are my friends.” His nerves began to calm. He spoke to the audience as if he were seated with pals around a cracker barrel in some old mining town.

The lecture was a hit.

Afterward, and older man found his way to Twain and asked, “Be them your natural tones of eloquence?”

Which is my first bit of advice for a speaker: Be yourself. Use your natural tones of eloquence. Don’t sound like a speechifier. Speak as you would to a group of friends.

Second bit of advice: Your address should have one main point. I wrote some time ago about my ride with Justice Thurgood Marshall, who told me the best oral arguments in the Supreme Court were designed around winning one, primary point.

Knowing the single point you want to make will take care of 50% of your nervousness. Write down that point in a sentence. For example: Anyone can improve as a public speaker if they will follow a few fundamentals.

Then design your speech to “prove” that point and inspire your audience to take action.

How do you prove a point? With evidence. In a speech, anecdotal evidence is best, because it’s a story, and stories make lectures come alive. In a speech about the above point, I might bring Mark Twain in again as “evidence” for the fundamental “Always leave them wanting more.”

In a 1901 lecture Twain reported:

“Some years ago in Hartford we all went to the church on a hot, sweltering night, to hear the annual report of Mr. Hawley, a city missionary, who went around finding the people who needed help and didn’t want to ask for it. He told of the life in the cellars where poverty resided, he gave instances of the heroism and devotion of the poor … Well, Hawley worked me up to a great state. I couldn’t wait for him to get through. I had four hundred dollars in my pocket. I wanted to give that and borrow more to give. You could see greenbacks in every eye. But he didn’t pass the plate, and it grew hotter and we grew sleepier. My enthusiasm went down, down, down – $100 at a time, till finally when the plate came round I stole ten cents out of it.”

Third tip: If you can get a laugh, it always helps. The easiest way to get a laugh is with a good anecdote, like the above. That way it doesn’t seem like you are trying to tell a joke, which can sometimes fail. Pepper your speech with a few choice quotes, too.

Fourth tip: Take off your name badge when you speak. It’s distracting.

Fifth tip: Don’t mangle the opening. The audience sizes you up within the first seven seconds. So don’t waste time with impromptu thanks (“Thanks, Fiona, for that lovely introduction”) or currying favor (“It’s so nice to be here tonight”) or, egad, confession (“I’m a little nervous, so I hope you’ll forgive me.”)

Instead, when you get to the podium, pause for three seconds. Then launch with one of the following:

Quote

“It was Mark Twain who said, ‘It usually takes me more than three weeks to prepare a good impromptu speech.’ ”

Statistic

“Eighty-three percent of Americans fear public speaking more than they do death. According to Jerry Seinfeld, that means if they go to a funeral they’re better off in the casket than giving the eulogy.”

Story

Arriving at a small town to give a lecture, Mark Twain went to a local barber for a shave. When Twain mentioned it was his first visit to the town, the barber said it was a good time to be there, because Mark Twain was going to give a lecture that night.

“You’ll want to go, I suppose,” the barber said.

“I guess so,” said Twain.

“Well, it’s sold out,” the barber said. “You’ll have to stand.”

“Just my luck,” Twain said. “I always have to stand when that fellow lectures.”

Where do you find such material? Research, of course, which is rather easy these days via the internet. But I’ll mention one favorite resource I’ve used for years—The Little, Brown Book of Anecdotes.

And now, lest you be tempted to remove a dime from the collection plate, I’ll stop.

You’ve all heard some great speeches. What have you noticed about them, and the speaker?