People Are Talking About #CrimeHeadlines2025

1FutureCrimesAs if there weren’t already enough crime to worry about, people on Twitter are speculating about crimes of the future. The radio show Science Friday challenged its listeners to fantasize about how scientific breakthroughs could result in new crimes in the future, and asked them to post their ideas on Twitter with the hashtag #CrimeHeadlines2025. Screen Shot 2015-02-26 at 3.10.21 AMThe results are entertaining. One guy suggested “drunk droning” as a new infraction (although as I recall, that one already happened).

I’m a fan of Michael Crichton-style scifi thrillers, so I love speculating about the ways criminals can exploit new technology. One of my favorite topics is brain research, so I started thinking about an article that described how scientists had transplanted memories into the brain tissue of rats. The ultimate goal of the scientists is to assist people with impaired brain function, but I foresee a dark potential. A criminal in the future could kidnap someone, and then transfer essential memories into his victim for safekeeping, or to elude police. And what if whole-brain transplants ultimately become possible? We might see a new crime of body snatching.

What are some #CrimeHeadlines2025 that you can imagine?

Make Sure Your Characters Act in Character!

Captivate_full_w_decalby Jodie Renner, editor & author @JodieRennerEd

DO YOUR CHARACTERS’ DECISIONS AND ACTIONS SEEM REALISTIC AND AUTHENTIC?

Have you ever been reading a story when suddenly the protagonist does or says something that makes you think, “Oh come on! Why would he do that?” or “This is crazy. Why doesn’t she…?” or “But I thought he…!” or “I didn’t know he/she could [insert extraordinary ability].” The character seems to be acting illogically, to be making decisions with little motivation or contrary to his personality, abilities, or values

I see this problem a lot in fiction manuscripts I edit. The author needs something to happen for the sake of the plot they’ve planned out in advance, so they force a supposedly intelligent character to do something contrary to common sense and their best interests, like recklessly putting themselves in danger.

For example, I once edited a book where the highly educated, intelligent heroine rose from her bed in the middle of the night and, without telling her husband where she was going or even leaving a note, drove to a remote warehouse to find some incriminating evidence, knowing the killer was likely to return – which of course he did, and attempted to kill her. It made for an exciting scene, but unfortunately, the otherwise savvy character came off looking like a foolhardy, impulsive airhead. I couldn’t help wondering, why wouldn’t she tell her husband? Better yet, call the police and let them handle it.  Even police, who are trained for these situations, usually get backup.

Moving your characters around like pawns to suit the plot, if it doesn’t make sense for who they are, could have your readers scratching their heads in disbelief or, worse, throwing your book across the room, then writing a scathing one-star review of it.

Don’t force your characters, kicking and screaming, into actions they just wouldn’t do.

Readers won’t suspend their disbelief and bond with the character if they don’t “buy” what the character is doing and why. An engrossing story needs realistic characters dealing with adversity in bold but realistic and plausible ways.

To make a character’s decisions and actions convincing, take care when creating their background, character, abilities, and motivations.

Background, character, and personality

Of course, you don’t want to make your hero or heroine ordinary, timid, or passive, with few daring decisions, because that would make for a ho-hum book most readers wouldn’t bother finishing. But on the other hand, if you’re going to have them perform daredevil feats, be sure to build that into their makeup.

First, get to know your main characters well. Take some time to develop their background, character, and personality. Are they athletic or more cerebral? Risk-takers or cautious? Do they embrace change, enjoy challenge, love to learn new things? Or do they prefer to stay within their comfort zone? To plumb their depths, do some free-form journaling in which they express their strongest desires, fears, hopes, secrets, regrets, and gripes.

Are they physically capable of what you want them to do?

Abilities

If, for a riveting plot, you need your hero to do something heroic, almost superhuman, make sure he has the determination, strength, flexibility, and endurance to do that. Although it’s amazing what people are able to do under duress with the adrenaline flowing, it’s more credible if your character is already at least somewhat fit. Does he work out a lot to maintain muscle mass, agility, and endurance? How? Also, he’ll need to be intelligent, skilled, and resourceful.

If he needs special skills, show earlier on that he possesses them and how it all makes sense, given his overall makeup. In one novel I edited, the sedentary, slightly overweight, middle-aged protagonist fought off a strong attacker with quick, expert martial arts moves. This was an “Oh, come on!” moment, given his lifestyle, age, and paunch.

In The Hunger Games, we learn early on that Katniss is an expert at archery, which is a huge factor in her survival later. A nerdy banker probably doesn’t do kickboxing on the side, so you may need to make him less desk-bound and more athletic for it to work. Or give him another profession.

If you’re writing fantasy, of course you have more leeway with unusual characters and situations, but if you’re writing a realistic genre, with no supernatural or paranormal elements, make sure the character’s actions are realistic and make sense.

Motivations

Is your hero sufficiently motivated to put his life on the line? Do those motivations fit with his belief system, background, and immediate needs? If you want or need a character to do something dangerous, go back and give him some burning reasons for choosing that course of action.

Perhaps he finds himself in a life-and-death situation for himself or someone he loves, or innocent people are in grave danger. His love, concern, and determination will make him more selfless and daring, bringing out courage he never knew he had.

As Steven James advises in Story Trumps Structure, as you’re writing your story, ask yourself , “What would this character naturally do in this situation? Is he properly motivated to take this action?”

Causality

Be sure your narrative is also shaped by the logic of cause and effect. For your story to be believable, character decisions and reactions need to plausibly follow the original stimulus or actions. If your character overreacts or underreacts to what has just happened, they won’t seem “in character” or real.

Be sure every decision and action makes sense with what preceded it. As James suggests, as you go along, continually ask yourself, “What would naturally happen next?”

So don’t force your characters to act in uncharacteristic ways because your plot needs them to. Readers will pick up on that. Rather than insisting certain events or actions happen as you had planned, instead allow the natural sequence of events and logical reactions to shape your plotline.

Go through your story to make sure your characters are acting and reacting in ways that are authentic to who they are and where they’ve come from, and that they’re sufficiently motivated to take risks. Also, do their reactions fit with the stimulus? Is that a logical response to what happened?

Ask yourself, as you’re writing, “Is there a way to accomplish this that fits with the character’s values and personality?” If not, I suggest you either change the plot (have them make a different decision and rewrite where that leads them) or go back and change some of the character’s basic attributes, values, and skills. Or add in incidents in their past that have shaped them in ways that will justify their current actions.

That way your plot will flow seamlessly and your characters will seem real. There will be no bumps, no hiccups where readers will be suddenly jolted out of the story.

As William Faulkner advised one of his fiction-writing classes,

“…get the character in your mind. Once he is in your mind, and he is right, and he’s true, then he does the work himself. All you need to do then is to trot along behind him and put down what he does and what he says.”

So don’t impose your preconceived ideas on the character – you risk making him do things he just wouldn’t do. Know your characters really well and the rest will naturally follow.

Fire up Your Fiction_ebook_2 silversJodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: Captivate Your Readers, Fire up Your Fiction, and Writing a Killer Thriller. She has also published two clickable time-saving e-resources to date: Quick Clicks: Spelling List and Quick Clicks: Word Usage. You can find Jodie at www.JodieRenner.com, www.JodieRennerEditing.com, her blog, http://jodierennerediting.blogspot.com/, and on Facebook, Twitter, and Google+.

Creating A Personal Ode From 40 Characters

Attention all budding poets: A new site lets you to turn you  tweets into poetry, or something like it.  Poetweet skims through your history of tweets, and then converts the results into verse.  (You choose whether you want your poem to appear as a Sonnet or other format.)

When I ran my Twitter ID through the engine, Poetweet created a ditty called “A Writer”. The resulting verse seems odd, but somehow perfect. (Disclosure: I rearranged a couple of lines to enhance the logical ‘flow’).

“A Writer”
by Kathryn Lilley

Putting On Your Writing Face
Getting It Done
Just One More Chapter
The Gag Order Rules
Where Have All the Commas Gone?
Are We Daft?
Where Do We Go To Get the Vaccine?
Sit Down And Write the Darn Outline
Lessons from 2014
Playing A Trick On Your Mind
‘Make it new’
Performing Amazing Grace

If you haven’t tried the tool yet, give it a try. Then, please share a stanza from your “ode”. The wackier, the better!

How I Discovered A Cozy Voice

Those of you who have been hanging around this blog for a while may know that I became a fiction writer somewhat by accident. Back in the 90’s, I started writing Nancy Drew mysteries when a college buddy-turned-editor invited me to submit a story proposal for the series. When my editor friend moved on in her career, I stopped writing. I remember having vague notions back then about trying to write a manuscript on my own, but the idea seemed too intimidating. Without my editor friend as a Spirit Guide, I was at sea.  


In 2003, I got RIF’ed from my job as a corporate writer. In retrospect, being laid off was the best thing that could have happened. With the blessing of a supportive spouse, I used my copious spare time to write the manuscript I’d been dreaming about. 

I had a main character in mind for my story and a rough outline, but I struggled to find a “voice.” Writing in the Nancy Drew voice had been relatively easy, because Nancy already had a voice. My first attempts at finding my own voice failed miserably. Everything I produced sounded dry and flat, like it had been written by the journalist I once was. My main character came across as angry and slightly bitter. Completely unappealing.

For inspiration I started binge reading mysteries. Like Ariel’s song in The Little Mermaid, I hoped to hear a voice that would rescue me from the sea. One day I pulled a mass market mystery off the shelf and started skimming. This book sounded different, I discovered. It sounded funny. I didn’t know it at the time, but I had just discovered the world of cozy mysteries and “chick lit”.

I can write like that, I remember thinking. From that moment on, writing in a brand new voice flowed smoothly. My character Kate became a little bit like Nancy Drew, if Nancy had gained weight and developed a potty mouth.

Nowadays I still struggle to find the right voice for any new project.       The first time I tried to write something darker than a cozy mystery, I floundered around again in search of a new “sound” for the narrator.

I wonder if developing or changing voices is as much of a challenge for other writers as it is for me. Please share your experience in the Comments.

Gag Orders, And Other Rules To Get The Most From Critique Groups

As many here know, a good critique group can be a writer’s best friend. They give us feedback, moral support, and camaraderie. I’ve belonged to several critique groups over the years. Some groups have been extremely helpful, others less so. Over time I’ve developed a few rules, which I apply only to myself. These self-imposed rules help me extract the most benefit from any type of critique group:

1. Gag Order Rule Number One. When hearing feedback during a critique, I may not interrupt the critique with long-winded explanations of why I wrote something the way I did.

It doesn’t matter why I wrote it that way. Someone is telling me it doesn’t work. I must accept it and move on.

2. The two-thirds validity rule. 

If two-thirds of the group gives the same feedback, it’s probably a valid criticism. I must pay attention to it.

3. Apply feedback, improve. Rinse, repeat.  

We all know people who get the same feedback from the critique group, month after month. And yet their writing samples consistently reflect the same issues, month after month. I don’t fret about these people. I just don’t want to become one of them.

4. Expect to hear about problems, not solutions.

Critique groups are going to tell me what’s not working on my  pages. They usually won’t be able to explain how to to fix a writing problem, because very few people actually know how to fix problems. Fixing things is my job, not theirs. 

5. Gag Order Rule Number Two. When I disagree with the feedback, I nod solemnly, pretend to make a note, and say nothing. 

So these are just my rules that I use to keep me sane and productive in any type of critique group. Do you have any you can share?

Reflections? No. Distractions? Yes.

We’re winding down towards the holiday break here at TKZ. As Clare wrote in her post yesterday, this time of year offers an opportunity for taking stock and reflection.

In my case, the holidays have offered yet another opportunity for distraction.

Take yesterday, for example. We had a couple of gigantic structure fires in downtown Los Angeles. Here’s something to know about LA County: it’s a land of wildfires, not structure fires. Los Angelenos think nothing of ten thousand acres of chaparral getting charred to a crisp when the Santa Anas blow. But urban structure fires? They’re almost unheard of. And these fires were big, the biggest in recent memory. One of the fires actually shut down a couple of freeways! Freeway closures cause chaos in LA faster than a quarter inch of rain.

Both fires are considered suspicious. The larger of the two blazes  destroyed a much-reviled building that was under construction downtown.  

Magniloquently named “Da Vinci” (and dubbed “Terrible Fauxtalian Fortress” by CurbedLA), the apartment complex is the latest architectural project being built by a developer who is widely criticized for blighting LA’s downtown renewal with overpriced projects designed with dubious taste. 

And then of course we have a local version of the national protests that are going on. The Los Angeles protests, which haven’t been getting much news coverage outside the region, have a particular characteristic. Night after night, groups of protesters have tried to get onto a freeway in order to stage a “die in”. They move methodically in groups along a chosen stretch of onramps and offramps, dodging police. Looking for a weak spot.

I ‘ve been listening to my police scanner at night, following the cat-and-mouse game between protesters and police. And I’ve been trying to figure out whether the downtown fires could have been  started by a design critic, or a protester. If the fires are in any way connected to political unrest, it would signify that LA has turned a page since the Rodney King riots. Back then, people attacked and burned their own neighborhoods. Since that time, there’s been much discussion about acting smarter, about attacking wealthier targets. I try to decipher cryptic messages on Twitter, messages that seem to be guiding  people where to go, what to do to express their rage.

Yeah, I know. Everything I’ve talked about here is a poor excuse for not writing the last few days. But, hey. It’s the best excuse I have.

How about you? Is it harder to work these days? Do you soldier through it, or give it up for the holidays, along with your diet?

Happy Holidays!