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Category Archives: #amwriting
Interesting Publishing Trends to Watch in 2017
I found these trends interesting and wanted to share them here at TKZ. As many of you know, I’ve been writing with author friends on various Amazon Kindle Worlds where they host/create a world and invite authors to write for their series. It’s been fun and I get to explore many topics and experiment with styles and research topics and lengths. Plus the group of launching authors share promotion and benefit from each other’s readerships when we cross promote. So given that, I thought you might like to explore these ideas for your writing goals.
Novellas, Anthologies & Co-Authoring – What makes this growing trend popular is affordability and the recognition of shorter attention spans. These shorter types of books are cheaper for authors to produce and affordable for voracious readers to buy. With people’s shorter attention spans, the shorter format is more convenient. The cheaper price point also allows readers to try new authors without busting the bank. Win/Win. As for anthologies, a group of authors can merge their resources to come up with a top-notch product and also save on production, distribution, and promotion costs that can be shared jointly. Multiply the aggregate authors combined reader base and it’s another win/win.
Changing Book Themes Influenced by an Evolving World – In my latest book (due out June 8th – Vigilante Justice) I explore the topic of conspiracy theories and immigration. I brainstormed my “what if” question on those topics and came up with a story that could’ve been ripped from the headlines. It’s a risk to attempt books on the edge of politics, which I leave out of the story. Instead I focused on the emotional human conflicts that were organic to such a story. Be aware of the realistic elements to our culture and society and the struggles we have to infuse them into your themes. You not only explore your own thoughts, but you can crystallize conflict in such a human way. Such themes may be the refugee crisis, climate change, LGBT issues, terrorism (both international and domestic), and drug addiction. As an author you could choose to write about the stark reality of these themes, or you could provide a Utopian escape for readers to find refuge. Give your world building a dose of reality or provide readers a panacea for what they see on TV or in the news.
Indie & Hybrid Houses – Today, authors have options on how to publish, whether it’s self-publishing or attempting to sell to indie or hybrid houses. The Big 5 Publishers are also an option, but the author would have to consider giving up creative control & handing over copyrights and still be required to promote. Many smaller houses are offering better royalty rates and could give the author a more collaborative approach with more control.
Audio Books – With the growing popularity of products like Amazon’s Echo and Google Home, many consumers are gaining access to audio books in their homes, These can be techy types who liked controlling everything in their domain or older folks who (if they can remember Alexa’s name – insert my parents’ names here) like to be read a nighttime story. This kind of technology has enhanced the audio book market and authors can ‘self-publish’ their own audio book format through ACX.
For DISCUSSION:
Have any of you tried variations of these trends and found success? Please share.
Out for Blood $1.99 Ebook
After the Jaguar destroyed his world, former CIA operative Mercer Broderick targets the faceless cartel boss using the Equalizers as pawns in a deadly game to avenge the murder of his beloved wife and child. (Mercer’s War – Book 2)
Show Your Baddie R-E-S-P-E-C-T to Make Them Memorable
By Hasaw öztürk – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=58145267
It’s easy to focus on the main protagonists of our stories. Heroes and heroines usually pop up in our heads from the start, but have you ever been taken over by your bad guy or your femme fatale? In my latest series, Mercer’s War with Mr. January book 1, I’m obsessed with Keiko Kayakova. She is the devil personified, a remorseless killer, yet she constantly surprises me with her contradictions and what she truly cares about.
A great character is complicated and it can take time to develop them. Why not explore your antagonist with as much zeal as you would for your protagonists? You need to hear them in your head, maybe especially when they are their nastiest, or if they niggle your ear in the middle of the night. Flesh them out.
Questions to ask about your current work-in-progress:
1. What’s your villain’s back story?
2. Why did they turn out the way they did?
3. What motivates them in the present? What are their goals?
4. Have you explored gender for your antagonist? Would your bad guy be more frightening and unexpected as a woman?
5. Have you given them a chance at redemption in your story? Do they take it?
6. What makes them vulnerable? What are their flaws?
7. Have you created a bad guy or gal’s bible, like you did for your good guys and gals?
8. Does your bad guy/gal have virtues the reader might find it hard to argue against, like an extreme respect for the law or a need to establish order in a society he or she controls for the greater good?
9. Do they have an unexpected hobby?
10. In the vast sea of literary villains, what makes your antagonist stand out?
Villains want top billing and for their name to be first on the marquee. Have you shown them enough R-E-S-P-E-C-T? Even if you’ve already got a first draft, it’s never too late to add depth or bone chilling traits to your characters. A flat character on the page is never satisfying.
Don’t waste good villain potential by making your character a two dimensional cardboard cutout or a mere roadblock to your good guys. Dare to give them humor or a peculiar hobby or a back story that explains their motivation. Develop a conflict between your antagonist and protagonist that is deliciously enticing that makes it harder for the reader to choose sides.
Here are a few tips on how to get started:
1. The best villains are the heroes in their own stories. Make them real and worthy of their own story line. Develop them with the same care and don’t resort to making them obstacles in the way of your main characters. Even if they’re a train wreck, make the reader interested in what drives them or make them so diabolical that the reader will fear more for your good guys. Do they have a journey in your book? If they have a chance at redemption, do they take it? These types of questions can add depth.
2. Dare to make your villain an anti-hero in his or her own story, giving him or her solid motivation to perpetrate their crimes or cover their backsides. If your antagonist and protagonist are both thwarted by the same bad weather, for example, how do they each deal with it? Do their minds work the same? Of course not. Their reactions can shed light on how their mind works. Bend the norm. Think out of the box to surprise the reader, but that plot twist comes from knowing each of them as their creator.
3. Match or counter the skills between your antagonist and your protag. Where one might have an intellect, make the other one have a diabolical brute force that can overpower your hero in confrontations that showcase their strengths. Make them worthy of each other.
4. Escalate the tension between your antagonist and protagonist by making them have a relationship that used to mean something. Imagine your adversary is your own father or someone in a foreign country with the same ideals as you (except they are your enemy). If under normal circumstances, your two characters might be friends, what horrible situation will keep them apart and what makes things worse between them?
5. Give your villain a face. Don’t hide behind a secret organization or an evil entity? The Hunger Games would not be the same without President Snow. Silence of the Lambs would be FBI’s Clarise hunting serial killer Buffalo Bill except for the memorable diversion of Hannibal Lecter, her white knight.
DISCUSSION:
1. Who are some of your most memorable villains from your own work? Tell us how you made them memorable.
2. What literary villains have stood out in your reading and have those books influenced your writing?
Spaulding Syndrome: Misplaced Clauses
By Elaine Viets
Groucho Marx’s classic line about the elephant in his pajamas could be called “Spaulding Syndrome.” The brilliant comedian knew exactly what he was doing with that discombobulated clause. Marx said the line when he played the African explorer, Captain Jeffrey T. Spaulding in “Animal Crackers,” the movie and Broadway musical.
We writers occasionally stumble in the grammatical jungle and trip over tangled verbiage. Here are a few examples of Spaulding Syndrome sighted in the wild:
Her husband is in ladies’ lingerie: “One night in 1957, a resentful and slightly tipsy Jackie waited up for her husband who had been out at a party, wearing nothing but a slip.”
Oops! That clause is dangling in the breeze, and shouldn’t be exposed in public. A better approach would be: “One night in 1957, a resentful and slightly tipsy Jackie, wearing nothing but a slip, waited up for her husband who had been out at a party.”
Dead wrong: Singer Gregg Allman was the victim of a celebrity death hoax. False reports of celebrities’ deaths are a favorite pastime of the get-a-life crowd. Rest assured, Allman fans, the 69-year-old singer is above ground. So how did the veteran rocker reportedly wind up dead?
According to the Daytona Beach News-Journal, “Gregg Allman took to Facebook on Monday to let fans know he’s at home on doctor’s orders.
“‘Hey everyone. I just wanted y’all to know that I’m currently home in Savannah resting on my doctor’s orders,’ the singer posted on his Facebook page.”
But that message got twisted. “Monday afternoon, a radio station reported that Allman was in the care of hospice, news that was spread on social media,” said the paper.
Allman is alive and well, but guilty of a grammatical misdemeanor. Those doctor’s instructions were mighty tall orders, if they were big enough for a rocker’s rest. Replacing that “on” with a dash was one way Allman might have saved himself from premature burial: “Hey everyone. I just wanted y’all to know that I’m currently home in Savannah resting – doctor’s orders.”
Smoked coffee? Here’s another sentence that went astray: “He smoked his first cigarette along with his coffee.” Change that to: “Along with his coffee, he smoked his first cigarette,” and you get the idea without the horse laugh.
Washed up: “I want to wash my hands and face in the worst way,” a novelist wrote. How about washing them the best way?
Except for Gregg Allman, these clunkers were all written by professionals. Spaulding Syndrome is waiting to attack unwary writers. Forgive us our trespasses, readers.
And ponder this Groucho maxim. It would make a dandy blurb: “From the moment I picked up your book until I laid it down, I was convulsed with laughter. Some day I intend reading it.”
Like forensic mysteries? Fire and Ashes, my second Angela Richman, death investigator mystery will be published July 25. Pre-order it as a $3.99 e-book. http://tinyurl.com/ltfxsyy
Faking it
I’m sure we’ve all done it – pretended to have read a classic book…agreed when someone gave an intellectual critique of an author we were too proud to admit we’d never heard of before (or never read)…even perhaps ‘faked it’ when asked about a book that we knew we ought to have read in our genre but never quite got around to doing…
Sometimes, no matter how widely you’re read or how many books you’ve written, one of the hardest things about being a writer (apart from the writing) is answering questions about other books and writers. I’ve had conversations that feel more like a grilling, as if I have to prove myself a writer by being cross-questioned about books and/or other writers. Most of the time I have no problem admitting I haven’t read a book or a particular author but sometimes…just sometimes…’faking it’ occurs. Like the time in book group when I pretended to have read the assigned book when in reality I’d just flicked through the remaining half in a last minute panic, hoping to pick up the main plot thread and wing it from there…or the time I was confronted in a ‘speed dating for agents’ event years ago by an agent who said ‘your work sounds just like Anne Perry’ and I merely nodded when in reality I had no idea who she was talking about (my bad! I did then research and read Perry’s mysteries but I am still mortified I didn’t even know her name at the time!).
The best antidote to ‘faking it’, for me at least, was having kids – kids that interrogate you on a subject and are quick to realize if you’re pretending. Like when they ask you if you’ve read the ‘classic’ book they were just assigned at school, and you know that, actually, you started it but never finished it because it was too dull… as a parent you really don’t want to admit that but within five minutes your kids are totally on to you (sigh).
As a writer, I know my (many) inadequacies and feel them more acutely the more experienced I get…so I fake less and admit more these days. But still, especially when giving a presentation or talking to readers, I don’t really want to come across as a complete ignoramus even though (drum roll) I might have to admit to having never read a Stephen King novel (or, for that matter, many other authors including biggies like James Patterson and Sara Paretsky).
TKZers, I hope I’m not alone in ‘faking it’ occasionally – so tell me when was the last time you ‘faked’ an answer on writing or books? What was your worst (or best, depending on your point of view) incident that may have involved a little ‘faking it’?
Crime Writer Lives Character’s Torture…On Purpose
Today I have the pleasure of hosting a long time and active member of TKZ – Sue Coletta – and featuring her May 3rd release, CLEAVED, published by Tirgearr Publishing. I pre-ordered her book at the great price of $0.99 ebook and can’t wait to read it. By the time you read this, her book will be officially OUT!
Sue is a talented crime fiction author of memorable characters, who writes in an evocative style tinged with horror. She’s here to talk about torturing characters and how far an author might go…on purpose. Yes, Sue would scare most normal people, but we’re writers. We can take it.
Take it away, Sue.
Being a crime writer tends to spill into everyday life. Not only do I go out of my way to drive by secluded swamps, woodlands, or bogs for potential body dump locations, but I’m also keenly alert and aware of the people around me. The shady guy who takes a few minutes too long while pretending to read magazines in the convenient store he intends to rob. The dude with white knee socks and sandals who sits alone at the lake, his gaze roaming the shoreline from behind the morning newspaper. He doesn’t fool me for a second. Obviously he’s scouting for his next victim. Then there’s the poor woman who’s clueless to her surroundings. In a few days, a breaking news report will confirm she’s Sandal Guy’s latest victim.
Do we really need to discuss driving by a wood chipper? I mean, c’mon! How many of you haven’t thought about stuffing a body in the chute?
*crickets*
Yeah, that’s what I thought.
When crime writing burrows into our DNA, the world morphs into a place of perverse secrets, malevolent acts, and sinful deeds. We can’t help but see the signs. Okay, so maybe “normal” people don’t envision quite as much danger as we do, but I think it makes us far more interesting. Our spouses get caught up in our warped realities, too. My husband’s been known to point out perfect murder sites. Or he’ll hear about a desolate locale and ask if I want to take a ride, knowing I can’t resist.
“You mean that, honey?” I skip out the door, and my excitement bubbles over. “Woohoo! Road trip!”
Research is another matter entirely. When we have no real-life experience to pull from, we’re left with two choices: research until it feels like we’ve lived the scene, or put ourselves in the same position as our character. For me, the latter is much more fun.
My new psychological thriller CLEAVED opens with a woman trapped inside an oil drum. I’ve never been ensnared in any confined space, so I found it difficult to tap into the emotions of the scene. My solution? Lock myself inside an oil drum and hang out a while.
The conversation with my husband Bob went something like this…
Me: Hey, do we have any oil drums?
Bob: Yeah. Why?
Me: Are they empty?
Bob: Yeah. Why?
Me: What size are they?
Bob: 30 and 50 gallon. Why?
Me: If I climb inside, will you close the lid for me?
Bob: Umm…
Me: Awesome. Let’s do this!
Dumbfounded, he followed me out the door. Turned out, he’d loaned the 50 gallon drum to our neighbor, so I started with the 30. The first problem I encountered was this. I couldn’t just step inside and squat. It’s way too narrow. Instead, hung on to the sides, hiked my knees to my chest, and then lowered myself to the bottom. Once crammed inside, I gave my husband the signal to lower the lid, but not secure the hasp. No need to get crazy, or give him any ideas he might regret later.
Pure blackness struck me hard. Also, my ankles and neck bent at odd angles. Pain seared bone-deep. My knees pinned my chest, laboring my breath. No matter how hard I tried I could not slow the adrenaline coursing through my mind, body, and spirit. The oxygen thinned with every patter, patter, patter of my heart, my mind spinning with scenarios of dying this way.
What an awful death—trapped, alone, unable to move more than my arms.
Every few minutes Bob asked if I was okay, which really ruined the ambiance. In order to concentrate, I sent him back inside. Later, he told me he watched from the window. Though as far as I knew at the time, I was alone. No one around to save me. Perfect.
Closing my eyes, I envisioned the scene. The darkness of night. Tree frogs chirping in the canopies of leaves around the marsh. A far off screech owl’s predatory cry pierced the frigid air. The subtle swish of water lapped against my unforgiving grave, rocking me from side to side.
Next, I concentrated on how my body responded. The pressure on my lungs was like being caught under a steel girder, squeezing each pocket of air dry. No longer did I control my breathing, my chest heaving much faster than I could regulate. Thoughts of death consumed me. My remains could stay undiscovered for days, weeks, months, even years. The psychological torture alone could be enough to destroy someone. My only chance of survival was to break free.
But how?
That question lingered. Numerous “What if’s” flitted through my mind. I won’t ruin the scene by telling you how, or even if, my character escapes. Since it’s the opening chapter you can find out by reading the “Look Inside” feature HERE.
After about 20 minutes or so, I emerged from the barrel. Next, I sent Bob to ask the neighbor if the 50 gallon was also empty. I needed to experience the difference because the character is entrapped in a 50 gallon drum, not a 30. After the “incident” of begging Bob to bury me in the backyard (story for another time!), the neighbors are all too familiar with my research stunts, so this request didn’t surprise him in the least. In fact, he was oddly excited to participate. I let him duct tape the lid close. This was really more for his benefit than mine since duct tape doesn’t stick well to steel.
Compared to the 30 gallon, my new digs felt like Club Med. Much more spacious, but the body position remained unchanged, ankles and neck seared with pain, knees compressing my lungs. All in all, my time spent inside the two oil drums turned out to be very educational and I wrote a much better scene. Win win!
Some may call crime writers unique or even weird, but no one can say we’re boring.
FOR DISCUSSION:
What’s the strangest thing you’ve ever done in the name of research?
CLEAVED Available NOW/$0.99 Ebook
Author Sage Quintano writes about crime. Her husband Niko investigates it. Together they make an unstoppable team. But no one counted on a twisted serial killer, who stalks their sleepy community, uproots their happy home, and splits the threads that bonds their family unit.
Darkness swallows the Quintanos whole–ensnared by a ruthless killer out for blood. Why he focused on Sage remains a mystery, but he won’t stop till she dies like the others.
Women impaled by deer antlers, bodies encased in oil drums, nursery rhymes, and the Suicide King. What connects these cryptic clues? For Sage and Niko, the truth may be more terrifying than they ever imagined.
Kindle Scout – Amazon’s Kindle Scout program will cease as of 4/3/18
By Debbie Burke
Kindle Scout has been called American Idol for authors or a Slush Pile Popularity Contest. Amazon defines it as “reader-powered publishing.” Scout has now been around for a couple of years, with nearly 250 books published so far, making it a good time to review its performance.
How Scout works:
Authors submit a 50,000+ word book to Scout, with cover copy, logline, bio, etc. Submissions can be made year round, but only one book at a time per author. Amazon posts an excerpt online for 30 days for readers to peruse and, if they like it, they nominate it for publication. During that time, authors drum up votes through social media, email, and personal contacts, urging their book toward the coveted “Hot and Trending” classification.
When Scout accepts a book, the author receives a $1500 advance, 50% eBook royalties, and a 5-year renewable contract with Kindle Press. While the quantity of nominations carries weight, the number of votes is not the only determining factor. Scout’s editorial board makes the final decision to publish or not and they ain’t talkin’ about why they choose one book over another.
Comparison between Scout Kindle Press and Kindle Direct Publishing (KDP):
Since I’m researching which route to go for my suspense novel Instrument of the Devil, I ran a quick and dirty comparison between Scout and KDP. This by no means covers all differences between the programs. Of course, authors should carefully read both contracts before making a decision.
An interesting aside: when I printed out the contracts, Scout’s came in at four pages, while KDP’s was 21 pages (albeit in a slightly larger font).
- $1500 advance
- 50% royalties on eBooks
- Amazon marketing
- Amazon sets pricing
- Rights exclusive to Amazon
- 5 year renewable contract*
- No advance
- 70% royalty on eBooks $2.99+
- Do it yourself marketing
- You set pricing
- After 90 days Amazon exclusive, you may sell in other venues
- No time limit
*If your book doesn’t earn out $25,000 during the 5 year period, you may request reversion of your rights.
The time from submission to acceptance/rejection is about 45 days under Scout, lightning speed compared to traditional publishing, but slower than KDP where your book can be available for sale as fast as you can upload. The book launch time varies, but according to several sources, runs about four months. Scout is experiencing growing pains, a victim of its own success. A number of authors mentioned understaffing and slow response times to questions. Still, in comparison with trad pubbing, it’s a relatively quick process. If you require faster publication, go KDP.
Who Uses Scout?
When I looked into winning Scout entries, I found surprisingly few first-time authors. Many winners already had multiple books in print, both self-published and traditional. The added promotion by Amazon for a Scout winner should result in significant bumps in sales of backlists.
What Authors Think of Scout:
I reached out to several winning authors who graciously shared their experiences.
Eric T. Knight, author of Ace Lone Wolf and the Lost Temple of Totec, already has multiple books published through KDP and chose Scout “more or less on a whim.” Overall, he grades the experience a B or B+. “The contact person I’ve worked with has been helpful and friendly. It didn’t feel like I was dealing with a machine. I also thought the feedback from the editor was good.”
On the downside, Eric misses the control he has with his other books in KDP. “I wish I could choose when to run promos instead of waiting for them. I’m used to tweaking my blurb pretty regularly and with Scout you have to go through them. You don’t have access to sales figures as they happen, the way you do with KDP.”
V.B. Marlowe, author of Forever Snow, has self-published an impressive 30 books in the past four years. “Marketing isn’t my strong point. I figured having a book published by Kindle Press would give me the privilege of having Amazon’s super marketing powers behind my book.”
She is pleased with the responsiveness of Scout’s staff, but “I only wish I had been given a heads up about when my book would be available. It was kind of a guessing game. Books selected after me were being set up for preorder while my book was still in production status, so I was a little worried. They do send you a letter once your book is already on preorder, but not before.”
With the launch date of April 25, V.B. doesn’t yet have firsthand experience with Scout’s marketing, but other authors she’s communicated with say Kindle Press runs special promotions 90 days after publication. “I do know that KP regularly submits our books to Bookbub. Just this month they had a special anniversary sale and promoted all KP books.”
She adds, “I think the best way to increase sales is to publish regularly so I already have Book Two of this series ready to go.”
Max Eastern is a New York attorney and The Gods Who Walk Among Us is his first published novel. His impression: “What few problems there have been were very minor,
and I’m actually quite happy with the Kindle Scout program as an alternative to traditional publishing.” He adds, “It’s fun voting for a book. Human nature being what it is, readers are more apt to like your work if they see that someone else has already liked it before them.”
Currently Kindle Press only offers eBooks and audio. Max would like to see coordination between them and CreateSpace to make print versions available. Amazon, are you listening?
Kindle subcontracts editing to Kirkus and, according to Max, “it was strictly a one way street,” unlike the give and take in the trad pub editing process. “I was given a document…with his editorial suggestions, and allowed to accept or reject them. I had no means of communicating with him.”
Max raised an interesting question: if your first book is published through Kindle Press, what about future books? “Your readers are going to assume that, once published the first time, you will be published a second time automatically, and they might think there has been some failure on your part if they have to go through the process of voting for you again on Kindle Scout.”
The marketing advantage of a Scout win to authors with backlists is obvious. But how does that work for a first book with more books to follow? Has anyone in the TKZ blogosphere had experience with subsequent releases after a Scout win? Please chime in and let us know how you handle it.
What if You Don’t Win?
Even if you don’t secure a contract, there’s a nice consolation prize.
When you submit, Amazon has you write a thank-you note to readers who nominated your book. If your book is chosen, everyone who nominated it receives your thank-you note, along with a free eBook, immediately building your fan base
If your book isn’t chosen, you can still take the KDP route. Amazon still sends the thank-you note to everyone who nominated it, giving you the opportunity to sell your book to readers who already liked your excerpt—an instant leg up in readership.
Scout – Go or No Go?
Scout is another of Amazon’s many fresh, imaginative innovations. Yes, there are growing pains, but from my research, most participating authors range from satisfied to delighted with the program.
As both Eric Knight and V.B. Marlowe say, “It’s worth a shot.”
First Page Critique: Strangled by a Cloud
Welcome to this week’s first page critique – today we have the first page of a historical mystery/thriller entitled ‘Strangled by a Cloud’. As always, my comments follow.
Strangled by a Cloud
My part in the Tenant’s Harbor affair began on the last day of January in 1878. That morning I was at my usual station: peddling hand-penned calling cards in the lobby of one of Boston’s many hotels; this time it was Young’s, in the financial district. A dozen cards for a Harvard toff had already bought me a hearty breakfast; a dozen more – perhaps with some flourish – for a Court Street banker would carry me through the rest of the day.
As the clock and the thermometer waned and the clouds began to spit sleet, my mood soured: I take days like this personally, as have the thousands with my surname since the days of Noah. To lighten my mood, I left the outer crust of the lobby and strode towards the warmth of the core – the front desk – where I was greeted with the welcome smile of my friend, Adam.
“Cold is it, Mr. Merryweather?” he asked
“As colde as eny froste,” I replied, in an ersatz Middle English tongue.
“Ah, Chaucer – very good, very good,” he said (Adam was also the hotel’s unofficial man of letters and always appreciated a well-placed quote from the Tales).
I pulled the hotel register at his hands my way. Now and then I made a sport of guessing at the age, nationality, personality, or occupation of guests based on their handwriting. I traced my finger down the list of guests until I reached the name “Charles Goodword.”
“Now here’s a bad character, Adam,” I began. “I’m guessing a gambler by profession, maybe something worse…he’s about forty years old, broad-shouldered, perhaps five feet ten or eleven…stout…and mean. You’ll want to be rid of him, and soon.”
“Mr. Merryweather, it’s remarkable!” Adam said, truly surprised. “As to age and height and build, you are quite correct, sir, quite correct. But as to his character, you are very mistaken: he’s a clergyman, you know – here to preach for several weeks – the Benevolent Society for something-or-t’other is paying his board.”
“A clergyman, is he?” I asked, adding, “Well, he’s a thief to boot. Humor me and send for him,” I said, handing him one of my cards.
Adam obliged and sent a valet to call on Mr. Goodword. The valet returned swiftly, confirming that he had successfully delivered the card and invitation, with my compliments.
“You think he’ll come?” I asked Adam. He nodded in assent. “We shall see,” I said, shaking my head. “We shall see.”
Overall Comments:
Overall this first page was cleanly executed with an initial voice and style emerging that I think is pretty engaging. It appears to be emulating a Sherlock Holmes detachment and narration which I think could work well. What it initially lacks, however, is a bit of ‘oomph’ to set our story in motion and build intrigue. It also teeters, I think, in terms of credibility (see my specific comments below), but overall with some editing this first page could be an effective one.
Here are my specific comments:
Credibility
I think in this first page we need more background regarding the main character, Mr. Merryweather, as I’m initially skeptical that a man who makes his living penning calling cards in hotel lobbies would be educated enough to quote Chaucer and have even peudo-expertise in handwriting analysis. I’m also a little doubtful that a front desk clerk would be even an unofficial ‘man of letters’ without a bit more background. I’d be more willing to believe all of this if we got a sense that either Merryweather is an educated man that has fallen on hard times or that he is deliberately masquerading as someone he isn’t. Likewise I need a little more to buy into the fact that Merryweather has uncanny, Holmesian powers of deduction based on viewing Mr. Goodword’s handwriting.
Oomph
I wanted a little more intrigue from this first page when it came to the set up re: Mr. Goodword. I was expecting the valet to discover his dead body! The pay off on the initial page wasn’t really there and I was also skeptical as to why a clergyman would be interested in meeting a man who penned calling cards (or why the main character thought if he sent the valet up with his card the clergyman would respond – to be honest I’m not sure I even believe a man who makes his living hand to mouth by making calling cards would present his own card to anyone). I feel that on this initial page, more intrigue would set the story on a stronger footing and would entice readers to keep turning the page.
Minor editorial issues
There were a few moments where I was taken out of the story. The first was when the main character said ‘I take days like this personally, as have the thousands with my surname since the days of Noah’. I didn’t feel this reference worked, mainly because the name ‘Merryweather’ doesn’t exactly sound like a surname from biblical times. Perhaps a middle ages reference would be more appropriate but at the moment it sounds awkward. Likewise the reference to the ‘outer crust’ of the lobby sounds strange – even though I understand what the writer was trying to get at and how the main character moved to the ‘core’ of the lobby – It didn’t work for me in the context of this story. In addition, the clock and thermometer ‘waned’ didn’t seem quite the right expression either – as the clock ‘waning’ would surely mean going backwards if the numbers got smaller (?).
I also found it odd that Mr Merryweather would call Adam by his first name but Adam didn’t reciprocate, but called him the more formal ‘Mr Merryweather’ in return. I’m assuming they are on the same social level and know each other well enough (as Merryweather calls him a friend) so the formality of Adam’s response doesn’t seem to ring true.
Also when Adam says: ‘ But as to his character, you are very mistaken’, I feel that this should be either ‘very much mistaken’ or just ‘mistaken’ (‘very mistaken’ sounds weird to me).
So TKZers, what comments do you have for our brave submitter today?
Key Ways to “Show” Your Character & Not “Tell” on Him – First Page Critique: Palm Beach Nasty
This photo makes me want to go on vacation. Let’s take a ride with Crawford, our character in Palm Beach Nasty, a 1st Page Anonymous Submission. Read and enjoy. My feedback follows:
ONE
It turned out Crawford really missed the murder and mayhem up in New York. Which was weird, since the whole reason he’d gone south was to get away from it all.
At age thirty-six, with a bad case of acid reflux, chronic cynicism, and acute burnout, Charlie Crawford had packed up his Upper West Side apartment and headed down to the Sunshine State. He decided on the Keys, the plan being to take up surfing, give the Jimmy Buffett thing a shot. But after three long months of listening to stoned-out beach bums in lame Hawaiian shirts oohing and aahing pretty average sunsets and duding each other to death, Crawford was ready to move on.
So he’d reached out to a handful of Florida law enforcement agencies, and when the Palm Beach Police Department made him an offer, he grabbed it. But almost a year into the job, no one had come close to getting knifed, shot, garroted, or even banged up a little. Christ, what he’d give for a nice facedown stiff, a little rigor setting in. Crawford was drawing a bunch of nowhere cases, which could best be summed up by the one he was writing up now.
It was late afternoon on Halloween, and a call had come in about a possible trespass up on the north end. The north end of Palm Beach was really two places, depending on the exact location. Obscenely rich or doing just fine, thanks. Spectacular houses on the ocean and Intracoastal that started at ten million dollars and went up from there. Or fixer-uppers, on postage-stamp lots at around a million. Recently a Russian fertilizer billionaire had plunked down a shade under a hundred mill for Trump’s monumentally ugly, but colossally huge, ocean spec house.
But despite that, the real estate market had been hit hard when Wall Street collapsed three years before and was still wobbly. Somewhere between anemic and soft, desperately trying to claw its way back to pre crash levels. One of the top brokers in town was whining about having a lousy year—4.8 million in commissions as opposed to over 7 million in ’07. And real estate lawyers quietly grumbled about fewer closings, but even more about a troubling new phenomenon: clients hondling them on their fees. And pity the poor builders, who had traded down from tricked-up ninety-five-thousand-dollar Escalades to basic Ford 150s.
FEEDBACK
Overview – There is an ease to this writer’s voice that I liked. This intro is written in a deep POV that is close to first person. I almost wish it was full blown 1st, to give the character more room to breathe. This character has opinions about everything, which would work for the intimacy of 1st person if the author can tighten the narrative (without too much meandering). Because of the mental meanderings, the pace is significantly slower with a lack of focus for the action or world building.
A good thing to note is that this author can hear the character and is willing to channel him. That’s not an easy thing to get and execute. Kudos.
But how can this author retain the good parts of the character voice, yet not slow the pace? A big part of this resolution is how to introduce a key character by SHOWING rather than TELLING about him.
HOUSEKEEPING:
Where to Start? – The author started with a back story dump, sharing where Crawford had lived in NYC with a subsequent stay in the Keys, then on to police work in Palm Beach. These are all things that can come out later with patience. At the start, it’s too much misdirection without a point. That puts us down to paragraph 4 to search for a place to start–at the body or crime scene and any interesting lead up to that moment–but we get a lesson in real estate and the Wall Street crash. Bottom line, we need a better place to start that can showcase Crawford and his personality, through his actions and his cynical dialogue or banter with his colleagues.
Passive Voice – There were too many uses of ‘was’ and ‘had’ to indicate a past time period, or hint of backstory. ‘Was’ is used 8 times and ‘had’ is used 9 times in 400 words of this introduction. These are words I try to minimize and correct in an edit. It indicates this story should start with the present action and minimize the backstory.
Missing words typos – These are hard to catch. As authors, we are too familiar with our own work and miss words that should be there if we don’t read more carefully or read aloud. Last sentence in 2nd paragraph – “…oohing and aahing AT pretty average sunsets…” (‘At’ is left out.)
But how can this author retain the good parts of the character voice, yet not slow the pace? A big part of this resolution is how to introduce a character.
Key Ways to SHOW your Character rather than TELL On Him:
Try introducing your character like some films do, with big character stars like Capt Jack Sparrow in Pirates of the Caribbean. Johnny Depp doesn’t merely walk onto the scene and speak his first line, he makes a big intro to SHOW who he is. In mere seconds, we know him and who he’ll be. It takes practice to do this for an author of fiction. I call this “The Defining Scene.”
So imagine who Crawford is when he’s first introduced to this story. Since I like the author’s instincts on voice, I wanted to ask open ended questions for a rewrite of this intro. I didn’t want to influence the author by rewriting it myself. Think of it as a homework assignment, a short exercise.
1.) He’s a transplanted New Yorker with a side trip to the Keys. I can see his NY accent coming through. Are there remnants to his Keys stay? What does he wear in Palm Beach as a former New Yorker?
2.) Crawford is cynical and opinionated. How does this affect his co-workers, the other cops. Is he liked? Does he like them? Is he a loner?
3.) What hobbies does Crawford have? Are these apparent? Does he let other people know about them? What does he dream about? Is he saving for a beach house or a boat? Maybe he works more than one job to save up for something he doesn’t want to share with anyone else. Why did he choose the beach again? Does he miss NYC?
4.) He seems to thrive on crime scenes, being in his element. How does that manifest? Is he overly detailed in his approach or almost too relaxed? Does he communicate on the scene or keep to himself? Does he have a partner? If so, is his partner the same or opposite? Do they get along or not? How does that work for them?
To make Crawford memorable, the author gets a ‘first shot’ at a reader’s first impression. How would the author set the stage?
Below are some things to keep in mind.
- Devise this crime scene for Crawford to shine or standout. Is it particularly morbid? Has he seen cases like this before? Does he bring NYC bagels and coffee? How does he react versus how others do? Set the stage for Crawford.
- Give him something to do that will show the reader who he is. When others are turning away, he’s unusually attentive to details of the corpse. Does he have any idiosyncrasies at the scene, like how he treats the victim? Does he notice a stray cat in an alley with a possible clue when no one else does?
- Make this scene about Crawford and focus on him. Let the reader know how he ticks, his values, his likes and dislikes. Carry these things through the book to take the reader on a journey.
- Focus on Crawford’s character, more than plot, to give the reader a sense of him in this intro. If the author can devise a way to jump-start the plot (as in the murder scene), then you’ll get two birds with one stone.
- Build on the energy from the Defining Scene. The reader will make an investment into Crawford going forward.
DISCUSSION:
What feedback would you give this author, TKZers? Is the engaging voice enough to keep you turning the pages?
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Raising Social Issues in the Cozy
Please welcome Judith Newton to the TKZ. Today, her guest post is about raising social issues in cozies, based on her experiences writing Oink: A Food for Thought Mystery. I look forward to reading your comments and feedback! Clare
Raising Social Issues in the Cozy
by Judith Newton
I became interested in mystery sometime in the 1990s when I began reading Tony Hillerman, whose sleuths are two Navajo policemen. What I liked about Hillerman’s books was that they dealt with social issues—the ongoing colonization of Native peoples—and that they presented stories from the points of view of people on the margins. I was especially drawn to Hillerman in the 1990s because I saw myself as living on a different sort of margin at my university. I was director of women’s studies, the faculty of which I had worked to make half women of color, and I and my program had formed deep personal connections with faculty in the four ethnic studies programs.
This community building took place, however, just as a newly prominent national development (often referred to as “the corporatization of the university”) had begun to make our already marginal positions less secure. With its ever greater focus on profit, my university administration was threatening to defund our programs. In the end, I am happy to say, the administrations’ very efforts to do away with women’s and ethnic studies prompted the faculty in these programs to form an even more tightly-knit community and to fight successfully for our survival.
When I began to write Oink, I followed Hillerman in making my main characters people on the margins of the university, faculty in women’s and ethnic studies, but the biggest issue I faced in outlining the novel was how to write about their issues so that a general audience would want to read about them.. I was aware that puzzles and unsolved crimes keep people turning pages and that within different mystery genres there were additional inducements to reader engagement. Hillerman, of course, uses elements of the thriller. Guns booming in the dark always kept me reading. But I wanted a different feel for my novel, which would have a lot to say about the value of caring community both for our lives and for political resistance, so I turned to another genre, that of the cozy.
Cozies are characteristically set in a small and valued community. By making one of the most valued communities in Oink that of a political coalition I gave this convention a political twist. Many cozies also involve food and come with recipes. The presence of food usually affirms pleasurable connection among the characters, a connection that is then extended outward to the reader through the inclusion of recipes. In Oink the same is true, although there the major connections being affirmed are among those resisting the university’s turn toward competition, self-interest, and profit. The inclusion of recipes pleasurably invites the reader into this alliance.
In Oink, moreover, as in the history on which it was based, gathering around food is one manifestation of a larger organizing impulse based upon “working on the relationship” through multiple acts of friendship, love, and support. This is a strategy which black women had already employed to organize grassroots communities during the Civil Rights Movement and it reappears in Oink among the women characters in particular.
The cozy’s quirky, often, female sleuth and its characteristic humor are also present in Oink and serve a related purpose. According to J. K. Gibson-Graham, our repertory of tactics for getting people together should include playfulness and humor, which can toss us on to the terrain of new possibilities. By fusing playfulness and humor with a story of struggle, I aimed to attach a sense of optimism and possibility to political resistance.
By merging Hillerman’s focus on social issues and marginal points of view with the conventions of the cozy I could write about some of the difficulties for people on the margins in the university and in the nation while also immersing the reader in experiences of connectedness, love, humor, and pleasure, experiences which I hope will keep the reader reading and which I identify both as ways to live a more fully human life and as crucial to effective struggles for social change. In a way I hadn’t anticipated, the continuation of these values seems ever more critical to our time.
- What do you see as the advantages of or the difficulties in using cozies or other kinds of mystery to address social issues?
- Are there particular cozies with a social issue or political theme you have read and enjoyed?
- Does exploring social issues even belong in a cozy?