Category Archives: Debbie Burke

Reading Words of Wisdom

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I’m a lifelong reader, beginning with the Dick and Jane books in first grade, and being inspired by my mother’s avid reading habits. One of my earliest memories is of her reading a sci-fi thriller with a giant spider on the cover. As a grade schooler I read books about World War II and astronomy, and avidly devoured fiction like Silver Chief, Dog of the North, Call of the Wild, White Fang, King of the Wind (the first book I bought, at a school book sale), and Misty of Chincoteague.

Reading got me into trouble at school. In fifth grade I attended a brand-new elementary school that had modular classrooms with sliding walls. One day I snuck out of the back of my math class to go to the school library to, yes, read. Of course, I was found out.

I used to tell that story to students at the libraries I worked at, finishing with, “and look where I ended up.” It always got a laugh, especially from kids who loved to read. But of course, study math, too. I did, especially after my math teacher suggested to my parents to have my eyes tested. I learned I was myopic (which was why I struggled with math from the back of the class room).

The reading continued. My mother loaned me her set of Edgar Rice Burroughs Barsoom novels one summer, and during my sophomore year in high school I devoured thrillers like The Crash of ’79 and Black Sunday.

When I met my future wife at a job we both had while in high school, one of the many things that drew me to her was that she loved to read.

Reading is not only fundamental, it’s foundational to who I am, and, I strongly suspect, to most if not all of you.

With that in mind, today’s Words of Wisdom looks at reading. Clare Langley-Hawthorne shares the magic Sherlock Holmes worked on her as a young reader. Debbie Burke discusses the legendary Nancy Drew’s impact on her and many others. Finally, Sue Coletta discusses some of the important benefits of reading. You can read the full versions of each of the excerpts, linked from their respective original posting dates.

Luckily, both my boys are great readers (so we get to take lots of books with us!) and I love how we can now discuss books we’ve all read and how I can give them recommendations now that don’t (usually) provoke a whole lot of eye-rolling.  I also still read to them every night and have recently started introducing them to Conan Doyle’s Sherlock Holmes stories.

A few pages into the Hound of the Baskervilles, however, and my boys were already terrified (not a good idea just before bed!) so we started instead with A Study in Scarlet and have just recently moved on to The Sign of Four. What is amazing to me is how, despite the old-fashioned language and pace, both my boys are already totally hooked – and I think it’s not really the mystery that draws them in but the character of Holmes himself. It really is amazing to think that a character which in many ways is such a product of his times can be still so intriguing over a hundred years later. As a mum of course, I do have to explain his drug use and the smoking…but, hey, I think of these as…er…’teachable’ moments!

I came to Sherlock Holmes quite late  (I was well into my twenties before I read my first Holmes’ story) – compared to my husband who devoured all the stories when he was in the 5th and 6th grade at school in Australia. Though I enjoyed the stories, I don’t think I appreciated the mesmerising qualities of Sherlock Holmes as a character until I started reading the stories aloud to my boys. I’ve been interrogated by them on every aspect of his character – from whether he was based on a real person, to why he knows so much, to how, on earth, he can make such amazing deductions…He’s like a super-hero in many ways but also an enigmatic and  flawed hero – which is what, I suspect, makes him so intriguing.

I’m looking forward to continuing to read these stories to my boys and then, I hope, handing the books over to them to read for themselves. To me, one of the great pleasures of being a parent, is passing on a love of reading. I already see each of my twins developing their own reading preferences and am glad that, at least in so far as Sherlock Holmes is concerned, they are gaining an appreciation for mysteries:)

So – tell me, are you are Sherlock Holmes fan?

Clare Langley-Hawthorne—March 31, 2014

 

Nancy Drew was the original Super Girl—independent, confident, smart. She was competent to handle any challenge, fearless in the face of danger, and resourceful at solving problems decades before MacGyver came along. She drove motorboats, rode horses, and played tennis better than her boyfriend, Ned Nickerson. The girl sleuth never backed down from threats and brought villains to justice.

She is credited as an early influence on many girls who grew up to be accomplished, notable women, including Sandra Day O’Connor, Oprah Winfrey, Ruth Bader Ginsberg, Sonia Sotomayor, Hillary Rodham Clinton, and Laura Bush.

Credit: www.nancydrewsleuth.com

Nancy’s heroic adventures kept my friends and me up long past bedtime, reading with flashlights under the covers. I remember saving for weeks to buy the latest release when it hit the neighborhood toy store that carried her books. If I recall correctly, the hardbacks in the late 1950s cost around a dollar, a serious investment for a kid earning a dime a week allowance.

Credit: www.nancydrewsleuth.com

Additionally, I devoured the local library’s collection of Nancy’s earlier books published in the 1930s and ’40s, with dark blue boards and cool pen-and-ink illustrations.

The dust jackets on older editions had long since disappeared and, after thousands of check-outs, bindings were often held together by heavy tape.

I didn’t really know what a “roadster” was but I sure wanted a blue roadster convertible just like Nancy’s.

Credit: www.nancydrewsleuth.com

In the 1950s, the books featured lighter blue, tweed-pattern boards with dust jackets.

Credit: www.nancydrewsleuth.com

By the 1960s, the dust jackets disappeared and the spine became bright yellow with illustrations incorporated into the front hardcover.

The last one I remember reading was The Secret of the Golden Pavilion (1959) which took place in the then-exotic locale of Hawaii around the time it became the 50thstate.

Throughout the 30 or so books I read, Nancy remained eternally 18-years-old (16 in earlier versions) but never attended school or college. Her successful attorney father, Carson Drew, encouraged her to pursue all kinds of dangerous adventures but no one ever got murdered.

Nancy’s only job was solving mysteries and she didn’t get paid for her efforts.

Realistic? Not very.

Fun and exciting? Yes!

Nancy solved her first mystery in 1930 (The Secret of the Old Clock) and kept unraveling puzzles in 56 classic hardcovers originally published by Grosset & Dunlap. Simon & Schuster added eight additional books in paperback. A complete set of 64 classics in hardcover sells for over $400. The classic series ended in 2003 with 175 books. Spinoffs continue to the present day, totaling more than 600 books, TV series, video games, and films.

Debbie Burke—April 26, 2019

Reading reduces stress.

A 2009 study by Sussex University showed reading may reduce stress by as much as 68 percent.

“It really doesn’t matter what book you read, by losing yourself in a thoroughly engrossing book you can escape from the worries and stresses of the everyday world and spend a while exploring the domain of the author’s imagination,” cognitive neuropsychologist David Lewis​ told The Telegraph.

Reading helps us relax.

There’s a reason snuggling up with a good book sounds so appealing. Because it is! Reading washes away the stressors of the day as we melt into the pages of a good book.

Reading fiction for fun.

Readers of fiction have increased creativity, empathy, and emotional intelligence. Losing ourselves in a fictional character’s experiences make us more open-minded and allow us to spend time in someone else’s shoes. Thus, readers become better humans than non-readers.

Reading supports self-improvement.

Readers support lifelong learning. One of the best ways to do that is to pick up a book and learn something new. Waving at readers who prefer nonfiction!

In general, read is good for our wellbeing. 

Some of us read to escape reality or imagine worlds beyond our own. Some read to learn new skills—cooking, crafting, creativity—or about real people who intrigue or inspire us. Some read thought-provoking books, some dive into futuristic worlds beyond our imagination. Whatever the reason that brings us to the page, reading is one of the best forms of self-care.

Is reading contagious?

Absolutely! Rather than rattle off statistics, I’ll pose a question. How many books have you bought based on word of mouth? When we see another reader all excited about a new book, we want to feel that way, too. So, what do we do? We check out the book.

When children see their parents reading for fun, it plants the seed for them to become lifelong readers, as well. In adults, if one partner pleasure reads several times per week, it lights a spark in their significant other. My husband never read for pleasure till he married me. When he first took the plunge, he devoured more books per week than I did. Over the years as he built and ran his small engine business, he had less time to read. But he dives between the folds whenever possible. Why? Because he sees how much I enjoy reading, and it’s contagious.

Sue Coletta—August 8, 2022

***

  1. How has reading shaped you?
  2. What was the first book you read that changed you?
  3. Did you read Sherlock Holmes and/or Nancy Drew as a child?
  4. What are some of the benefits of you get from reading?

More Villainous Words of Wisdom

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Today’s Words of Wisdom returns to an evergreen topic: villains. We love to hate them.  Our fiction needs them. They help drive the plot. Understanding the importance of villains can be the key to writing more engaging and gripping mysteries and thrillers.

Clare Langley-Hawthorne, James Scott Bell and Debbie Burke give advice and tips on creating better villains in your fiction. Afterwards, please give us your take.

It can often be all too easy to fall for the ‘psychotic’ serial killer or other sort of evil cliche without trying to provide for the reader a solid grasp of what lies behind this. Villains rarely consider themselves villains. Sometimes they feel justified (in their own perverted way) or compelled by something to do what they do. Unlike in real life, in fiction, we can often provide the reader with a rationale for someone’s behaviour.

So how do you create a believable villain? How do you ensure that, when it comes to the battle between good and evil, neither side slides into caricature? I’ve been thinking about this a lot in my current WIP and I have some to a few conclusions (or observations, at least) as I go through this process:

1. Characters don’t think they are dumb so don’t make them do ‘dumb’ things just because they are (cue manic Dr. Evil laughter) the bad guy.
2. Don’t fall into the trap of making evil generic. For every character there needs to be a specific reason, cause or motivation for his or her behaviour. The more specific and believable this is, the more believable a character will be.
3. Give you villain a clear objective. I’m not a big fan of the psycho who just seems to do stuff because he is, well, ‘psycho’ – this always seems to the to dilute the power of having an antagonist.
4. Think as much about the back story for your villain as you do for the protagonist of the story – this will ensure the character behaves consistently and with clear purpose. It also helps you avoid falling into a cliche if you have a fully realized back story.

Clare Langley-Hawthorne—July 23, 2012

 

Dean Koontz wrote, “The best villains are those that evoke pity and sometimes even genuine sympathy as well as terror. Think of the pathetic aspect of the Frankenstein monster. Think of the poor werewolf, hating what he becomes in the light of the full moon, but incapable of resisting the lycanthropic tides in his own cells.”

All this to say that the best villains in fiction, theatre, and film are never one-dimensional. They are complex, often charming, and able to manipulate. The biggest mistake you can make with a villain is to make him pure evil or all crazy. 

So what goes into crafting a memorable villain?

  1. Give him an argument

There is only one character in all storytelling who wakes up each day asking himself what fresh evil he can commit. This guy: 

But other than Dr. Evil, every villain feels justified in what he is doing. When you make that clear to the reader in a way that approaches actual empathy, you will create cross-currents of emotion that deepen the fictive dream like virtually nothing else.

One of the techniques I teach in my workshops is borrowed from my courtroom days. I ask people to imagine their villain has been put on trial and is representing himself. Now comes the time for the closing argument. He has one opportunity to make his case for the jury. He has to justify his whole life. He has to appeal to the jurors’ hearts and minds or he’s doomed.

Write that speech. Do it as a free-form document, in the villain’s voice, with all the emotion you can muster. Emphasize what’s called “exculpatory evidence.” That is evidence that, if believed, would tend to exonerate a defendant. As the saying goes, give the devil his due. 

Note: This does not mean you are giving approval to what the villain has done. No way. What you are getting at is his motivation. This is how to know what’s going on inside your villain’s head throughout the entire novel.

Want to read a real-world example? See the cross-examination of Hermann Goering from the Nuremberg Trials. Here’s a clip:

“I think you did not quite understand me correctly here, for I did not put it that way at all. I stated that it had struck me that Hitler had very definite views of the impotency of protest; secondly, that he was of the opinion that Germany must be freed from the dictate of Versailles. It was not only Adolf Hitler; every German, every patriotic German had the same feelings. And I, being an ardent patriot, bitterly felt the shame of the dictate of Versailles, and I allied myself with the man about whom I felt perceived most clearly the consequences of this dictate, and that probably he was the man who would find the ways and means to set it aside. All the other talk in the Party about Versailles was, pardon the expression, mere twaddle … From the beginning it was the aim of Adolf Hitler and his movement to free Germany from the oppressive fetters of Versailles, that is, not from the whole Treaty of Versailles, but from those terms which were strangling Germany’s future.”

How chilling to hear a Nazi thug making a reasoned argument to justify the horrors foisted upon the world by Hitler. So much scarier than a cardboard bad guy.

So what’s your villain’s justification? Let’s hear it. Marshal the evidence. Know deeply and intimately what drives him.

  1. Choices, not just backstory

It’s common and perhaps a little trite these days to give the villain a horrific backstory and leave it at that. 

Or, contrarily, to leave out any backstory at all.

In truth, everyone alive or fictional has a backstory, and you need to know your villain’s. But don’t just make him a victim of abuse. Make him a victim of his own choices.

Back when virtue and character were actually taught to children in school, there was a lesson from the McGuffey Reader that went like this: “The boy who will peep into a drawer will be tempted to take something out of it; and he who will steal a penny in his youth will steal a pound in his manhood.” 

The message, of course, is that we are responsible for our choices and actions, and they have consequences. 

So what was the first choice your villain made that began forging his long chain of depravity? Write that scene. Give us the emotion of it. Even if you don’t use the scene in your book, knowing it will give your villain scope.

James Scott Bell—October 26, 2014

 

I wrote mysteries like I read mysteries, from a state of ignorance, constantly trying to figure out what was going on.

I had a general idea of the bad guy’s motive, but never paid much that attention to the schemes and machinations happening offstage. All action took place onstage because the first or close third POV required the sights, sounds, smells, and emotions be filtered through the protagonist only. My focus stayed stuck on the hero.

The bad guy hid in the shadows behind the curtain until the big reveal at the end. Unfortunately he’d been hiding from the writer too!

Finally, thanks to the wise folks at TKZ, I recognized the big fat blind spot in my books.

Here’s the epiphany:

In crime fiction, the antagonist drives the plot. Unless a crime has been committed, or is about to be committed, there’s nothing for the protagonist to do. The antagonist acts, the protagonist re-acts.

I’d been following the wrong character around all these years! 

My realization probably seems like a big DUH to many crime authors. But I’m sharing it in hopes of helping others like myself who overlooked the obvious.

It’s fun to think like a villain! When I started writing from the bad guy’s POV, a whole new world opened up—a world without conscience, constraints, or inhibitions.

Jordan’s great post from last May says, “The best villains are the heroes of their own stories.” 

Actor Tom Hiddleston says, “Every villain is a hero in his own mind.” Most actors would prefer to sink their fangs into the role of a great villain than play the good guy.

The baddies in my earlier books had been flat and dull because I’d never gotten inside their heads. Finally, the missing element became clear and…my book won a publishing contract!

Why is the villain willing to steal, cheat, and kill? What rationalizations justify the harm done to others? 

A sociopath comes up with perfectly logical justifications and excuses for abhorrent actions.

Irresistible influences like greed, power, and lust can seduce an ordinary person over to the dark side.

Misguided righteousness can lead to horrendous consequences.

A law-abiding citizen may be forced into a corner where he commits acts he would never do under normal circumstances.

If an author roots around in the antagonist’s brain for a while, background, reasons, and rationalizations for antisocial behavior bubble up. Armed with such knowledge, it becomes impossible to write a two-dimensional character. Jim Bell offers a great technique—try to imagine the villain delivering the closing argument to the jury that will determine his fate.

Do you show the villain’s POV in the story or not? That choice is contingent on subgenre.

In a whodunit mystery, the identity of the villain is typically a surprise at the end. Therefore, that POV is generally not shown to the reader, although some authors include passages from the villain’s POV without revealing the identity.

Suspense and thriller novels often are written from multiple POVs, including the villain’s. When the reader knows early on who the bad guy is, the question is no longer whodunit, but rather will s/he get away with it?

The author can choose to show the antagonist’s POV or keep it hidden. But either way, you need to be aware of it because that’s what’s driving the story forward.

Even if you never show the villain’s POV, try writing scenes inside his/her head.You don’t need to include them in the book, but the act of writing them gives you a firmer grasp on that character’s deep desires and how those desires screw up other people’s lives. Once you really understand what the antagonist is striving for, that provides a solid framework from which the story hangs.

If you’re in a corner and your hero doesn’t know what to do next, check in with the villain. While the hero is slogging through steps A, B, and C to solve the crime, the bad guy is offstage setting up roadblocks D, E, and F to keep from being caught.

Debbie Burke—September 28, 2017

***

There you have it, advice on writing villains. Today the authors of our three excerpted posts pose the questions to help jumpstart our discussion:

  1. So how do you approach the process of creating villains? Are there any ‘evil doers’ in novels that strike you as the ‘dumb and dumber’ of their kind? What about the most chilling, compelling and believable villains in fiction?
  2. What’s your approach to villain writing?
  3. What is your villain doing right now? Do you prefer to show the antagonist’s POV or keep it hidden?

 

Subconscious Words of Wisdom

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While writing Book Drop Dead it became obvious I wasn’t letting my subconscious have a much of say in the process. When I realized this and opened back up to my inner collaborator, the narrative became richer and more surprising and the writing flowed more easily. It’s a lesson I’ve taken to heart as I work on the next book in my mystery series.

Today’s Words of Wisdom takes a deep dive into the power of the subconscious in writing and how to set the scene for it to work its magic, with excerpts from posts by Laura Benedict, James Scott Bell and Debbie Burke.

There are so many theories on what dreams are. Just a few:

Subconscious problem solving.

Wishfulfillment

Random neuron firing

Emotional cleanup using dream symbols

Messages from the future or past

I don’t know about you, but my dreams tend to be a mix of the above, with the exception of messages from the future or past. As an adult, I’ve had some very comforting dreams about my grandparents, but I put those in the emotional cleanup category.

Dreams are as entertaining to me as a good book, and sometimes even more so because I’m participating. I go to sleep hoping the dreams are good. The only time I fear them is when I’m home alone overnight and have paralyzing night terrors about strangers in my bedroom. But most of my dreams contain vibrant colors, vivid situations and storylines, and people I don’t often see. I couldn’t enjoy them more if I made them up myself. Which, in a way, I suppose I do. It’s my subconscious at work—that part of the brain from which I suspect my best writing material comes.

But how to access that material in the waking world? As writers, we are essentially creating dreams for our readers. Stories that are like reality, but just that much better. Just that much less predictable, like any good dream.

Some ways to access the dreaming part of your brain:

Lucid dreaming: Lucid dreaming is dreaming when you know you’re dreaming. You won’t necessarily control your dreams, but you’re likely to remember them. Here’s a comprehensive list of ways to make it happen.

Dream journals: This is one of my favorites. As soon as I wake, I jot down the details of all the dreams I can remember. The exercise of writing it out makes me feel like I have a jump on my creative day.

Music: Do you listen to music as you write? It can quickly put you in the writing zone, but music with lyrics can be distracting. When I wrote Charlotte’s Story, I had this adagio on a loop for weeks. Repeated music is a great self-hypnosis tool.

Rituals: Same Bat Place. Same Bat Time. If you’re in the habit of doing deep work in the same place every time, your brain will begin to relax once it’s in sight.

Silence: I used to brag a lot about how I could write just as easily in a noisy cafe as I could in a silent room. While it’s still true, silence settles me much more quickly. You can almost hear the doors in my head opening.

Do you have trouble recalling your dreams? It’s common.The reason it’s sometimes difficult is because the brain may shut down its memory-recording functions while we’re in REM sleep.

Here’s what I find so fascinating about recalling dreams—or even having them. What if they really are simply random discharges of neurons firing up images in our brains while we sleep? That doesn’t make them any less interesting or less vital. It’s what we do with the connections between those images that makes a dream a dream. Even while we are sleeping, we are constructing narratives. How cool is that? Storytelling is so elemental to our being that we may be compelled to do it unintentionally, while we’re asleep.

That means that we are all storytellers. But to be writers, we have to externalize those narratives.

Laura Benedict—February 22, 2017

 

In an article in the Harvard Business Review, “Your Brain Can Only Take So Much Focus”, Dr. Srini Pillay writes about our over-emphasis on focus. We have our to-do lists, timetables, goals. And there’s nothing wrong with that. But it turns out we also should be practicing “unfocus.”

In keeping with recent research, both focus and unfocus are vital. The brain operates optimally when it toggles between focus and unfocus, allowing you to develop resilience, enhance creativity, and make better decisions too.

When you unfocus, you engage a brain circuit called the “default mode network.” Abbreviated as the DMN, we used to think of this circuit as the Do Mostly Nothing circuit because it only came on when you stopped focusing effortfully. Yet, when “at rest”, this circuit uses 20% of the body’s energy (compared to the comparatively small 5% that any effort will require).

The DMN needs this energy because it is doing anything but resting. Under the brain’s conscious radar, it activates old memories, goes back and forth between the past, present, and future, and recombines different ideas. Using this new and previously inaccessible data, you develop enhanced self-awareness and a sense of personal relevance. And you can imagine creative solutions or predict the future, thereby leading to better decision-making too. The DMN also helps you tune into other people’s thinking, thereby improving team understanding and cohesion.

Dr. Pillay recommends building “positive constructive daydreaming” (PCD) into your day. I do this very well at my local coffee house. I stare. Out the window. Sometimes at people. I’m really working, though. That’s PCD time!

Another tip from the good doctor: power naps. “When your brain is in a slump, your clarity and creativity are compromised. After a 10-minute nap, studies show that you become much clearer and more alert.”

But the technique that really jumped out at me was this:

Pretending to be someone else: When you’re stuck in a creative process, unfocus may also come to the rescue when you embody and live out an entirely different personality. In 2016, educational psychologists, Denis Dumas and Kevin Dunbar found that people who try to solve creative problems are more successful if they behave like an eccentric poet than a rigid librarian. Given a test in which they have to come up with as many uses as possible for any object (e.g. a brick) those who behave like eccentric poets have superior creative performance. This finding holds even if the same person takes on a different identity.

When in a creative deadlock, try this exercise of embodying a different identity. It will likely get you out of your own head, and allow you to think from another person’s perspective. I call this psychological halloweenism.

This is close to something I’ve done on occasion. I may have finished a draft and am doing the first read through. Something’s not working. I don’t know what.

I set it aside for awhile and do something unfocused: like pleasure reading, eating a Tommy Burger, or riding my bike. Then when I go back to it I think of a favorite author and pretend he’s looking over my shoulder at the draft. I have him say, “I think you need to ….” and just imagine what he would advise. It’s amazing how often this can break the logjam.

In light of all the science, then, I’ve determined to take a little more unfocus time on weekends.

I’ve also gotten more specific about how I spend my focus time. I’m a morning person. I like getting up while it’s still dark and pouring that first cup of java and getting some words down. I can write for two or three hours straight. But I’ve stopped doing that. I am forcing myself to take a break after 45 minutes of writing, to let the noggin rest a bit. Ten minutes maybe. Then back to work.

James Scott Bell—May 28, 2017

 

What is the subconscious? Novelist/writing instructor Dennis Foley reduces the definition to a simple, beautiful simile:

The subconscious is like a little seven-year-old girl who brings you gifts.

Unfortunately, our conscious mind is usually too busy to figure out the value of these odd thoughts and dismisses them as inconsequential, even nonsensical.

The risk is, if you ignore the little girl’s gifts, pretty soon she stops bringing them and you lose touch with a vital link to your writer’s imagination. But if you encourage her to bring more gifts, she’s happy to oblige.

Sometimes the little girl delivers the elusive perfect phrase you’ve been searching for or that exhilarating plot twist that turns your story on its head.

At those times, she’s often dubbed “the muse.”

The trick is how to consistently turn random thoughts into gifts from a muse. Here are eight tips:

#1 – Be patient and keep trying.

Training the subconscious to produce inspiration on demand is like housetraining a puppy.

At first, it pees at unpredictable times and places. You grab it and rush outside. When it does its business on the grass instead of expensive carpet, you offer lots of praise. Soon it learns there is a better time and place to let loose.

Keep reinforcing that lesson and your subconscious will scratch at the back door when it wants to get out.

#2 – Pay attention to daydreams, wild hare ideas, and jolts of intuition. Chances are your subconscious shot them out for a reason, even if that reason isn’t immediately obvious.

Say you’re struggling over how to write a surprise revelation in a scene. Two days ago, you remembered crazy Aunt Gretchen, whom you hadn’t thought about in years. Then you realize if a character like her walks into the scene, she’s the perfect vehicle to deliver the surprise.

#3 – Expect the subconscious to have lousy timing.

That brilliant flash of inspiration often hits at the most inconvenient moment. In the middle of a job interview. In the shower. Or while your toddler is having a meltdown at Winn-Dixie.

Finish the task at hand but ask your subconscious to send you a reminder later. As soon as possible, write down that brilliant flash before you forget it.

#4 – Keep requests small.

Some authors claim to have dreamed multi-book sagas covering five generations of characters. Lucky them. My subconscious doesn’t work that hard.

Start by asking it to solve little problems.

As you’re going to bed, think about a character you’re having trouble bringing to life. Miriam seems flat and hollow but, for some reason you can’t explain, she hates the mustache on her new lover, Jack. Ask your subconscious: “Why?”

When you wake up, you realize Jack’s mustache looks just like her uncle’s did…when he molested Miriam at age five.

Until that moment, you didn’t even know Miriam had survived abuse…but your subconscious knew. That’s why it dropped the hint about her dislike for the mustache. She becomes a deeper character with secrets and hidden motives you can use to complicate her relationship with Jack.

#5 – Recognize obscure clues.

This tip takes practice because suggestions from the subconscious are often oblique and challenging to interpret.

You want to write a scene where a detective questions a suspect to pin down his whereabouts at the time of a crime. You ponder that as you drift off to sleep. The next morning, “lemon chicken” comes to mind.

What the…?

But you start typing and pretty soon the scene flows out like this:

“Hey, Fred, you like Chinese food?”

“Sure, Detective.”

“Ever try Wang’s all-you-can-eat buffet?”

“That’s my favorite place. Their lemon chicken is to die for.”

“Yeah, it’s the best.”

[Fred relaxes] “But not when it gets soggy. I only like it when the coating is still crispy.”

“Right you are. I don’t like soggy either.”

“Detective, would you believe last night I waited forty-five minutes for the kitchen to bring out a fresh batch?”

“Wow, Fred, you’re a patient man. About what time was that?”

“Quarter to eight.”

“So you must have been there when that dude got killed out in the alley.”

[Fred fidgets and licks his lips] “Um, yeah, but I didn’t see anything. I had nothing to do with him getting stabbed.”

“Oh really? Funny thing is, nobody knows he got stabbed…except the killer.”

Lemon chicken directed you to an effective line of questioning to solve the crime.

Debbie Burke—February 5, 2019

***

  1. Have you tapped your dreams for you writing? If so, in what way?
  2. Do you give yourself a break and let your subconscious work it’s magic while you’re mentally elsewhere? Is there a particular activity, like talking a walk or a shower that helps in this?
  3. Do you listen to your inner “seven-year-old” and accept the gifts it has to offer your writing? Any tips on doing so?

***

There’s a sign above the library book drop: NO TRASH OR VIDEOTAPES. Meg never thought she’d have to add: NO DEAD BODIES.

It’s May 1985 and Meg Booker already has her hands full, what with running the busy Fir Grove branch library, helping her flaky actor brother with his latest onstage project, and caring for an orphaned kitten that shows up outside the branch.

Then a rare bank note goes missing at a library event, igniting a feud between two local collectors, and Meg thinks her life couldn’t get any more complicated… until a dead body turns up in the book drop room.

Racing against time, Meg must use all of her librarian skills to discover the real killer’s identity, before the police arrest her for the crime.

Book Drop Dead is the second title in the 1980s Meg Booker Librarian Mysteries series.  It’s available at the major ebook retailers via this universal book link.

Cozy Words of Wisdom

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Today Words of Wisdom takes a slightly self-indulgent turn to look at a personal favorite mystery sub-genre: the cozy.

I’m a fan of cozy mysteries, everything from Agatha Christie and Dorothy Sayers to books by authors like Joanna Fluke and Sara Rosette, and also greatly enjoy TV cozy mysteries such as Murder, She Wrote and Mrs. Sidhu Investigates.

I also write cozy mysteries, and in fact, just this week, I published the second book in my 1980s Meg Booker Librarian mystery series, Book Drop Dead.

With that that in mind, I present three excerpts from the Kill Zone archives dealing with different aspects of cozy mysteries. Kathryn Lilley discusses how she found her cozy voice. Elaine Viets differentiates between cozies and cutsies. Finally, Debbie Burke asks cozy mystery author Leslie Budewitz about dealing with difficult themes in cozies as well as differences in settings in cozies.

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.

Kathryn Lilley—January 20, 2015

First, what is a cozy?
A cozy is usually a mystery with no graphic sex, cuss words or violence. Generally, the murder takes place offstage. Dame Agatha is the queen of cozies, but Miss Marple is no pushover. “I am Nemesis,” the fluffy old lady announces, and relentlessly pursues killers.
Conan

Doyle’s Sherlock Holmes mysteries are not cozies, though they have many of the same elements. Sherlock has a hard edge to him, and some of his stories, like “The Man With the Twisted Lip,” border on noir. Doyle, like Grafton and Sayers, writes traditional mysteries, but they aren’t considered cozies. You’ve lumped a lot of traditional novels together under the cozy umbrella. Traditional mysteries play fair – they give readers all the clues, though they may be cleverly disguised. You may be writing a traditional mystery. The “cutesies” that you object to are simply one branch of the cozy sub-genre.

The so-called “cutesies” exist for one reason: They sell.
Amazon does not waste space on books that don’t move. Many readers love to read about knitters, cookie bakers, candy makers and florists who solve murders. In fact, the more arcane the sleuth’s profession, the better. There are cozies about pickle shops, jam shops, antique shops, plus tea, chocolate and coffee shops galore.
The readers for these cozies are primarily women.

And that leads us to another issue: Books by women cozy authors are often relegated to the pink ghetto. They are given a cute title, a cartoon cover featuring high heels, lipstick, or maybe a cat (and never underestimate the importance of cats in cozies) and sent out into the publishing world with little or no support – and I’m not talking about lingerie. Some of the cozy mysteries published by major houses don’t even rate their own press release. They get a “group release” with three or four other similar cozy authors.

This problem exists for many books written by women. The Boston Globe wrote about a Radcliffe alumni panel on women’s fiction. The article said: “Women of letters have been marginalized since the dawn of Western literature. It is nonetheless surprising that this predicament remains so entrenched. In a yearly study VIDA, an organization for women in the literary arts, reliably finds that major publications still carry more male bylines and cover more books authored by men.

“Although their impact is unquantifiable, book covers certainly have something to do with this disparity. Marketing affects the way readers of both genders perceive the artistic merits of a book. Stereotypically feminine signifiers— a lipstick tube, a woman’s naked back — can inadvertently disqualify a novel from the world of serious literature.”

Elaine Viets—April 16, 2018

 Question: Although you write cozy mysteries, you also tackle serious themes. How do you balance the lighthearted tone of a cozy with grim issues like homelessness and family dysfunction?

Leslie: Any mystery—any novel—depends on conflict, some internal, some external. Those conflicts often arise from the world around us, whether it’s family tension or a dispute over whose turn it is to beg on a particular street corner. Other cozy authors have tackled social justice issues as well—Cleo Coyle, Elaine Viets, and Diane Mott Davidson among them. The trick in a cozy, I think, is to explore the emotions and motivations that the issues raise and make sure that the external actions flow from those internal tensions, because a cozy is ultimately about the personal impact of a crime and the community response to it.

I tend to use an ABC plot structure, with the murder the A or primary plot, the protagonist’s relationships the B or main subplot, and life in the shop or community the C or secondary subplot. That keeps the balance, I hope, and allows me to sneak in some humor and lighter moments while giving the murder the respect it deserves.

Question: The Spice Shop series is set in Seattle; the Food Lovers’ Village series takes place in a tiny Montana town. Can you talk about the differences in handling urban vs. rural settings? Do the personalities of your big city characters differ from those in a small town? 

Leslie: To me, the heart of a cozy is community, and the role of the amateur sleuth is to probe and protect it. That makes a small town a natural setting. An urban cozy works when it is set in a community within a community—the Pike Place Market and Seattle’s restaurant community, or Coyle’s Greenwich Village coffee house and the coffee business in NYC.

On the flip side, small-town series are prone to Cabot Cove Syndrome—after a while, there’s no one left to kill! You can root the conflict in the town, bring it in from outside, or create a clash between locals and visitors. An urban setting makes a high crime rate more credible, and allows you to move around the various neighborhoods of a city, although you have to simplify geography and keep the protagonist’s home or shop at the center.

As for differences in personalities, that’s a great question and not one I’d considered. Both my main characters grew up where they now live and identify deeply with their communities. Erin Murphy in the Village series left for 15 years before returning; that’s a common story, especially in Montana; it’s my story, and I’m enjoying exploring it through her eyes

Debbie Burke—December 11, 2018

There you have, three aspects of the cozy mystery genre.

  1. Do you read cozies? If so, what are some of your favorites?
  2. How do you arrive at a voice for your characters, whether that’s cozies or something gritter?
  3. What do you see as the appeal of cozies? Do you see cozies as beginning to break out of the “pink ghetto” as described by Elaine?
  4. What do you think of Leslie’s A-B-C plot structure? Do you agree that the heart of a cozy is community (spoiler: I certainly do)?

***

There’s a sign above the library book drop: NO TRASH OR VIDEOTAPES. Meg never thought she’d have to add: NO DEAD BODIES.

It’s May 1985 and Meg Booker already has her hands full, what with running the busy Fir Grove branch library, helping her flaky actor brother with his latest onstage project, and caring for an orphaned kitten that shows up outside the branch.

Then a rare bank note goes missing at a library event, igniting a feud between two local collectors, and Meg thinks her life couldn’t get any more complicated… until a dead body turns up in the book drop room.

Racing against time, Meg must use all of her librarian skills to discover the real killer’s identity, before the police arrest her for the crime.

Book Drop Dead is the second title in the 1980s Meg Booker Librarian Mysteries series.  It’s available at the major ebook retailers via this universal book link.

Are Writing Contests Worth It?

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Photo credit: Danny Howe-Unsplash

by Debbie Burke

@burke_writer

I’ll confess right up front. I like writing contests. A lot. 

They’re not for everyone but they’ve helped my career.

Why enter writing contests? Here are six reasons:

  1. Contests are incentives to finish your work and submit it to the outside world;
  2. Some offer valuable critique and feedback;
  3. Encouragement, recognition, and validation;
  4. Money and/or prizes;
  5. Awards help marketing;
  6. Intangible rewards.

Writers are often timid about sending their stories out into the world.

Contests however aren’t quite as scary as cold-submitting to agents and editors. You pay an entry fee and judges read your short story, novel excerpt, or screenplay. Some contests offer critiques to improve your craft and pinpoint what needs work.

If you don’t win, heck, neither did most other entrants so it’s not that humiliating.

Photo credit: Museums Victoria-Unsplash

If you do win, terrific! That recognition boosts confidence and increases credibility when you approach agents and publishers.

There are many reputable contests, but others are questionable or downright dodgy. 

Please note: contests mentioned in this post are not endorsements or recommendations.

Contests may be opportunities for the sponsor to expand their mailing list, offering their advertising and marketing services.

Some competitions require the author to give up all rights to their work. What happens if you create a character who later becomes a merchandising goldmine? Depending on contest terms, your earnings may be limited to a  one-time cash prize with no rights to future royalties. Victoria Strauss’s article cites a contest that solicits writers who want to become Manga scriptwriters. She writes:

Copyright surrender in a work-for-hire situation isn’t necessarily a “beware”, as long as the contract terms aren’t exploitative and you understand the implications of what you’re agreeing to.

In this case, however, the one-time money prize is the sole compensation you’ll receive for your copyright transfer, from which [the sponsor] can then profit indefinitely. Be aware also that if you win and your script does not get developed into a series, [sponsor] will still own your work. Winning, therefore, has potential benefits–but also potential costs.

Before entering, check out contests with reliable sources like Writer Beware, The Write Life, Poets & Writers, ProWritingAid (this list is a year old and may be out of date), Kindlepreneur, Alliance of Independent Authors (ALLi).

Run a Google search entering “[name of contest] scam” and look for red flags.

Before entering, always, always, always read the fine print.

What about entry fees? They typically range from free to $100+.

High entry fees raise questions:

  • Is the contest’s purpose to recognize excellence?
  • Or is this another scheme to take advantage of writers?

Valid reasons for higher fees are:

  • Pay honorariums to judges;
  • Fund prizes;
  • Support nonprofit organizations that help writers.

Research the contest, then use your own judgment whether or not the fee is worth it.

On the other end of the spectrum, “free” isn’t necessarily free.

You’ve seen the ads in magazines and online popups. Aspiring writers, especially poets, are seduced by dreams of publication and thousands of dollars in prizes.

Reality check: nobody, nowhere, nohow pays big bucks for poetry.

But it doesn’t cost anything so why not?

When you enter these contests, sponsors are thrilled to notify you that your outstanding poem was one of a select few that will be featured in their anthology. And…a beautiful gold-embossed hardcover with your published poem only costs $59.95. You can proudly pass this heirloom down to your grandchildren. In fact, buy a copy for each grandchild! And the rest of your family, and friends, and neighbors, and coworkers, and the mail carrier…

You get the idea. Such contests have endured for generations. Why? Because they make money from the dreams of writers who are hungry to be published.

Many legitimate contests are out there. Here’s the Urban Writer’s list of most prestigious awards.

Contests affiliated with writing organizations and conferences can be great career springboards because judges are often agents and editors. Examples:

Speaking of judges, here’s a little-known trick to give you insight into contests.

Volunteer to be a judge.

You don’t have to be Margaret Atwood or Dean Koontz to judge. Some writing organizations actively solicit their members to be volunteer judges. If you are a member of a group, you may qualify.

Reading and assessing entries takes a lot of time. Some contests pay small honorariums.

A few contests I’ve judged are Rocky Mountain Fiction Writers, Pikes Peak Writers, Authors of the Flathead Student contest, etc. Several TKZers have judged the Edgars, Agathas, and Nebulas. Please chime in with your experience.

As a judge, you’ll receive score sheets of criteria that show exactly what qualities and skills contests are looking for. Not coincidentally, those are the same qualities and skills editors and agents seek.

Scoring may be done numerically, by written critiques, or a combination of both.

As a judge, you gain a much broader perspective than the writer’s often-narrow point of view.

After reading a few entries, you notice a wide disparity among them, ranging from:

  • Downright awful, sloppy ones that weren’t even run through spellcheck;
  • Grammar? I don’t need no stinkin’ grammar;
  • Needs work but shows promise;
  • Professionally presented with competent writing skills but not compelling or imaginative;
  • A very few are OMG WOW!!!

Reading entries gives you a taste of what editors and agents go through every day when reviewing submissions. That added insight will help you pitch and submit more effectively.

Especially study the OMG WOWs. Figure out what the author did and how they did it. Learn from their strengths. Analyze how they handle pacing, point of view, and critical scenes. What makes their voice special and unique? How do they create a character you’re eager to spend time with and get to know better?

Then apply those lessons to your own writing.

My personal experience with contests began in the 1990s, when I entered the Colorado Gold contest, sponsored by Rocky Mountain Fiction Writers. I won the mystery category. As a result, an agent at the conference offered representation. Although we later parted ways and that book was never published, winning the contest was a major boost for my career that led to freelance work, editing jobs, and great friendships (more about intangible rewards in a minute).

In 2016, I entered the contest sponsored by the Pikes Peak Writers Conference. My thriller, Instrument of the Devil, won the mystery/suspense category.

Momentum from that propelled me to enter the Kindle Scout contest, sponsored by Amazon. Book excerpts were posted online, and readers voted for ones they wanted to see published. IOTD was selected. I received an advance and Kindle Press published the book that became a bestseller in Women’s Adventure. I

I was on my way to fame and fortune, right?

Uh, no. A few months later, Amazon closed down the Scout contest and the Kindle Press imprint was shuttered, leaving me orphaned.

But I’ll always remember they gave me that opportunity and I’m grateful.

My other books have been finalists for the Eric Hoffer award (Flight to Forever) and Best.Thrillers.com (Until Proven Guilty).

Can you tell I like contests?

Most recently, I entered my latest thriller Deep Fake Double Down in the BookLife Prize contest sponsored by Publisher’s Weekly for indie books.

The contest receives hundreds of entries in five categories: general fiction, romance, YA, sci-fi/fantasy/horror, and mystery/thriller. Entry fee of $119 is high but includes a critique that authors are free to use for their own promotion.

The grand prize is $5000. Finalists in each category receive a $1000 marketing package.

Photo credit: Joyful-Unsplash

 

In November, Deep Fake Double Down advanced from quarterfinals to semifinals. Yaay!

Then in December I learned DFDD was the mystery/thriller finalist. BookLife magazine featured interviews with each of the genre finalists.

Although I don’t generally count my chickens until they’re fried, I started to fantasize about how I’d spend $5000. Hire a publicist for dreaded marketing. Go on book tours. Attend Thrillerfest in NYC.

 

Well…

Deep Fake Double Down didn’t win the grand prize. The winner was Downpour, a horror novel by Christopher Hawkins. I just read it and it’s beautifully written, compelling, and terrifying, Congratulations, Chris!

Bu I gotta confess a little envy. I really would’ve liked to attend Thrillerfest.

However, I’ll still receive the $1000 marketing package. In the long run, that might be more valuable since I need all the help I can get with marketing.

Now, about those intangible rewards I mentioned earlier. Through contests, I’ve met writers who became friends, made lasting contacts with editors and agents, received invitations to speak, etc. When you put your work out in the world, you never know where it may take you.

Back in the ’90s when my book was a finalist for Colorado Gold, I flew to Denver for my first Rocky Mountain Fiction Writers conference. At that time, it was biggest writing event I’d ever attended. I was intimidated, not knowing a soul among 400+ attendees. 

One of the anonymous judges had scored my book a perfect 10. At the conference, I learned her name was Julie Kaewert, author of the Alex Plumtree series and a novelization of The Avengers movie. She graciously introduced me to many fellow mystery authors and her critique buddies who made me feel welcome and right at home.

At the banquet dinner, winners were announced in various categories and all received applause.

Then my name was announced. Wild whoops, hollers, and whistles erupted from tables full of my new friends.

I turned redder than the tomatoes on the salad.

I still cherish the memory.

From that contest, close friendships were born that endure to this day. Several became trusted critique partners and beta readers.

Contests give me much-needed reassurance that writing is worthwhile in spite of disappointments and setbacks. 

Are contests good for you? Enter a couple and find out. Then come back to TKZ and share your news.

A big thank you to Elaine Viets who suggested this post!

~~~

TKZers: What contests have you entered? Did they change your writing? Which contests do you recommend?

~~~

Read the mystery/thriller finalist for the BookLife Prize at this link.

Rejected! Rejection Letter Words of Wisdom

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Any writer who puts their work “out there”, either submitting to various markets, or by self-publishing on various platforms, will be familiar with rejections. They go with the territory. I earned my first rejection letter forty years ago (!) when I made my first short story submission while still in college, to the Magazine of Fantasy and Science Fiction. It was a form rejection.

Two years later, I received a personal rejection from Amazing Stories Magazine for my story, “Love Through Eating Illegals,” which posited a future where chocolate had been banned because of a particular chemical found in cocoa, and the anti-hero of the story was burgling houses trying to find hidden caches. (I’ll admit the idea of a world where chocolate is banned is almost too horrible to contemplate.)

The rejection letter, from editor George Scithers, spelled out why he rejected the story—namely, there wasn’t much of a story and what there was didn’t really work. He was absolutely right. It took me many more years and much study of fiction craft and a lot more writing to finally earn my first story acceptance for a story called “Dead Wife Waiting,” but those early rejection letters started me on the path.

Self-publishing has its own form of rejection, namely a lack of sales, readers, and/or reviews, which, like any kind of publishing rejection, can be learned from.

Today’s Words of Wisdom tackles rejection, and shows how it can help you become a better writer. As usual, the full articles are linked at the end of their respective excerpts and well worth reading in full. I hope they inspire you and also start a discussion here about turning rejection to your advantage.

I’m familiar with rejection. Before my first novel was published I wrote four books that went nowhere. I received rejection letters from every major publisher in the industry and a hell of a lot of minor ones too. (And because this record of rejection dates back to the late Eighties, some of them were actual letters rather than e-mails. Typed on paper, for crying out loud!) The rejections that hurt the most were of the “It’s good, but…” variety. You know what I mean: It’s well-written, but I didn’t like the characters. It starts well, but I lost interest. I liked the book, but I didn’t love it.  Or the worst: I loved the book, but it’s not right for us.

I hated those letters. My reaction was: If you like it so much, why don’t you just publish it? In my disappointment, I wondered whether the compliments were sincere. Perhaps the editors actually disliked the book but were trying to soften the blow. In a perverse way, I almost hoped that the praise was false. If it was genuine, that meant I’d come close to success but fallen short, which was more frustrating than missing by a long shot.

In retrospect, I realize how wrongheaded my reasoning was. First of all, I’ve learned that book editors are outrageously busy people. The notion that they’d take the time to invent a compliment seems so ludicrous now. I’ve also realized there are many valid reasons for rejection that have nothing to do with the quality of the novel. The publisher may have too many books on its list already. Or perhaps the imprint rejects a manuscript because it just published something similar and it didn’t sell very well. Publishing is a business, after all. An editor can afford to make a few money-losing bets, but not too many.

But my worst mistake was ignoring the obvious message of those letters: You’re getting close! You should keep trying! Now I see that receiving one of those “It’s good, but…” rejections is the equivalent of hitting the green outer ring of the bull’s-eye on a dartboard. If you can consistently hit that ring, then it’s just a matter of time before you’ll land within the inner circle and win the big prize.

Mark Alpert—February 9, 2013

 

Before self-publishing became viable, when you got rejected it truly tested your mettle. First novels almost never got picked up by an agent or publisher. And most of the time they never told you why. Just something like, “Does not fit our needs at this time.”

This would sting for a few days. Maybe you’d throw things around and think, “I just don’t have what it takes!” But if you were a real writer you’d get back to work. You’d figure out (with help from others) what was wrong with your writing. You’d study the marketplace. If you were wise, you’d study the craft, too. Maybe join a critique group, go to a conference or two or three. Invest in yourself.

Most important of all, you would continue to write. And then maybe two or three or five years later an agent would take a chance on you. And another year or two later, you might land that first contract. And then eighteen months later, your book would hit the stores.

And you would discover the truth behind Martin Myers’ keen observation: “First you’re an unknown, then you write one book and you move up to obscurity.”

Yet all that rejection and heartache and sticktoitiveness made you a better writer. Which, in turn, increased your chances of having an actual career.

So if you’re a brand new writer with a brand new novel (and a lot of you will be at the end of this NaNoWriMo month), go out and get some rejection. Use the beta reader grinder system. Seek open and honest opinion. Take the chip off your shoulder. Consider hiring a freelance editor. Start thinking like a business. Set up quality controls.

Heck, spend a month studying our library of first-page critiques. Talk about a concentrated course on storytelling!

Sure, you can skip all that and toss your novel up on Amazon, where it will get rejected by the people you most need—readers.

Or you can be a little patient, work hard, listen and learn and improve, and greatly increase your chances of success.

James Scott Bell—November 12, 2017

 

There is a hierarchy of rejections–a ladder to climb:

Rung #1 – Unsigned form letter: “This does not meet our needs at this time.”

Rung #2 – Unsigned form letter: “This does not meet our needs at this time but please try us again.”

Rung #3 – Same form letter with a handwritten note (unsigned): “This is good. Do you have anything else?”

Rung #4 – Personal letter: “Good story but too similar to one we recently published. I like your writing. Send more.” Actual editor’s signature.

Rung #5 – Personal letter signed with editor’s first name. Now we’re buddies.

With today’s electronic submissions, the process is similar, just faster and cheaper without the cost of postage and printing.

But the process still requires climbing the rungs.

Finally you clamber onto an exciting but scary roof with a steep pitch. The editor/agent likes the sample chapter and asks for the whole manuscript. Get a toehold on the rain gutter.

A month or five later, the rejection says: “This is good BUT…”

Fill in the blank with:

“Characters felt inconsistent.”

“The climax didn’t live up to expectations.”

“I just didn’t love it enough.”

Etc.

Slide down the roof a bit but hang on with fingernails.

Rewrite and submit more. Inch up the shingles. 

“All the editors loved it but the marketing department doesn’t think they can sell it.”

At last, you reach the peak of the roof when you receive a long, detailed, personal letter with specific suggestions.

In December, I received the most beautiful rejection of my entire career (and I’ve received hundreds!). I couldn’t even be unhappy when I read the following:

“Several of us read it and we all enjoyed your fresh, exciting take on a thriller—particularly the way you used the genre to explore the very real issue of elder fraud. There are several striking scenes that are seared in my memory (especially that late-night rescue in the snowstorm!). We thought you developed Tawny and Moe’s relationship with great sensitivity and nuance, and this in turn made Moe’s shifts between lucidity and violence a more emotional experience for readers. Unfortunately, we had difficulty connecting as deeply to Tawny—it often felt like she was kept at a remove from us. For this reason, despite our admiration for your writing and the compelling and dynamic world you’ve created, we don’t think we’re the right publisher for your book. I’m sorry not to have better news. Thank you so much for the opportunity to read and consider STALKING MIDAS, and best wishes in finding the right home for it.”

It felt like the editor had sent me a dozen roses! 

When you tell civilians (non-writers) about the wonderful rejection you received, they usually draw their chins back and look down their noses. “You got rejected and you’re happy?”

Only other writers understand the irony of a rave rejection.

What do rejections really mean?

You’re in the game.

What do rave rejections mean?

Publication is in your future.

Debbie Burke—September 3, 2019

***

Now it’s your turn.

  1. What have you learned from receiving a rejection, and how have you used it to improve your writing?
  2. Have you ever received a “rave rejection,” and how did it affect your outlook?
  3. Any advice on handling rejection?

ChatGPT Goes to Court

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By Debbie Burke

@burke_writer

The day after Jim’s recent post about AI and ChatGPT, I ran across an article about what could possibly go wrong.

In a case before the U.S. District Court, Southern District of New York, Mata v. Avianca, Inc., the plaintiff’s attorney submitted a motion to dismiss based on research cites from ChatGPT.

One problem: the court discovered the cases cited didn’t exist.

According to an affidavit filed by attorney Peter LoDuca, the law firm of Levidow, Levidow, & Oberman, PC represented Roberto Mata in a personal injury case against Avianca, Inc. for injuries allegedly sustained by Mr. Mata as a passenger on Avianca Airlines. Another attorney with 30 years of experience, Steven Schwartz, used ChatGPT to conduct research to support the motion to dismiss.

Chat GPT turned up the following cases:

Varghese v. China Southern Airlines Co, Ltd, 925 F 3d 1339 (11th Cir 2019); Shaboon v. Egyptair, 2013IL App (1st 111279-U (IL App Ct. 2013); Petersen v. Iran Air, 905 F. Supp 2d 121 (D.D.C. 2012); Martinez v. Delta Airlines, 2019 WL 4639462 (Tex. App. Dept. 25, 2019); Estate of Durden v. KLM Royal Dutch Airlines, 2017 WL 2418825 (Ga. Ct. App. June 5, 2017).

According to an affidavit by Mr. Schwartz, he “has never utilized Chat GPT as a source for conducting legal research prior to this occurrence and therefore was unaware of the possibility that its content could be false.”

Attached to the affidavit is the following transcript:

ChatGPT transcript:[Q:] ls varghese a real case

[A:] Yes, Varghese v., China Southern Airlines Co Ltd, 925 F.3d 1339 (11th Cir. 2019) is a real case.

[Q:] What is your source

[A:] I apologize for the confusion earlier. Upon double-checking, I found that the case Varghese v. China Southern Airlines Co. Ltd., 925 F.3d 1339 (11th Cir. 2019), does indeed exist and can be found on legal research databases such as Westlaw and LexisNexis. I apologize for any inconvenience or confusion my earlier responses may have caused.

[Q:] Are the other cases you provided fake

[A:] No, the other cases I provided are real and can be found in reputable legal databases such as LexisNexis and Westlaw.”

Apparently ChatGPT wasn’t under oath. The cases were not found.

Mr. Schwartz’s affidavit states that he “greatly regrets having used generative artificial intelligence” and “had no intent to deceive this Court or the defendant.”

On May 4, 2023, U.S. District Judge P. Kevin Castel issued an order to show cause that stated:

Six of the submitted cases appear to be bogus judicial decisions with bogus quotes and bogus internal citations…Set forth below is an Order to show cause why the plaintiff’s counsel ought not be sanctioned. 

There are numerous documented cases of ChatGPT “hallucinations,” a polite euphemism for bovine excrement.

The headline of an April 3, 2023 article in Bloomberg reads: “AI Doesn’t Hallucinate. It Makes Things Up.” According to a January 17, 2023 article in Datanami.com, “making stuff up” occurs an estimated 15 to 20% of the time.

Here’s another incident involving lawyers. On May 10, 2023, NewRepublic.com conducted an interview with Will Oremus, a reporter for the Washington Post. According to Will, a law professor asked ChatGPT to come up with a list of lawyers who had sexually harassed someone. Will describes the results:

ChatGPT spits out this list of lawyers, and it not only gives names, but it gives citations, which is really helpful. You can look up the stories about when they were accused of sexually harassing people. And the lawyer who gets the list is looking through it and he recognizes one of the names: Jonathan Turley. He’s a pretty prominent lawyer. The guy who was looking it up, Volokh, says, “Well, that’s odd. I don’t remember that controversy.” And so he follows the citation and it actually cited a Washington Post story about the supposed incident, and it doesn’t exist. It’s just completely fabricated out of thin air. So he emails Turley and says, “Hey, did you know ChatGPT is accusing you of sexually harassing a student on a trip?” It was very detailed, right? A trip to Alaska. It sounded like the thing you wouldn’t make up, but in fact, ChatGPT did make it up.

How could this happen? One theory is that, as AI scrapes data, it seeks out search terms, keywords, and names that are linked on the net. Using those search connections, it then creates a story that sounds plausible although it could be false.

Will opines:

Turley has been in the news as a commentator on stories about sexual harassment in the legal profession. His name was in articles that have the words lawyer, and sexual harassment. And that’s probably how it came up with him doing this in the first place.

Here at TKZ, many comments have been critical about AI’s attempts to write fiction, calling them soulless and without emotion.

However, unfortunately it appears to do a convincing job of incorporating fiction into what is supposed to be nonfiction.

Would you call ChatGPT an unreliable narrator? 

~~~

Taking this a step further, as crime writers, we do some pretty unconventional searches.

TKZers: Are you concerned AI might inaccurately connect you with topics that you’re researching? For instance, serial killers, poisons, explosive devices, kidnapping, etc.

~~~

 

Although AI is the subject of my new thriller, Deep Fake Double Down, no AI was used to write the story. Please check out what 100% human imagination can make up.

Amazon sales link   

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Three Different Sorts of Readers

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I’m at the tail end of revising my cozy mystery (AKA “crunch time”), having gone over the helpful feedback from my beta readers, and preparing the novel for my copy editor, which inspired today’s trifecta of Words of Wisdom from the Killzone archives. Not only is what we write read by book buyers and library patrons, but our fiction can also be read by fellow writers in a critique group, and by copy editors going over our novels before publication.

First up is an excerpt from James Scott Bell’s 2015 post on The Five Laws of Readers, followed by another 2015 excerpt, this one from Debbie Burke on critique groups, and finishing with one from John Gilstrap’s 2019 post which provides a rundown on copy editing.

As always, check out the full posts, which are date-linked at the end of their respective excerpts.

 

  1. The reader wants to be transported into a dream

Fiction writers often hear from agents and editors that a reader wants an “emotional experience” from a novel. Or to be “entertained.”

True, but I don’t think those go far enough. What a reader really and truly longs for is to be entranced. I mean that quite literally. The best reading and movie-going experiences you’ve ever had have been those where you forgot you were reading or watching, and were just so caught up in the story it was like you were in a dream.

It’s like one of my favorite shows as a kid, Gumby. Remember Gumby and Pokey? (If you want to keep your age a secret, don’t raise your hand).

My favorite part of any episode was when Gumby and his horse jumped into a book, got sucked inside, and became part of the story world. I wanted to do that with the Hardy Boys. Jump in and help Frank and Joe solve the mystery.

The point is, when you read, you want to feel like Gumby, like you’re inside the story, experiencing it directly.

Hard to do, writer friend, but who said great writing was easy? Maybe a vanity press or two, but that’s it.

When I teach workshops I often use the metaphor of speed bumps. You drive along on a beautiful stretch of road, looking at the lovely scenery, and you “forget” that you’re driving. But if you hit a speed bump, you’re taken out of that experience for a moment. Too many of those moments and your drive becomes unpleasant.

One reason we study the craft is to learn to eliminate speed bumps, so the readers can forget they’re driving and just enjoy the ride.

  1. The reader is always looking for the best entertainment bang for the buck

In this, readers are like any other consumer. If they are going to lay out discretionary funds on something, they want a good return on that investment. Their judgment is based on expectations and experience. If they have experienced a writer giving them wonderful reading over and over, they will pay a higher price for their next book.

If, on the other hand, a writer is new and untested, the reader wants a sampling at a low price, or free. Even then, however, they desire to be just as entertained as if they shelled out ten or twenty bucks for a Harlan Coben or a Debbie Macomber.

That’s a challenge all right, and should be. But here’s the good news. If a reader gets something on the cheap and it enraptures them, you are on your way to a career, because of #3, below.

  1. If you surpass reader expectations, they will reward you by becoming fans

Fans are the best thing to have. Fans generate word of mouth. Fans stay with you.

So your goal needs to be not just to meet reader expectations, but surpass them.

How?

By doing everything you can to get better, write better. To do what Red Smith (and NOT Ernest Hemingway) said. You just sit down at the keyboard, open a vein, and bleed.

That’s not just romanticized jargon. It’s what the best writers do, over and over again.

So what if you don’t reach that high standard with your book? No matter. You book will be better for the trying, and you’ll be a better writer, and you next book will be better yet.

Jump on that train, and stay on it.

James Scott Bell—January 18, 2015

 

What are critique group strengths?    

Support – A CG provides much-needed camaraderie in this oft-lonely business. They throw us a lifeline when we get discouraged, nag us when we’re slacking off, and lend a shoulder to cry on when we receive rejections. They serve as our cheerleaders, therapists, and comrades in the trenches. They’re the first ones to open champagne for our successes. CG members are not only writing colleagues, they often become close friends. We develop a high level of trust and respect for each other, both professionally and personally.

Brainstorming – Here, critique groups really shine. If two heads are better than one, six or eight heads are exponentially better at throwing out suggestions. Feeding off each others energies and ideas, CGs solve many dilemmas that stymy a writer. I can’t count the number of dead ends CGs helped me work through.

Accountability – CGs exert pressure, either subtle or overt, to produce a certain number of pages for each session. They act as a de facto deadline for writers who don’t yet have an editor or agent breathing down their neck. If you show up empty-handed, you’re not meeting your obligation. Dozens of times, I’ve heard writers say, “I wouldn’t have written anything this week, except I needed to submit to the group.”

What are some CG limitations?

Diagnosis – CGs generally do a good job of homing in on a manuscript’s weak spots. If two or more people mark the same passage, you should pay attention. But while they recognize there is a problem, they can’t always diagnose exactly what it is or how to fix it. If CG suggestions don’t help enough, consultation with a developmental editor may be worthwhile.

Overlapping relationships – CG friendships may cloud our judgment of the story. A member of my group, psychologist Ann Minnett (author of Burden of Breath and Serita’s Shelf Life) recently offered a perceptive observation: “When I read A’s chapter, I hear her voice and accent. When I read B’s chapter, I think of her sense of humor, and can’t help but laugh.”

Which made me wonder…Does your CG like your story or do they like you?

When you’re face-to-face with your friends, you hear her charming British accent, see his playful wink. However, when a book is published, most readers will never meet the author, meaning the words must shoulder all the work. They need to be effective by themselves, without explanation or amplification.

Here is where online CGs might give a clearer, more “book-like” perspective. Without personal, visual, or auditory cues, their effort focuses entirely on the words.

Time constraints – My CG meets every two weeks, submitting 15-20 pages per session. At that rate, reviewing a novel-length manuscript takes six months to a year. By the time the group reaches the climactic chapter on page 365, no one remembers a subtle, but important, clue on page 48 that set up the surprise twist. This piecemeal approach is the most vexing limitation I’ve experienced with CGs.

Micro vs. Macro View – A corollary to the time constraint problem is the micro view by a CG. They examine your 20 pages per week and help polish each passage till it shines. When you string all these perfect chapters together, the resulting book should be excellent. Right?

Not necessarily. Close examination under the CG microscope may not adequately address global issues of plot development, pace, and momentum that require a macro view from an airplane.

Debbie Burke—November 17, 2015

 

Appropriate use of commas seems random to me and the commas themselves complicate language.  For example, the copy editor changed this sentence to include commas that I did not: “He and his brother, Geoff, were being driven . . .”  To my eye and ear, the meaning is clear without the commas, but I let it go because they tell me they’re correct.  (That comma before but shouldn’t be there either, should it?)

Then there’s this edit: “. . . scrolled through his contacts list, and pressed a button.”  Why? What does that comma do that its absence does not?  Aargh!

Comma Splices

First of all, I didn’t know that a comma splice was even a thing.  Here’s the note, verbatim, from the copy editor:

“There are some comma splices in the book, where two complete thoughts, that is, separate sentences, are separated by commas rather than periods.  Some people accept this in dialogue but not in descriptive text.  I have highlighted those I found like this (word-comma-word highlighted) so you can see where they are and decide what to do.  In many cases, the comma splice can be fixed by adding “and” or “but” after the comma.”

Here’s an example of what he’s talking about: “Questions never changed bad news, they only slowed it down.”  For me, it’s about the rhythm of the sentence and I think the passage flows better with the comma instead of a period.  Apparently, I do this quite a lot.  In most cases, I kept the passages as I originally wrote them.

Another example: “Their mom was just arrested, their dad is dead.”  The “and” is silent and I think the sentence is better for it.

Now, don’t get me wrong.  I clearly need a good copy editor, and this one (the same as I had for Total Mayhem) is very good.  He’s just going to have to get used to me not comprehending the role of the comma.

With every set of copy edits, I also receive a “style sheet” that gets deeply into the weeds of my writing style, and that of the publisher.  The sections of the style sheet include:

Characters (in order of appearance).  With each character comes a brief description, based upon what I wrote in the book.  Here’s an example: Soren Lightwater: head of Shenandoah Station, smoker’s voice, mid-forties, built like a farmer, more attractive than her voice;

Geographic Locales (in alphabetical order).  Here again, there’s a brief description of the role the location plays in the story.  For example: “Resurrection House/Rez House, in Fisherman’s Cove, on Church Street, up the hill from Saint Kate’s Catholic Church, on the grounds of Jonathan’s childhood mansion;

Words Particular to Text.  Examples include A/V (audio-visual), ain’t, Air Force One, all-or-nothing deal, asshats . . .

John Gilstrap—November 20, 2019

***

  1. What else do fiction readers want? How much do you think about what readers want when putting together a story or a novel?
  2. Have you been in a critique group? Any tips?
  3. If you use a copy editor, what sorts of things do they help you with, beyond catching typos and missing words?

Tis the Season for Holiday Words of Wisdom

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One of my favorite times of year is almost here—the stretch of days from Christmas Eve through New Year’s Day. Here in the Pacific Northwest, we can have rain, frost,  snow, even clear and sunny weather. A special time of year to spend with friends and family. Today it’s my good fortune to share past holiday-themed insight and advice from members of our Kill Zone Blog family.

First, Jordan Dane provides “Holiday Food for thought on character conflicts, with great advice on finding and deepening those conflicts. Then, P.J. Parrish asks if your “Book is a Christmas Sweater” in the description department, and discusses how to dress your writing for success. Finally, Debbie Burke gives “Five New Year’s Techniques On Avoiding Butt-in-Chair Syndrome” from 2018.

I encourage you to check out the full posts for each (date linked below) and comment on them. I hope they provide an inspiring basis for discussion today.

What does your character want and why can’t they have it? Conflict is vital to creating memorable characters. No conflict(s), no story. I can’t emphasize this enough. If there is a common mistake many aspiring authors make, it’s not having enough conflict to keep a story flowing through to the end that will drive the characters and keep their story interesting.

Your EXTERNAL CONFLICT might be the villain or the insurmountable situation, but the most unforgettable characters will also contend with their own flaws or biases (INTERNAL CONFLICTS) or demons, so they have a journey toward self-discovery. If you have a hero who is in conflict with a villain, while he’s battling his own demons, then think about creating a heroine who has opposing conflicts where one of them must lose in order to be together. Conflicts are best when layered and made more complicated.

Find your characters’ greatest weaknesses or fears—their internal conflicts—and demand they deal with it. Torture them. It’s legal. Rubbing their nose in it generally comes from the influences of the external conflict—the plot. The one-two punch of the external and internal conflicts adds depth to your character. Make him/her suffer, then ramp up the stakes and the tension. It’s all about drama!

Add Depth to Each Character—Give them a journey
• With any journey comes baggage. Be generous. Load on the baggage. Give them a weakness that they’ll have to face head-on by the climax of the book.

  • Make them vulnerable by giving them an Achilles Heel. Even the darkest street thug or a fearless young girl with magical powers should have a weakness that may get them killed and certainly makes them more human and relatable.
  • Whether you are writing one book or a series, have a story arc for your character’s journey that spans the series. Will they find peace or love, or some version of a normal life? Will they let someone else into their lives or will they be content to live alone? Will a villain have a chance at redemption? Do what makes sense for your character, but realize that their emotional issues will cloud their judgment and affect how they deal with confrontations. By the end of a book, they should learn something.

Use Character Flaws as Handicaps
• Challenge yourself as an author by picking flaws that will make your character stand out and that aren’t easy to write about. Sometimes that means you have to dig deep in your own head to imagine things you don’t want to think about, but tap into your empathy for another human being. You might surprise yourself.

  • Stay true to the flaws and biases you give your characters. Don’t present them to the reader then have the actions of the character contradict those handicaps. Be consistent. If they have strong enough issues, these won’t be fixed by the end of the book. Find a way to deal with them.

Jordan Dane—December 6, 2018

So how do you find your happy medium? How do you know when you’ve gone too far or haven’t gone far enough? How do you resist gilding the lily? There are no easy answers but here are a few things to think about:

Don’t generalize: Try to avoid abstractions. Be concrete in your descriptions. Instead of saying someone played a board game, say it’s Monopoly. Instead of a “bad smell” use the specific “like sour milk.” But again, don’t reach too hard or you look silly.

Don’t forget to compare and contrast. The secret to originality is the ability to see relationships. If you’re describing something green, it’s your job to come up with something fresher than “grass.” Here’s one of my faves from Steinbeck: “The customers were folded over their coffee cups like ferns.” And come to think of it, Alice’s description of Calvin Coolidge as “looking like he was weaned on a pickle” is pretty good. But again, don’t strain for originality or you just sound pretentious.

Don’t lean on adjectives: Just lining up a string of modifiers is lazy writing. (ie tall, dark and handsome). Try to find one vibrant adjective rather than several weak ones. But again, don’t strain or reach for the Thesaurus. Sometimes a lawn is just a lawn…not a “verdant sward.”

Don’t use cliches: It’s easy to slip into tired, flabby words. If you want to say something is white, you can’t use “white as snow.” It’s not yours! Neither is “thin as a rail, sick at heart, hard as a rock” or even “overcome with grief.” Time has eroded all those. It’s your job to find new ways of making your reader experience your fictional world.

Yeah, it’s tough to dress your writing for success. But don’t despair. Description is one of the things that you can get better at. Believe me, I know. I used to lard my paragraphs with lovingly crafted images that dammit, were going to stay in there because I worked so hard on them. But then my sister told me one day that I was — ahem — dressing to impress. I made every writer’s biggest mistake: I fell in love with the sound of my own voice and was trying to be “writerly.”

Finding your style — be it writing or fashion — is a lifelong process. When I went to my prom, I looked like a cross between Scarlett O’Hara and a Kabuki dancer. Through practice, I look a little better these days. Likewise, in my writing, I have learned what to leave off, what to cut out. In fact, I have gone too far with my WIP so my critique group friends tell me I am now underwriting and they are advising me to add more description.

P.J. Parrish—December 17, 2013

 

Vision 

Do you have 20/20/20 vision? No, that’s not a typo, but rather an exercise suggested by eye doctors to counteract eyestrain and blurry vision from too much screen time.

Every 20 minutes, look away from your screen to an object at least 20 feet away and focus on it for at least 20 seconds.

For more eye exercises, check out:  http://www.allaboutvision.com/cvs/irritated.htm

 And finally, my favorite exercise…

Go for a walk 

When you take your dog for a walk, she knows what she’s supposed to do. The writer’s brain can be trained and reinforced with praise the same way you train your pooch. As you move muscles and increase blood flow, your brain expels waste.

I confess during walks I’ve left many hot, steaming piles along the pathway. The best part is, unlike the dog, I don’t need a baggie to pick them up!

Once waste thoughts are cleared out, there’s room for new ideas and solutions to bubble up from the subconscious (Check out Jim Bell’s classic post about “the boys in the basement”).

Start training your brain with a small problem: let’s say you’re seeking a particular word that’s eluding you, despite searching the thesaurus. Go for a short walk and let the brain relax. After a few minutes of exercise and fresh air, the elusive word often pops up from the subconscious.

Give yourself a pat on the head and praise, “Good brain!” 

A Milk Bone is optional, your choice.

 Pretty soon, the subconscious learns that when you take a walk, it’s expected to perform, just like Fifi. While it sniffs the bushes and chases a squirrel, it’s also learning to deliver fresh ideas and solutions. The more you positively reinforce the subconscious for its results, the better and more frequently it comes up with solutions.

Walking works for me 100% of the time because my brain is conditioned. If I’m stumped about what a character should do next, or if the plot gets lost down a rabbit hole, I take a spin around the neighborhood. Before long, the uncertain character now knows her next move; or the rabbit hole has led to an unexpected escape route. I can’t wait to rush back to the keyboard eager to implement the solutions my subconscious offered up.

Debbie Burke—January 25, 2018

***

There you have it– putting conflict into your characters’ lives, avoiding your description becoming the literary equivalent of a Christmas sweater, and techniques to avoid the physical consequences of “butt-in-chair” time.

  1. What’s your sure fire way to put more conflict into your characters’s lives?
  2. How do you find the description “happy medium?”
  3. What physical challenges does butt-in-chair time pose for you? How do you mitigate any challenge?

This is my final post of 2022. I wish everyone a wonderful Holiday Season and all the best in 2023.

Reader Friday: Anatomy and Physiology of Villains

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Course: Villains 300, Anatomy and Physiology Lab

Over the past couple weeks, we’ve had two excellent discussions that can help us with crafting more interesting and complex villains. Debbie described the villain’s journey. And Sue discussed the three dimensions of creating characters. So, I thought today would be a good day to apply and reinforce what we’ve learned.

In high school and college biology courses, there are two components: the lectures and book work, and the laboratory sessions (labs) for exploratory, hands-on learning. In biology, we have anatomy (the structure of the organisms) and physiology (how they function).

Debbie’s look at the Villain’s Journey is the physiology of the villain, how the villain has functioned. And Sue’s look at the three dimensions of character is the anatomy of the character.

Today is lab day, so let’s study and dissect some villains.

  1. Pick a villain (one). One of your own villains. Or a villain (created by another writer) that you have found complex and interesting. Or create your own new villain. N.B. Any new character you create and publish here is yours. You maintain the copyright. No one else may use your creation.
  2. Study the physiology, the live function, the journey, of the villain.
  3. Study the anatomy, the 3-D layers, of the villain. Yes, you must euthanize your specimen. We will provide chemicals for a painless, humane demise.
  4. Report your findings to your colleagues (that would be the rest of us, here at TKZ) today. Give us a concise report on the journey and 3-D anatomy of your specimen (I mean villain).